Współczesna debata telewizyjna a konflikt destruktywny

W artykule dowodzi się tezy, że współczesne debaty publiczne, emitowane w telewizji (takie jak emitowany od 2004 roku w TVP2 program Jana Pospieszalskiego „Warto rozmawiać”), są zdarzeniami komunikacyjnymi zasadzonymi na konflikcie destruktywnym, a więc takim, który wg L. Kriesberga, nastawiony jest nie na problem wywołujący frustrację, ale jest manifestacją agresji, a celem sporu staje się nie pokonanie różnic dzielących strony, ale pokonanie oponenta. Wynika to z sytuacji komunikacyjnej debaty telewizyjnej i nastawienia w pierwszej kolejności na zdobycie uwagi, a potem zaspokajanie potrzeb odbiorcy sekundarnego – widza. Podporządkowane są temu takie elementy, jak wybór tematu debaty, jej scenariusz, dobór uczestników, a w dalszej kolejności ich zachowania werbalne i niewerbalne. W rezultacie, w debacie telewizyjnej złamane zostają typowe dla debaty konstruktywnej reguły i strategie, i zastąpione zostają zachowaniami typowymi dla konfliktu destruktywnego, takimi jak: brak otwartości na argumenty drugiej strony, nastawienie na pokonanie antagonisty, niechęć do szukania innych rozwiązań, jak tylko moja wygrana - twoja przegrana, działania nastawione na prowokację i podważanie wiarygodności partnera, przenoszenie ciężaru debaty ze sprawy na osobę, posługiwanie się argumentacją niemerytoryczną, niezgoda na konstruowanie wspólnego stanowiska. Taki wzorzec debaty telewizyjnej, która stała się pośpieszną, bezproduktywną prezentacją rozbieżnych stanowisk, nie prowadzącą do żadnych konkluzji, nastawioną najwyżej na obrażenie rozmówcy i dostarczenie widzowi krótkotrwałych emocji, buduje powszechne przekonania o niemożności dialogu i porozumienia w dyskursie publicznym i dominującym w nim antagonizmie.

El uso de la documentación audiovisual en los programas informativos diarios de televisión

[SPA] El objetivo de la investigación es conocer cual es la aportación cuantitativa y cualitativa de la documentación audiovisual en la información que ofrece diariamente la televisión. El marco temporal de la investigación de campo se sitúa en los años 1993 y 1994, en un marco geográfico constituido por los canales que emiten en el estado español. El estudio parte de una aproximación teórica a la documentación periodística, a la documentación audiovisual y a los estudios sobre la comunicación de masas, y lleva a cabo una investigación de campo en tres áreas: 1) Análisis de programas informativos diarios de seis cadenas de televisión (ETB, TVE, Canal Sur, TV3, Antena 3 y Canal+), a través de tres muestras independientes. 2) Análisis de las peticiones de documentación audiovisual realizadas desde las redacciones de programas informativos a los servicios de documentación. 3) Estudio de las funciones, tareas, estructura y organización de los servicios de documentación de televisión, basado en encuestas, visitas y entrevistas. En anexo se ofrece el análisis detallado de 620 noticias, así como la información de los centros de documentación. La investigación concluye afirmando que la documentación audiovisual es uno de los elementos constitutivos de la información de actualidad, tanto por su presencia cuantitativa (más de un 40% de las noticias emitidas la emplean), como por su aportación cualitativa y su utilización generalizada en todas las secciones informativas. Las conclusiones señalan que la importancia de las noticias incide positivamente en el empleo de documentación audiovisual, sintetizan las funciones de esta documentación y las características específicas de su uso. Confirman el carácter de retroalimentación de la documentación informativa en televisión. Señalan un empleo de esta documentación como documentación puramente visual. Y afirman que la documentación audiovisual, además de contribuir en la producción, coadyuva a la calidad de los programas informativos, en la medida en que facilita la tarea de ofrecer una información más completa y contextualizada.

Subjective comparison of consumer television technologies for 3D visualization

This paper presents a comparison among different consumer 3D display technologies by means of a subjective assessment test. Therefore, four 55-in displays have been considered: one autostereoscopic display, one stereoscopic with polarized passive glasses, and two with active shutter glasses. In addition, a high-quality 3D video database has been used to show diverse material with both views in high definition. To carry out the test, standard recommendations have been followed considering also some modifications looking for a test environment more similar to real home viewing conditions, with the objective of obtaining more representative conclusions. Moreover, several perceptual factors have been considered to study the performance of the displays, such as picture quality, depth perception, and visual discomfort. The obtained results show interesting issues, like the performance improvement of active shutter glasses technology, the high performance of the polarized glasses technology in terms of quality and comfort, and the need of improvement of the autostereoscopic displays to complement the visual comfort to reach a global high-quality visual experience.

La reducción enunciativa: Podemos y la constricción de la voz de la multitud

La irrupción política de Podemos en el panorama mediático y electoral español ha supuesto no sólo una revolución política sino también comunicativa. El 15M significó la crisis definitiva de la hegemonía indiscutible del Modelo Difusión en política, como ya se había verificado en otros espacios de comunicación social. Con su “no nos representan”, el 15M fue ante todo un proceso de disolución enunciativa. Tras él Podemos es el único caso de un experimento de hibridación integral del Modelo Difusión y el Modelo Reticular, intentando propiciar su sinergia. El desembarco de Pablo Iglesias en la televisión resulta crucial, pues se trata de un intento de abrochar la enunciación mediático-electoral con la enunciación popular-reticular.

A experiência da ESEV TV - televisão académica on-line

The study focuses on the analysis of the academic experience entitled Television of the Superior School of Education from Viseu (ESEV TV). This academic project has been an online experience since 2011 and comprises a space of experimentation and broadcasting for audiovisual contents. The significance of the digital sphere embodied mostly through the internet places this medium as the ideal platform to the exchange of contents created by the academic community and favors its dissemination to a heterogeneous audience. The implementation of this audiovisual project encourages the collaboration and the creative initiative of those involved in it and, at the same time, intents to improve the capabilities of expression and communication skills of the participants. It is also an objective of this creative initiative to build an historical archive of audiovisual produced material as also as to promote the integration of students, strengthening ethical and moral values and increasing communication strategies. ESEV TV is available to all study cycles from the institution where it is allocated and represents a workshop camp where it is possible to practice techniques and develop knowledge in the television production area. The accomplishment of the project purpose is inextricably dependent on the existence of a working group constantly updated, also multidisciplinary, that aggregates students from different areas. This complex interdependent mission is guided by teachers with knowledge and experience in the audiovisual field. The team work expects to produce an interesting online schedule that reunites, at the same time, information, culture, education and entertainment.

Infants, interfaces, and intermediation: digital parenting and the production of 'iPad baby' videos on YouTube

We investigate the ways young children’s use of mobile touchscreen interfaces is both understood and shaped by parents through the production of YouTube videos and discussions in associated comment threads. This analysis expands on, and departs from, theories of parental mediation, which have traditionally been framed through a media effects approach in analyzing how parents regulate their children’s use of broadcast media, such as television, within family life. We move beyond the limitations of an effects framing through more culturally and materially oriented theoretical lenses of mediation, considering the role mobile interfaces now play in the lives of infants through analysis of the ways parents intermediate between domestic spaces and networked publics. We propose the concept of intermediation, which builds on insights from critical interface studies as well as cultural industries literature to help account for these expanded aspects of digital parenting. Here, parents are not simply moderating children’s media use within the home, but instead operating as an intermediary in contributing to online representations and discourses of children’s digital culture. This intermediary role of parents engages with ideological tensions in locating notions of “naturalness:” the iPad’s gestural interface or the child’s digital dexterity.

I3MEDIA, e-journal of cinema, television and media studies. Especial Sport&Media

SIN FINANCIACIÓN

Audit report on Iowa Public Television for the year ended June 30, 2016

Audit report on Iowa Public Television for the year ended June 30, 2016

Iowa Public Television independent auditor's reports, basic financial statements and supplementary information, June 30 2009.

Audit report on Iowa Public Television for the year ended June 30, 2009

Puget Sound’s MARS (Media Asset Retrieval System) Digital Library

The MARS (Media Asset Retrieval System) Project is a collaboration between public broadcasters, libraries and schools in the Puget Sound region to assess the needs of their constituents and pool resources to develop solutions to meet those needs. The Project’s ultimate goal is to create a digital online resource that will provide access to content produced by public broadcasters and libraries. The MARS Project is funded by a grant from the Corporation for Public Broadcasting (CPB) Television Future Fund. Convergence ConsortiumThe Convergence Consortium is a model for community collaboration, including representatives from public broadcasting, libraries and schools in the Puget Sound region. They meet regularly to consider collaborative efforts that will be mutually beneficial to their institutions and constituents. Specifically, the archives of public broadcasters have been identified as significant resources that can be accessed through libraries and used by schools, and integrated with text and photographic archives from other partners.Using the work-centered framework, we collected data through interviews with nine engineers and observation of their searching while they performed their regular, job-related searches on the Web. The framework was used to analyze the data on two levels: 1) the activities and organizational relationships and constrains of work domains, and 2) users’ cognitive and social activities and their subjective preferences during searching.

Two main challenges in service description : Web service tunnel vision and semantic myopia

Through media such as newspapers, letterbox flyers, corporate brochures and television we are regularly confronted with descriptions for conventional (bricks 'n' mortar style) services. These representations vary in the terminology utilised, the depth of the description, the aspects of the service that are characterised and their applicability to candidate service requestors. Existing service catalogues (such as the Yellow Pages) provide little relief for service requestors from the burdensome task of discovering, comparing and substituting services. Add to this environment the rapidly evolving area of web services with its associated surfeit of standards, and the result is a considerably fragmented approach to the description of services. It leaves the reality of the Semantic Web somewhat clouded. --------- Let's consider service description briefly, before discussing our concerns with existing approaches to description. The act of describing is performed prior to advertising. This simple fact provides an interesting paradox as services cannot be described exactly before advertisement. This doesn't mean they can't be described comprehensively. By "exactly", we are referring to the fact that context provided by a service requestor (and their service needs) will alter the description of the service that is presented to the discoverer. For example, a service provider who operates a cinema wants to describe the price of their service. Let's say the advertised price is $15. They also want to state that a pensioner discount and a student discount is available which provides a 50% discount. A customer (i.e. service requestor) uses the cinema web site to purchase tickets online. They find the movie of their choice at a time that suits. However, its not until some context is provided by the requestor that the exact price is determined. The requestor might state that they are a pensioner. The same is applicable for a service requestor who purchases multiple tickets perhaps on behalf of other people. The disconnect between when the service is described and when a requestor provides context introduces challenges to the description process. A service provider would be ill-advised to offer independent descriptions that represent all the permutations possible for a single service. The descriptive effort would be prohibitive.

Co-creative media : theorising digital storytelling as a platform for researching and developing participatory culture

This paper considers the question, ‘what is co-creative media, and why is it a useful idea in social media research’? The term ‘co-creative media’ is now used by Creative Industries researchers at QUT to describe their digital storytelling practices. Digital storytelling is a set of collaborative digital media production techniques that have been used to facilitate social participation in numerous Australian and international contexts. Digital storytelling has been adapted by Creative Industries researchers at QUT as a platform for researching the potential of vernacular creativity in a variety of contexts, including social inclusion of marginalized and disadvantaged groups; inclusion in public histories of narratives that might be overlooked; and articulation of voices that otherwise remain silent in the formulation of social and economic development strategies. The adaption of digital storytelling to different contexts has been shaped by the reflexive, recursive, and pragmatic requirements of action research. Amongst other things, this activity draws attention to the agency of researchers in facilitating these kinds of participatory media processes and outcomes. This discussion serves to problematise concepts of participatory media by introducing the term ‘co-creative media’ and differentiating these from other social media production practices.

How does ‘Newstainment’ actually work? : ethnographic research methods and contemporary popular news

Much debate has taken place recently over the potential for entertainment genres and unorthodox forms of news to provide legitimate – indeed democratized – in-roads into the public sphere. Amidst these discussions, however, little thought has been paid to the audiences for programs of this sort, and (even when viewers are considered) the research can too easily treat audiences in homogenous terms and therefore replicate the very dichotomies these television shows directly challenge. This paper is a critical reflection on an audience study into the Australian morning “newstainment” program Sunrise. After examining the show and exploring how it is ‘used’ as a news source, this paper will promote the use of ethnographic study to better conceptualize how citizens integrate and connect the increasingly fragmented and multifarious forms of postmodern political communication available in their everyday lives.

Making Money from Monsters

It seems Australia is the place to be at the moment when it comes to making and creating horror films. Mark David Ryan explains how you can get involved in this boom industry. If you’re a writer with a passion for scary movies, a wordsmith who watches the occasional horror flick and writing your own has crossed your mind, or a writer who terrifies readers with an interest in screenwriting, then there has never been a better time to write Aussie horror flicks. This article introduces the horror genre’s core characteristics, issues to consider when crafting a horror flick, and provides tips for getting scripts into the hands of producers.

A Short History of Cultural Studies (Taiwanese edition)

This is the first volume to capture the essence of the burgeoning field of cultural studies in a concise and accessible manner. Other books have explored the British and North American traditions, but this is the first guide to the ideas, purposes and controversies that have shaped the subject. The author sheds new light on neglected pioneers and a clear route map through the terrain. He provides lively critical narratives on a dazzling array of key figures including, Arnold, Barrell, Bennett, Carey, Fiske, Foucault, Grossberg, Hall, Hawkes, hooks, Hoggart, Leadbeater, Lissistzky, Malevich, Marx, McLuhan, McRobbie, D Miller, T Miller, Morris, Quiller-Couch, Ross, Shaw, Urry, Williams, Wilson, Wolfe and Woolf. Hartley also examines a host of central themes in the subject including literary and political writing, publishing, civic humanism, political economy and Marxism, sociology, feminism, anthropology and the pedagogy of cultural studies.