Social Media and ‘Communities of Practice’ and ‘Communities of Interest’

2020 ◽  
pp. 155-176
Author(s):  
Claudia Megele ◽  
Peter Buzzi
2018 ◽  
Vol 10 (4) ◽  
pp. 73-92 ◽  
Author(s):  
Thomas Cochrane ◽  
Vickel Narayan

In this article, we present the development of a framework for supporting and facilitating collaborative networks of reflective practice using mobile social media. Developed throughout a two-year collaborative mobile learning project #NPF14LMD, the framework has subsequently been used to support two wider international networks of mobile learning researchers and practitioners. The #NPF14LMD project was a national project comprised of three universities and three polytechnics across New Zealand. One of the goals of the #NPF14LMD project was to create a collaborative network of practice across the six institutions participating in the project. The network provided a support and communication structure linking the six institutional communities of practice, enabling sharing of their experiences and a sense of belonging to a wider national and international community. This article outlines the use of mobile social media to facilitate the #NPF14LMD network, and the subsequent application of this framework to support two international networks.


Author(s):  
Bruno Panerai Velloso ◽  
Fabiana Bubniak ◽  
Laíse Moraes ◽  
Daniel Scandolara ◽  
Saionara Figueiredo

2019 ◽  
Vol 44 (1) ◽  
pp. 40-57
Author(s):  
MATTHEW ISAAC COHEN

Doomsayers and traditionalists prognosticate that the dominance of digital media spells the end of traditional arts in Java, Indonesia.Wayang kulit(shadow puppet theatre), while still highly regarded as theatrical heritage, is said to be under particular threat due to the long duration of its plays, complexity of language and the need for prior knowledge of characters and situations. Such features are at odds with the short attention spans and need for instant comprehension and gratification of Gen Z – the youth referred to in Indonesian media as inhabitingjaman now(literally the ‘era of now’). While digital social media, including Facebook and YouTube, definitely offer up alternative forms of entertainment and amusement, they are also being used by traditional puppet practitioners to reinforce and expand communities of practice. Facebook provides platforms for comparative discussion and critical debate, while YouTube potentiates the inclusion of a geographically dispersed audience, including overseas workers.


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