Suchergebnisse

Increasing understanding, concern, partiality, and equality for persons with disabilities is important. One disparity can be found in the educational area. The role of the government to increase the capability of this group is the enactment of Law No. 8 of 2016, which substantially provides accessibility to persons with disabilities. The education environment needs to participate in building a disability-friendly education climate. This paper presents a higher education case study for students with special needs at Universitas Atma Jaya Yogyakarta. The research uses the Inclusive Participatory Action Research approach to explore problems, design program planning, management, and implementation of efforts to create a disability-friendly environment. Through this approach, persons with disabilities are the subject of planning, implementation, and evaluation. It means that the active involvement of the target group is essential in this effort. The results show that participatory culture is essential in building an inclusive environment in higher education. The commitment and cooperation of all university members can realize a disability- friendly environment. The focus of this article includes (a) efforts to build a disability-friendly environment; (b) disability-friendly education approach; (c) challenges in the implementation and environmental impacts of inclusion in higher education. Hopefully, this idea can contribute to building an inclusive environment in an educational institution.

For over 30 years, the General Direction of Popular Cultures has been in charge of promoting, preserving, and disseminating the cultural diversity of Mexico, regarding indigenous and popular cultural practices. With the increasing popularization of Social Networks, it has become almost indispensable to join Social Networks in order to exist digitally, weather you are an individual, an institution or government. Taking this fact in consideration, in 2011 the Direction of Popular Cultures joined the most utilized social Networks in México: Twitter, Facebook and YouTube, as a way to keep users updated about the activities and general information generated by the Direction. Departing form the point of view that considers Internet as a democratic space where everyone has an equal right to be represented in, this thesis explores the use that the governmental institution has given to Social Networks, and how they interact with their users to get fulfilled the institutional goals of disseminate the knowledge about indigenous cultures while trying to create a participatory culture. This research is a qualitative case study, consisting of a set of practices of interpretation of the data publicly available through Social Networks, stressing how the social experience is created and given meaning with the utilization of Social Network Services to disseminate information. As analytical objective, it has been determinate to describe the usage given to Social Media in terms of cultural promotion, diffusion of popular cultures and construction of a participatory culture, focusing on the relationships among culture, power, class struggle, participation and ownership of the media.

The Web has changed newswork dramatically. After the turn of the Millennium, the Web 2.0 was welcomed as a unique medium of participation, interaction, and democratization. Due to the increased interactivity of many websites, and the growing prominence of social networking sites such as Facebook that invited the creation and publication of user contributions, many journalism scholars promulgated the potentials of the Web to trigger participation, a new interactivity and, eventually, more transparency, accountability, and responsiveness. In this article, I show how I was equally full of hope that the participatory potential of the Web would become widespread among news organizations. However, recent findings show that most established newsrooms still do not practice what they preach. Even more so, many newsrooms show a participation fatigue, closing user comment sections due to participation inequality or challenging phenomena such as trolls, incivility, or hate-speech. Hence, I do not believe that the majority of legacy news media will further implement accountability practices and strengthen their responsiveness toward their publics. But I still have hope, and this hope comes from entrepreneurial journalism.

In the phenomenon of lip dubbing online, music fans throughout the world mime along with their favorite (usually Western) pop songs, and distribute videos of the performances to web video sites like YouTube. Two popular examples of the form are examined: China's Back Dorm Boys, and Moymoy Palaboy, from the Philippines. The dozens of videos produced by each group speak to issues of cultural imperialism and globalization, as well as broader concerns about participatory culture within the YouTube space.

This paper considers sneakerheads, or sneaker collectors and enthusiasts, as fans. It explores both them and their participatory culture, developing a new approach to researching sneakerheads: I here conceptualize sneaker collecting as an object-inspired fandom to highlight the difference between sneaker fandom and other object-oriented fandoms. This paper demonstrates that sneaker collecting is about both collecting knowledge about the subject of sneakers and collecting sneakers themselves. The materiality of sneakers, the story behind a design, and the cultural history of sneakers attracts sneakerheads to sneakers. As such, I here explore the following characteristics of sneaker collecting: the importance of knowledge and its acquisition, the high value of the community's practices and activities, the high level of emotional involvement, fan art (sneaker art), and anticommercial ideologies and beliefs. The approach demonstrated in this paper could also be useful in research of other communities organized around collecting wearable goods, such as clothes or accessories, including football T-shirts, vintage denim, and bags.

Heritage and Social Media explores how social media reframes our understanding and experience of heritage. Through the idea of 'participatory culture' the book begins to examine how social media can be brought to bear on the encounter with heritage and on the socially produced meanings and values that individuals and communities ascribe to it. To highlight the specific changes produced by social media, the book is structured around three major themes: Social Practice. New ways of understanding and experiencing heritage are emerging as a result of novel social practices of collection, representation, and communication enabled and promoted by social media. Public Formation. In the presence of widely available social technologies, peer-to-peer activities such as information and media sharing are rapidly gaining momentum, as they increasingly promote and legitimate a participatory culture in which individuals aggregate on the basis of common interests and affinities. Sense of Place. As computing becomes more pervasive and digital networks extend our surroundings, social media and technologies support new ways to engage with the people, interpretations and values that pertain to a specific territorial setting. Heritage and Social Media provides readers with a critical framework to understand how the participatory culture fostered by social media changes the way in which we experience and think of heritage. By introducing readers to how social media are theorized and used, particularly outside the institutional domain, the volume reveals through groundbreaking case studies the emerging heritage practices unique to social media. In doing so, the book unveils the new issues that are emerging from these practices and the new space for debate and critical argumentation that is required to illuminate what can be done in this burgeoning sector of heritage.

Introduction: reframing heritage in a participatory culture / Elisa Giaccardi -- Social practice -- Collective memory as affirmation : people-centered cultural heritage in a digital age / Neil Silberman, Margaret Purser -- Socially distributed curation of the bhopal disaster : a case of grassroots heritage in the crisis context / Sophia B. Liu -- Museum of the self and digital death : an emerging curatorial dilemma / Stacey Pitsillides, Janis Jefferies, Martin Conreen -- Social traces : participation and the creation of shared heritage / Luigina Ciolfi -- Public formation -- Remembering together : social media and the formation of the historical present / Roger I. Simon -- Heritage knowledge, social media, and the sustainability of the intangible / Dagny Stuedahl, Christina Mortberg -- Connecting to everyday practices : experiences from the digital natives exhibition / Ole Sejer Iversen, Rachel Charlotte Smith -- The rise of the media museum : creating interactive cultural experiences through social media / Angelina Russo -- Sense of place -- Mosaics and multiples : online digital photography and the framing of heritage / Richard Coyne -- Mobile ouija boards / Chris Speed -- Extending connections between land and people digitally : designing with rural herero communities in Namibia / Nicola Bidwell, Heike Winschiers-Theophilus -- Situating the sociability of interactive museum guides / Ron Wakkary, Audrey Desjardins, Kevin Muise, Karen Tanenbaum, Marek Hatala -- Afterword by peter wright --

In this study, Falero explores how online communities of participatory audiences have helped to re-define authorship and audience in the digital age. Using over a decade of ethnographic research, Digital Participatory Culture and the TV Audience explores the rise and fall of a site that some heralded as ground zero for the democratization of television criticism. Television Without Pity was a web community devoted to criticizing television programs. Their mission was to hold television networks and writers accountable by critiquing their work and "not just passively sitting around watching." When executive producer Aaron Sorkin entered Television Without Pity's message boards on The West Wing< in late 2001, he was surprised to find the discussion populated by critics rather than fans. His anger over the criticism he found there wound up becoming a storyline in a subsequent episode of The West Wing wherein web critics were described as "obese shut-ins who lounge around in muumuus and chain-smoke Parliaments." This book examines the culture at Television Without Pity and will appeal to students and researchers interested in audiences, digital culture and television studies

Between 2014 and 2017, the artistic research project "TransCoding – From 'Highbrow Art' to Participatory Culture" encouraged creative participation in multimedia art via social media. Based on the artworks that emerged from the project, Barbara Lüneburg investigates authorship, authority, motivational factors, and aesthetics in participatory art created with the help of web 2.0 technology. The interdisciplinary approach includes perspectives from sociology, cultural and media studies, and offers an exclusive view and analysis from the inside through the method of artistic research. In addition, the study documents selected community projects and the creation processes of the artworks Slices of Life and Read me.

Between 2014 and 2017, the artistic research project "TransCoding - From 'Highbrow Art' to Participatory Culture" encouraged creative participation in multimedia art via social media. Based on the artworks that emerged from the project, Barbara Lüneburg investigates authorship, authority, motivational factors, and aesthetics in participatory art created with the help of web 2.0 technology. The interdisciplinary approach includes perspectives from sociology, cultural and media studies, and offers an exclusive view and analysis from the inside through the method of artistic research. In addition, the study documents selected community projects and the creation processes of the artworks Slices of Life and Read me.