New media for the promotion of self-regulated learning in higher education

Resumen tomado de la publicaci??n

Hypercapitalism: New media, language, and social perceptions of value

Every day trillions of dollars circulate the globe in a digital data space and new forms of property and ownership emerge. Massive corporate entities with a global reach are formed and disappear with breathtaking speed, making and breaking personal fortunes the size of which defy imagination. Fictitious commodities abound. The genomes of entire nations have become corporately owned. Relationships have become the overt basis of economic wealth and political power. Hypercapitalism explores the problems of understanding this emergent form of global political economic organization by focusing on the internal relations between language, new media networks, and social perceptions of value. Taking an historical approach informed by Marx, Phil Graham draws upon writings in political economy, media studies, sociolinguistics, anthropology, and critical social science to understand the development, roots, and trajectory of the global system in which every possible aspect of human existence, including imagined futures, has become a commodity form.

Hypercapitalism: Language, new media and social perceptions of value

Using examples from contempoary policy and business discourses, and exemplary historical texts dealing with the notion of value, I put forward an argument as to why a critical scholarship that draws on media history, language analysis, philosophy and political economy is necessary to understand the dynamics of what is being called 'the global knowledge economy'. I argue that the social changes associated with new modes of value determination are closely associated with new media form.

Weaving encounters: towards an art of participation

In the early 21st Century, with the phenomenon of digital convergence, the consecration of Web 2.0, the decrease of the cost of cameras and video recorders, the proliferation of mobile phones, laptops and wireless technologies, we witness the arising of a new wave of media, of an informal, personal and at times “minority” nature, facilitating social networks, a culture of fans, of sharing and remix. As digital networks become fully and deeply intricate in our experience, the idea of “participation” arises as one of the most complex and controversial themes of the contemporary critical discourse, namely in what concerns contemporary art and new media art. However, the idea of “participation” as a practice or postulate traverses the 20th century art playing an essential role in its auto-critic, in questioning the concept of author, and in the dilution of the frontiers between art, “life” and society, emphasizing the process, the everyday and a community sense. As such, questioning the new media art in light of a “participatory art” (Frieling, 2008) invokes a double gaze simultaneously attentive to the emerging figures of a “participatory aesthetics” in digital arts and of the genealogy in which it is included. In fact, relating the new media art with the complex and paradoxical phenomenon of “participation” allows us to, on the one hand, avoid “digital formalism” (Lovink, 2008) and analyse the relations between digital art and contemporary social movements; on the other hand, this angle of analysis contributes to reinforce the dialogue and the links between digital art and contemporary art, questioning the alleged frontiers that separate them.

Utilização dos New Media nas Empresas de Comunicação em São Vicente

Este trabalho científico refere-se aos New Media num contexto empresarial, demonstrando essa tecnologia como uma nova forma de comunicar. A delimitação é feita numa perspectiva da ilha de São Vicente, em Cabo Verde, concentrando assim nas empresas de comunicação. Objectiva-se verificar se essas ferramentas da Web 2.0 são utilizadas nesse contexto, se os funcionários são conhecedores dessa tecnologia, qual a prática na sua utilização e se sofrem algum tipo de influência social quando usam os New Media.

Branding i new media: l’experiència de la marca a través d’Instagram

El propòsit d’aquesta recerca és el de dur a terme una exploració sobre la creació i el disseny estratègic d’una experiència de marca a través d’Instagram, entesa com una eina de branding en el paradigma de la nova comunicació. En segon terme, la investigació vol descobrir si les característiques i factors personals dels usuaris d’Instagram determinen la seva predisposició a participar en experiències de marca. La hipòtesi es confirma en les característiques estudiades (una elevada ràtio de fotografies compartides i una alta freqüència d’ús de l’aplicació).

New media technologies, law, and society: an ecological approach

Joyce Tam de l'Université McGill est récipiendaire du 3ème prix du concours de la bourse d'initiation à la recherche offerte par le Regroupement Droit et changements aux étudiants du baccalauréat en droit.

Media Art Wiki. Uso de Wikis para la enseñanza interdisciplinar y multimedia del arte de los nuevos medios de comunicación en entornos virtuales de aprendizaje.

Número especial dedicado a WIKI y educación superior en España (II parte), en coedición con Revista de Docencia Universitaria (Red U). Resumen tomado de la publicación

Media Art Wiki : uso de Wikis para la enseñanza interdisciplinar y multimedia del arte de los nuevos medios de comunicación en entornos virtuales de aprendizaje.

Monográfico con el título: 'Wiki y Educación Superior en España (II parte)'. Artículo coeditado con la Revista de Educación a Distancia (RED). Resumen basado en el de la publicación

New media reading strategy

This dissertation addresses the need for a strategy that will help readers new to new media texts interpret such texts. While scholars in multimodal and new media theory posit rubrics that offer ways to understand how designers use the materialities and media found in overtly designed, new media texts (see, e.g,, Wysocki, 2004a), these strategies do not account for how readers have to make meaning from those texts. In this dissertation, I discuss how these theories, such as Lev Manovich’s (2001) five principles for determining the new media potential of texts and Gunther Kress and Theo van Leeuwen’s (2001) four strata of designing multimodal texts, are inadequate to the job of helping readers understand new media from a rhetorical perspective. I also explore how literary theory, specifically Wolfgang Iser’s (1978) description of acts of interpretation, can help audiences understand why readers are often unable to interpret the multiple, unexpected modes of communication used in new media texts. Rhetorical theory, explored in a discussion of Sonja Foss’s (2004) units of analysis, is helpful in bringing the reader into a situated context with a new media text, although these units of analysis, like Iser’s process, suggests that a reader has some prior experience interpreting a text-as-artifact. Because of this assumption of knowledge put forth by all of the theories explored within, I argue that none alone is useful to help readers engage with and interpret new media texts. However, I argue that a heuristic which combines elements from each of these theories, as well as additional ones, is more useful for readers who are new to interpreting the multiple modes of communication that are often used in unconventional ways in new media texts. I describe that heuristic in the final chapter and discuss how it can be useful to a range of texts besides those labelled new media.