Renaming Citizenship

As the world is becoming more and more digitalized with technology, the focus on the issue of identity and citizenship in the context of public sphere evolves into a new (digital) sphere. Defined briefly as an ability to participate online society, digital citizenship is also seen as a disparity in access to computers and the internet among different layers of social entities. Starting from its roots, this study presents a comprehensive and detailed account of citizenship with its altered and diversified forms up to now. The larger focus of the study centers around the evolutionary process of digital citizenship with all its aspects involved.

From Family Albums to Global Search Engines: Translating Family Photographs for the Digital Age

<p>This thesis examines the ways digital photo-sharing platforms adopt, use and challenge the discourse of the material family album as a way of demonstrating the uses for new media within the private sphere. It analyses the digital photo-sharing platforms of Picasa and Shutterfly, platforms which often take contrasting approaches to negotiating the relationship between material and digital cultures. By examining these platforms in terms of the way they reference and use the discourse of the material family album, the ways they allow content to be used and accessed, and their relationship to commercial culture, this thesis explores how these platforms use the discourse to transform the way the family and the family album interact with one another, and with geography, time and commercial culture. It argues that the discourse of the material family album is translated by digital photo-sharing platforms in order to ensure the family participates in the digital sphere, drawing more of human communication into the online space where it can be mediatized, observed, and commodified. The thesis begins by defining the discourse of the material family album, drawing on the ways the family album is commonly described in academic literature. It identifies a common discourse in discussions of the family album which suggests a particular way of thinking about the album’s functions and practices. The second chapter explores the ways digital photo-sharing platforms adopt and translate this discourse, and give these social practices a visual, media form. These platforms draw the family into the digital sphere by abstracting these practices from the material world and rendering them visible in their interfaces. As a result of this, however, the practices become subject to an increasing degree of standardisation and control from outside the family. The third chapter addresses the issue of access to family albums in both the material and digital contexts. It argues that the benefits of using digital interfaces lie in how they enable a reinterpretation of the significance of geography and time to both the album and its viewers. The characteristics of new media therefore challenge how access to the album was granted and refused in the material world. The final chapter explores the relationship between the family album and commerce, and argues that the commodification of the family album and the practices involved in creating them are perhaps the strongest driving factor in the desire to connect the family with new media and the internet. When the discourse of the material family album is realised within digital photo-sharing platforms, the relationship between family albums and commodities is changed, meaning digital photo-sharing within the commercially owned platforms of Picasa and Shutterfly involve families and their leisure activities more and more strongly in the world of commerce.</p>

From Family Albums to Global Search Engines: Translating Family Photographs for the Digital Age

<p>This thesis examines the ways digital photo-sharing platforms adopt, use and challenge the discourse of the material family album as a way of demonstrating the uses for new media within the private sphere. It analyses the digital photo-sharing platforms of Picasa and Shutterfly, platforms which often take contrasting approaches to negotiating the relationship between material and digital cultures. By examining these platforms in terms of the way they reference and use the discourse of the material family album, the ways they allow content to be used and accessed, and their relationship to commercial culture, this thesis explores how these platforms use the discourse to transform the way the family and the family album interact with one another, and with geography, time and commercial culture. It argues that the discourse of the material family album is translated by digital photo-sharing platforms in order to ensure the family participates in the digital sphere, drawing more of human communication into the online space where it can be mediatized, observed, and commodified. The thesis begins by defining the discourse of the material family album, drawing on the ways the family album is commonly described in academic literature. It identifies a common discourse in discussions of the family album which suggests a particular way of thinking about the album’s functions and practices. The second chapter explores the ways digital photo-sharing platforms adopt and translate this discourse, and give these social practices a visual, media form. These platforms draw the family into the digital sphere by abstracting these practices from the material world and rendering them visible in their interfaces. As a result of this, however, the practices become subject to an increasing degree of standardisation and control from outside the family. The third chapter addresses the issue of access to family albums in both the material and digital contexts. It argues that the benefits of using digital interfaces lie in how they enable a reinterpretation of the significance of geography and time to both the album and its viewers. The characteristics of new media therefore challenge how access to the album was granted and refused in the material world. The final chapter explores the relationship between the family album and commerce, and argues that the commodification of the family album and the practices involved in creating them are perhaps the strongest driving factor in the desire to connect the family with new media and the internet. When the discourse of the material family album is realised within digital photo-sharing platforms, the relationship between family albums and commodities is changed, meaning digital photo-sharing within the commercially owned platforms of Picasa and Shutterfly involve families and their leisure activities more and more strongly in the world of commerce.</p>

Practicing Sovereignty

Digital sovereignty has become a hotly debated concept. The current convergence of multiple crises adds fuel to this debate, as it contextualizes the concept in a foundational discussion of democratic principles, civil rights, and national identities: is (technological) self-determination an option for every individual to cope with the digital sphere effectively? Can disruptive events provide chances to rethink our ideas of society - including the design of the objects and processes which constitute our techno-social realities? The positions assembled in this volume analyze opportunities for participation and policy-making, and describe alternative technological practices before and after the pandemic.

Inter-Component Relations in a Human-Centered Economy (Part 2)

Aim. The presented study aims to identify and describe the relations of mutual restriction between the fundamental spheres of a human-oriented economy.Tasks. The author describes problems associated with the need to study the human-oriented economy; establishes horizontal and vertical economic relations in the economic system; discovers the specific aspects of horizontal economic relations through the interaction between the spheres of a human-oriented economy; identifies normal and pathological restriction relations.Methods. This study uses scientific methods of cognition, namely content analysis and the Wuxing Pentagram.Results. Horizontal relations between the defining spheres of a human-oriented economy are determined. The resource (human needs) that ensures interaction between the spheres of the economic system under consideration is identified. Normal restriction relations are described: natural-material sphere — information-digital sphere, information-digital sphere — cognitive sphere, cognitive sphere — social-service sphere, social-service sphere — creatosphere, creatosphere — natural-material sphere. Pathological restriction relations are detected: informationdigital sphere — natural-material sphere, cognitive sphere — information-digital sphere, socialservice sphere — cognitive sphere, creatosphere — social-service sphere, natural-material sphere — creatosphere.Conclusions. Examination of restriction relations in a human-oriented economy provides insight into the directions for the regulation of the corresponding economic system, which, according to the author, will ensure not only personal, but also economic growth.

Digital entrepreneurship vs. Traditional entrepreneurship : the setting up of a global conceptual model

A review of the contemporary literature on entrepreneurship suggests that, in general, entrepreneurship in the digital sphere is more or less different from " traditional " entrepreneurship. Nevertheless, faced with this assertion, the question that remains slightly discussed is to determine which are foremost the main variables that allow us to compare these two phenomena in order to be able to distinguish them? Based on an in-depth study of variables used in the literature to describe entrepreneurs and their businesses, this paper attempts to introduce a global conceptual model that opens new tracks research to compare, in an empirical way, digital entrepreneurship and traditional entrepreneurship. This framework takes into account three main elements: The entrepreneur profile, the entrepreneurial process and finally the measurement of the venture performance and outcomes. This work also provides useful informations on digital entrepreneurship while demonstrating that it is a complex and multifactorial phenomenon.

Inter-Component Relations in a Human-Centered Economy (Part 1)

Aim. The presented study aims to identify and interpret mutual support relationships between the key areas of a human-oriented economy.Tasks. The authors formulate the problems of the relevance of examining economic relationships within the framework of various economic systems; substantiate the existence of economic support relationships and restrictions in the context of a human-centered economy; identify and structure normal and pathological economic support relationships between the spheres of a human-oriented economy.Methods. The theoretical and methodological basis of this study is based on the Wuxing Pentagram.Results. The authors present their view of economic support relationships in a human-centered economy as a result of interaction between its spheres: natural-material, social-service, information-digital, creatosphere and cognitive sphere. The resource (human needs) that ensures the interaction between the components of the economic system is identified. Normal support relationships are determined: natural-material sphere — social-service sphere; social-service sphere –information-digital sphere; information-digital sphere — creatosphere; creatosphere — cognitive sphere; cognitive sphere — natural-material sphere. Pathological support relationships are detected: social-service sphere — natural-material sphere; information-digital sphere — socialservice sphere; creatosphere — information-digital sphere; cognitive sphere — creatosphere; natural-material sphere — cognitive sphere.Conclusions. By defining and understanding inter-component support relationships in the context of a human-oriented economy, it becomes possible to determine directions for their regulation to ensure productive development of the economic system as a whole and each person in particular.

Characteristics of business models of the Sharing Economy industry in the context of digitalization of the economy

The article examines the business models of the Sharing Economy industry in the context of the digitalization of the economy. In the digital sphere of society, they are based on collective consumption. In the digital sphere of society, it is based on collective consumption. The use of digital technologies in production is not always possible, it all depends on the material assets of the company. In such a business model, production is based on the storage and use of data in digital form. With the help of the application of such data, business performance in the field of production competitiveness is significantly improved, and the productivity of workers is growing. By using IT technologies, the network economy provides greater convenience for customers, it also reduces the percentage of errors that a person can make, which in turn increases customer loyalty. Another plus of digitalization for both customers and business owners is the emergence of the possibility of non-cash transactions. It follows from this that digital data is the main means of the digital economy. Economic growth is ensured precisely on their basis. And such an economy itself is distinguished by an increase in the share of innovations and knowledge, which dominate the services and production sectors.

Walking, Haunting, and Affirmative Aesthetics: The Case of Women without Men

The digital sphere overflows with platforms that gather women’s testimonies of being harassed, not feeling welcome, or not being accommodated in the urban spaces. The street is a gendered space. However, literature, films, and digital media have repeatedly denounced, challenged, and counteracted the unbalanced relations of power and how they affect people of different genders, sexualities, ages or ‘races’. Through the analysis of Shirin Neshat's film Women without Men (2009), I explore several forms of what I call 'affirmative aesthetics', the aesthetic and narrative reconfiguration of spatial and power relations. Haunting as a filmic form in particular serves as a way to create a space for oneself, to make visible what patriarchal narratives made invisible.

Walking, Haunting, and Affirmative Aesthetics: The Case of Women without Men

The digital sphere overflows with platforms that gather women’s testimonies of being harassed, not feeling welcome, or not being accommodated in the urban spaces. The street is a gendered space. However, literature, films, and digital media have repeatedly denounced, challenged, and counteracted the unbalanced relations of power and how they affect people of different genders, sexualities, ages or ‘races’. Through the analysis of Shirin Neshat's film Women without Men (2009), I explore several forms of what I call 'affirmative aesthetics', the aesthetic and narrative reconfiguration of spatial and power relations. Haunting as a filmic form in particular serves as a way to create a space for oneself, to make visible what patriarchal narratives made invisible.