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Crowd-enabled responses to the Stockholm terror attack on Twitter
The communicative role of ordinary people in crises and disasters has inevitably changed in this era of a digitalmedia environment. Instead of assuming the role of a passive audience trapped in the position of ritualised spectators ( Chouliaraki, 2013 ), ordinary people can now participate in the construction of crises through the practices of crisis communication (e.g. Park & Johnston, 2017 ). In this article, I investigate the crisis responses of citizens as ritualised practices in the case of the Stockholm terror attack in April 2017. In
With the arrival of the Internet the already-existing mass media have undergone a complete revolution. Among the most affected subtypes one could easily distinguish the press, which had to find its own place within the new medium. The fierce competition in the realm of online publishing has engendered a number of idiosyncratic linguistic devices used to lure the readers. One of the most popular ones is the phenomenon recognized as clickbait, i.e. an umbrella term for a number of techniques used to attract attention and arouse curiosity. In the following paper, we shall investigate the presence of the said phenomenon in online headlines. In order to do that we shall perform a corpus-based analysis of the data acquired from the most popular American social news outlets on the Internet, namely Buzzfeed, TMZ and E!Online. Apart from establishing the extent to which clickbait has dominated online headlines, we shall also pinpoint and discuss the specific linguistic techniques used to attract potential readers.
subjectivisation through digitalmedia, Isin and Ruppert point to ways in which citizenship is ontologically changing and can be thought of and brought to existence outside the domain of the nation-state. Their argument echoes arguments on the subject of the American Declaration of Independence and the Declaration of Human Rights; how did the signatories to these declarations make these claims? How is the foundational move made? It is made again through a performative act: they bring into being what they state; they found the people because they claim on behalf of the people
Informing Debates on Digital Literacy and Competence
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Entrepreneurial processes and passions of online news start-ups
Mats Falck, a hyperlocal news entrepreneur in one of the districts in Stockholm, was invited to the university course “Hyperlocal Publishing” at Södertörn University in the spring of 2018. The students asked some questions about the business model, and someone commented: “Well, this is probably not something you do in order to get rich.” “Get rich?” he replied, and after a rhetorical pause he added: “Oh, you mean rich in money?”
The rise of digitalmedia is sometimes portrayed as a positive counterbalance to the decline of newspapers in the
In the 21st century, music culture has become one of the basic fields of the functionality of digital media, while the latter have become its important element. By thoroughly transforming music culture in technical and psychosocial, or in quantitative and qualitative terms, at the levels of music production, distribution, and consumption, the digital media have at the same time re-shaped the relations between this culture and its recipients, and established news patterns of participation in it.
Seeking to answer the questions about the character of participation in music culture in the age of the digital media, the author examines, first, the impact of these media on participation in culture and on music culture itself. Second, in order to obtain as full a picture as possible of participation in music culture in the digital media age, he refers to the empirical data collected, analyzed and presented in two research reports devoted to participation in culture (including music culture) in the digital media age.
The conducted analyses show a fairly complex picture of participation in music culture because, shaped by technological innovations and affordances, the new type of activity of participants in music culture is not uniform. However, the author notices two distinct tendencies in it: a tendency to prefer old, institutionalized forms of participation albeit with the use of the digital media; and a tendency to favor new, de-institutionalized forms developed in the digital environment. They allow the researcher to outline a fundamental dichotomy (because it essentially reflects deeper cultural-technological discrepancies) between participation in music culture and the music culture of participation. The author culminates his discussion with the conclusion, in which he briefly considers the potential consequences of the emergence of digitally mediated participation in music culture.
Education for sustainable development (ESD) challenges traditional curricula and formal schooling in important ways. ESD requires systemic thinking, interdisciplinarity and is strengthened through the contributions of all disciplines. As with any transformative societal and technological shift, new questions arise when educators are required to venture into unchartered waters. Research has led to some interesting findings concerning digital literacies in the K-12 classroom. One finding is that a great deal of digital media learning is happening outside the traditional classroom space and is taking place in the afterschool space (Prensky, 2010). Understanding the nature of learning in the afterschool space and bridging the current divide between formal schooling and the learning happening online is critical to the establishment of core ESD values and skills, namely ethical online communities and the development of respectful, tolerant global digital citizens.
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