In lieu of an abstract, here is a brief excerpt of the content:Learning in Dramatic and Virtual Worlds:What Do Students Say About Complementarity and Future Directions?John O'Toole (bio) and Julie Dunn (bio)A top financial backer has arrived to determine which team of computer interaction designers has developed the most exciting and innovative proposal for the Everest component of the Virtually Impossible Computer Company's Conquerors of the World Series. Tension is high as the presentations begin, but this tension soon turns to (...) outright conflict as some proposals suggest George Mallory as the conqueror, and the financial backer will have none of him. The backer, it seems, has her own agenda and is determined to allow for only one view of history—the one that records Sir Edmund Hillary as a New Zealand hero and the only real conqueror of the tallest mountain on earth. The designers become more and more agitated until suddenly someone bangs their hand on the table and calls out, "Hang on... just because you've got the money doesn't mean... kids need to learn about both these men... they need to learn about history." With that the drama is cut by the teacher. The deep understandings about "history's purchased page" that can be generated when drama and computers are brought together for learning have been made explicit... but could these same outcomes have been achieved using just one of these approaches?IntroductionThe research explored within this article was generated as part of the Media Station, a project funded by the Australasian Collaborative Research Centre for Interaction Design (ACID), with an overall mission to investigate the potential of massively multiplayer online games for learning. This particular subproject, History's Purchased Page, saw researchers from interaction design [End Page 89] and drama education come together with a group of young learners to investigate their perceptions of the complementarity of computers and live classroom drama and to brainstorm future possibilities for applying computer-based technologies to drama-based learning. We sought to discover the following:• What do young learners say about how they experience and value learning in a context involving a combination of drama and computers?• What ideas do these young learners have about how future technologies might enrich the complementarity of this combination?As the drama researchers involved in this project, we had been experimenting with this perhaps slightly unusual combination for over a decade by incorporating computers into a number of our drama units within our primary textbook Pretending to Learn.1 Our goal in these experimentations had always been to enrich the classroom drama experience by taking advantage of the information capacity of the Internet and other computer-based resources, including databases. For example, we had used The First Fleet Database2 to support a drama unit where the learners take on the role of convicts arriving in Australia in 1788. We discovered that this material, combined with other documentation and historical materials available via the Internet, greatly enhanced not only the historical accuracy of the work but also the level of engagement experienced by the learners when in role. Therefore, we were very keen to extend this work by exploring new possibilities and were especially keen to develop a better understanding of what the learners made of this interactivity.In recent years the partnering of these two quite different approaches to learning has developed quite a research following, and a number of drama teachers and researchers have become interested in the complementarity of these ways of learning.3 At the same time, researchers and designers from the field of computer-assisted learning have also noted these connections. This goes back to the work of Brenda Laurel, who first drew attention to the intriguing links between computers and theatre in her now famous text Computers as Theatre.4 With the rapid growth of interactive learning tools such as 3-D immersive worlds, blogs, and online voice and text chat spaces, the opportunities for exploration of these connections have also grown, with each of these offering exciting new possibilities when used in conjunction with the highly interactive and engaging strategies of process drama.Process drama is a way of group learning, through whole-class improvised drama, with students (and sometimes the... (shrink)

Sitting in the office of a distinguished philosopher of language recently, I watched him lean back (somewhat precariously) in his chair, look at the ceiling, and sigh: “Johan, we both write all this stuff about information, context, and communication – but is not the only time you really feel that you are making progress, when you resolutely close your eyes, and shut out the world and the others?” I appreciated his point, and indeed, in most spheres of life on this (...) planet, “l’Enfer” is most definitely “Les Autres”. (shrink)

"Ever Since This World Began" from Love Dog (Penny-Ante Editions, 2013) by Masha Tupitsyn continent. The audio-essay you've recorded yourself reading for continent. , “Ever Since the World Began,” is a compelling entrance into your new multi-media book, Love Dog (Success and Failure) , because it speaks to the very form of the book itself: vacillating and finding the long way around the question of love by using different genres and media. In your discussion of the face, one of the (...) themes of Love Dog , I think there is something to be said about the surfaces media create and how you constantly manipulate them in your work. This seems important for thinking also about your book LACONIA: 1,200 Tweets on Film ; a book on film written in tweets, interposing already three sets of expectations and pushing the boundaries of each medium's faciality, it's surface tension. In Love Dog , is there another kind of facial interaction? Perhaps the discursive faces of approaching love as topic and love as method? If so, how did/do these intersect for you, do/did they drive the creation of this book? MASHA TUPITSYN With LACONIA and Love Dog , I wanted to pay homage to the work modernism has done on subjective time and chronological time by carrying that experiment over into the digital economy. Because LACONIA is a time-based work of cultural criticism that employs the aphorism to look at 21 st century American culture, it is also an archival work of cultural mourning and memory. And in Love Dog , which is also a work about mourning as it relates to love, I wanted to think with all my senses, and to reflect that in the writing itself by using a multi-media form. LACONIA tackled the sound bite and the promotional image--the everyday language of consumer culture--which often wants to communicate ideological agendas through the repetition of a single image or reductive phrase. I had always been interested in the approaches of artists like Barbara Kruger and Jenny Holzer and essayistic, typographical filmmakers, like Chris Marker and Godard. In both cases, I felt it was important to try to compose a book in which deep—critical—thinking happens in so-called immediate, informal, and disposable contexts. That is, in places where you are either not supposed to be serious or are not required to take things seriously. To me the most intervention is needed in every day instances of culture and representation. In order to do that, I had to utilize and interrogate the very structures I was critiquing. In other words, the writing had to materialize in that live, digital, public space. It couldn’t simply happen at home on a piece of paper or in a word document on my computer that no one could see until it was finished. It had to unfold in real time, amidst everything else. And it had to literally be surrounded by the cultural landscape I wanted to assess. In both LACONIA and Love Dog , I wanted to know how and if we can get away from what we cannot get away from? From which there is no respite. Given this, I don’t think hypertexts can really be called hypertexts anymore. Hypertexts are simply the world today. This is not only the way we read the world now. It is the way the world reads. Likewise, interfaciality, as you put it, works on a number of levels for me, both on and off the page. There is my relation to epistemological and phenomenological surfaces—the screen, the body, the face, the voice, gender; the official story. Then there is the way this dovetails formally, and to which the digital adds yet another dimension. It’s also where sound comes into Love Dog (giving the book a sound; giving tonality to the book’s ideas and feelings). As Anne Carson pointed out in her essay “The Gender of Sound,” the two are connected, and of course so are love and gender. In “Ever Since This World Began,” I wanted to think about the phenomenology of the voice, which is why I visualize the sonic in the book and why in my writing about faces, I look at the tonal aspects (the things a face voices and a voice faces) of a face. This was standard to do when images and faces were “silent” in the silent era. Those images/faces were extraordinarily audible. The greatest screen face, to me, is still Falconetti’s in Dreyer’s The Passion of Joan of Arc . We can hear her face—even though there is no actual sound on screen of her speaking. The internet is a similarly “silent” space where actual voices are lacking. So intertextuality goes with interfaciality. I’ve also talked a lot about how categorization worked when it came to the reception of my first book, Beauty Talk & Monsters . How despite the fact that Beauty Talk is a text that crisscrosses form and content in a variety of ways, not pinpointing its exact genre—choosing one genre over another—only made things worse. Fiction was the category people were most adverse to me using, even though of course there is a lot of fiction in the book. Part of how fiction works in Beauty Talk is in the reader not knowing exactly where the fiction resides. In Godard’s 1967 film, Weekend , for example, everything matters. Everything is political, whether it’s real or imaginary, film or reality. In Weekend , life is not a game and neither is the game a game. The game is really life. Either everything is important or nothing is. But many people want clear answers and demarcations so that they can decide what is important and what is not important. My use of the “I,” subjective criticism, made everything “real” in Beauty Talk . But fiction is in the construction. It is in the blending. This is why I perforate the movie screen and connect the onscreen and the offscreen; the official story and the backstory. Although I don’t think there is a difference between onscreen and offscreen anymore. Nor is there a dialectic. It’s all screen all the time now. Non-fiction, on the other hand, was more tolerated as a moniker. Unlike Love Dog , Beauty Talk wasn’t explicitly or tangibly (what is tangible is a question in all these books) working with digital forms or within this digital economy, so some people resisted the book’s hypertextuality or intertextuality because they couldn’t see its other forms, if that makes sense. It was a problem of invisibility; of how to make something appear (this is where Nietzsche, big presence in Love Dog , comes in—the nature of appearances). Something people don’t necessarily want to see. Some readers couldn’t see the way forms were interfacing in that book. On the surface, Beauty Talk was simply a text about media culture—the domination of entertainment as a mode of being and knowing—and most readers could only see that one side of the book. But as Godard puts it in Wim Wenders’ documentary about the future of cinema, Room 666 , “Films are made, images are made, when there’s no one looking. That’s what the invisible is, that which we don’t see. That’s what the incredible is, that which we don’t see. And cinema shows you that which we don’t see, the incredible.” We are living in the aftermath of narrative and temporal collapse, which means we don’t read or feel in the same way. I began to use digital forms in my writing because I don’t see us as traditional book people anymore. I would add that power also resides in the invisible, in the things we make invisible by making them visible. Or it did for a long time. The new face of power is quickly becoming so-called transparency, which is even more corrupt because even though we now live in a behind-the-scenes culture, and see and know how the mechanisms of power and corruption operate, we still don't change. The world still doesn't change. Finally, another important thing that Godard says in Room 666 that relates to Love Dog is: “I’m here in front of the camera, and yet in my body and in my head, I’m behind it. My world is the imaginary and the imaginary is a journey between forwards and backwards.” This idea of visible/invisible, foresight and hindsight , backwards and forwards is an important dialectic in relation to time and the idea of the destinal. This is why I wanted Love Dog to travel, literally, figuratively, and discursively. You have to be open to not knowing. To epistemological, geographical, chronological, and emotional aporias. In Love Dog my story is both visible and invisible to me. Sometimes I could see where I was going. Other times I was completely in the dark existentially. Truth procedure, which love is, as bell hooks and Badiou tell us, requires expedition and openness to possibility. Unless you want a story you already know, but that is not truth procedure. So I tried to create this backwards and forwards journey in the book—this sense of travel and motion, hope and doubt—by jumping between forms, media, time; traveling to different places, texts, and emotional registers. The book’s “Time-Jump series,” which mostly takes the form of music—songs—but also a series of “green” videos that I shot, is the most obvious tribute to this idea of subjective and chronological time. continent. Your work aligns with writers that play with the form of their language, or have assumed the role of performance artist at some point: Kathy Acker, Chris Kraus, Avital Ronell, and Anne Carson to name a few representing varied approaches that show up in Love Dog . At the risk of ossifying the work, or missing the point—as these experimental modes of writing stack-up in piles of published works, do they approach a genre? MASHA As I noted in my book Life As We Show It , in Chelsea Girls the poet Eileen Myles points out, “You can’t get money without a category.” More importantly, you can’t get a category—or respect, rank—without a clear genre. This makes genre and gender an obvious pair. The two words are even linked etymologically and both genre and gender concern taxonomies of legitimacy—of sorting through what and who is valuable. So the words share common prejudices. The things one does not want to read is often synonymous with who one doesn't want to read about. Therefore a break-up of or with genre is maybe the genre or anti-genre that could be said to link these writers. Avital Ronell breaks up with philosophical tradition and modes of inquiry. Like Nietzsche, she revaluates methods of evaluation, testing out things you are not supposed to use philosophy to test (and, by the same token, testing philosophy in ways it’s not supposed to be tested), like drugs and stupidity—where philosophy fails and we fail philosophy. And Chris Kraus does something similar in her experimental fiction, using different forms to put female subjectivity “to the test,” so to speak. All these female writers and thinkers have tried to destabilize the systems that have been set up in (and against) writing. Thus missing the mark with genre, even intentionally, means that we have missed the point in some sense as writers and thinkers. And that to me is a good thing, however difficult. We’ve started at the wrong point and gone somewhere else instead. We’ve acknowledged that writing and thinking are also about failure, and that failure is always embedded in the act of writing and in our reasons for writing. So that missing the point is also the point. Derrida insisted: “We must invent a name for those ‘critical’ inventions which belong to literature while deforming its limits.” But how can you give something that resists and deforms, a name? Wouldn’t the name also be deformed? Isn't this why the aforementioned writers get hyphenated descriptors like ficto-criticism? Do we need a proper name to be able to read something carefully? I don’t think so. I don’t need it as a reader. I’ve always taken a work on its own terms. But for most people, if you don’t have an address, people don’t know how to find you. A lot of time, they won’t even know how to look. And in some cases, they’ll think you’re not even worth finding. You are not on the map because you have to literally make the map in order to exist. In her essay, “The Gender of Sound” Carson asks, “Why is female sound bad to hear?” I think for the same reason something uncategorizable (pedagogically, creatively, racially, and sexually)—Other—is hard to read. *For an audio recording of Florida , read by Masha Tupitsyn click here . continent. : We're also curious to hear know how you see the significance of 'performance' (and why the label sticks to the shoes of these authors like toilet paper) in describing this kind of writing work? MASHA I think I responded to the parenthetical portion of this question in my previous answer. As far as how performance relates to Love Dog , in Acker’s Don Quixote , which is another big presence in the book, she writes, “there is no other reality than anthropomorphism.” In Don Quixote , the dog is human and the human is dog. Which brings us to the title of Love Dog and the totemic function of the dog in the book: giving human things animal characteristics and animal things human characteristics. Rather than investing all our human love ideals into dogs, which we do constantly as a culture of dog lovers, I wanted to put the dog into love. It is the difference between the consumption of love as a patriarchal institution or status position and the essence of a type of radical and liberatory relation that would benefit humans in their bonds with other humans. So the dog in Love Dog is not simply the book’s cover or performative affect, so to speak. Love has always needed the dog, which is why the dog is the very embodiment of belief in love . Recall Argos The Great Dog and Odysseus. Argos is the only one who remembers and recognizes the ragged and old Odysseus even after his 20-year absence. So love is the high ideal and the dog, both common and dependable, is the bridge between the sacred and the profane. The dog is the house of love. And because Love Dog is a digital project, it seemed impossible to think about the post-human, technology, the virtual, or difference (which Badiou says is essential to love in In Praise of Love ) without thinking about animal-being and being-animal. Instead of simply “performing” these ideas and characteristics as literary affects, I’m interested in being-becoming. Which means the book’s tropes, leitmotifs, series, and even its titles are in service of that truth procedure. In other words, I actually want to live this way, not just write this way. And, more importantly, I want to live this way not just think this way. So Love Dog became both my totem animal and my autobiographical animal. This made the book organic, anthropomorphic—beyond literary. See the trailer to Masha Tupitsyn's new book available now from Penny Ante Editions. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:iPod, YouTube, Wii Play: Theological Engagements with Entertainment by D. Brent Laytham, and: If These Walls Could Talk: Community Muralism and the Beauty of Justice by Maureen H. O’ConnellJoel WardeniPod, YouTube, Wii Play: Theological Engagements with Entertainment By D. Brent Laytham EUGENE, OR: CASCADE, 2012. 209 PP. $24.00If These Walls Could Talk: Community Muralism and the Beauty of Justice By Maureen H. O’Connell COLLEGEVILLE, MN: LITURGICAL PRESS, 2012. (...) 319 PP. $39.95Although, in the Republic, Plato discussed the usefulness (and danger!) of having artists practicing within the civic community, from his time forward, social philosophers, moral theologians, and religious ethicists have tended to avoid [End Page 199] probing too much into the relationship between the aesthetic and the ethical. To be sure, as organized academic philosophy developed, especially after the Enlightenment, the separate intellectual bailiwick of aesthetics left ethical considerations of what is morally (as opposed to artistically) good to the domain of ethics. The result of such segmentation was to keep both interests’ discussions of “the good” significantly apart.The two books reviewed here represent new (and, hopefully, now less uncommon) attempts to find the correspondence between beauty and goodness. Because both authors think and write specifically from the perspective of Christian ethics, these attempts make use of the resources of the Hebrew and Christian scriptures, the sometimes contrasting traditions of Protestant and Catholic spiritual reflection, and the authors’ own personal engagement with sources of beauty or entertainment. Both authors argue in some way that the pursuit of the beautiful (or the enjoyable) bears a relation to goodness. They both also argue that our use of technology and our making of art ought to attend to the building of justice.In his book iPod, YouTube, Wii Play: Theological Engagements with Entertainment, D. Brent Laytham investigates varied forms of contemporary entertainment activities and technologies (e.g., the media-sharing website YouTube, video games, fashion magazines, sporting events) and unearths the ways in which these contemporary and technologically facilitated pastimes both support and endanger human social interaction. In particular, he pays close attention to how entertainment(s) help or hinder the drive of a community of believers into lives of discipleship.The thirteen chapters of the book are each organized around a particular technological theme and make good use of sociological reflection on media, as well as some Christian reflection on games, the communal pursuit of fun, and festivity. Laytham, a Methodist, takes a sympathetic stance toward modes of entertainment in how they function, at times, as legitimate means of communication between persons. But he also warns that they can, if used without an understanding of their effects on the inner lives of the persons involved, be damaging. The author often demonstrates remarkable psychological insight, such as when he discusses the pressures put upon teenagers’ sense of physical self-image when based on the values of fashion magazines (140), the spiritual dangers of any kind of escapism (118), and the complicated motivations underlying petty gambling (107). And though reflection questions that are scattered throughout the body of the text are sometimes distracting from the arguments he puts forward (and so maybe would be better placed at the end of each chapter), he clearly wants his critique of media and entertainment to lead to a fuller, better enjoyment of them, a proper enjoyment possible when they are understood in relation to what should be their ultimate purpose: the drawing together of communities of persons. [End Page 200]Moving from a consideration of entertainment to art, properly speaking, Maureen O’Connell’s If These Walls Could Talk: Community Muralism and the Beauty of Justice is a number of things. It is a narrative description of what has happened in one urban environment in the United States, where socioeconomic decline, street violence, and crushing poverty produce needful places for transformative grace; a theological-aesthetic analysis of a genre of fine art, peculiar for the materials used and the venues in which it is displayed; a moral-ethical project inspired by familial ties to a particular city, as well as the fruit of continued interest (and, one might even say, pastoral zeal) on the author’s... (shrink)

Narrative analysis, creative writing, and interactive reflective writing have been identified as valuable for professional identity formation and resilience among medical and premedical students alike. This study proposes that medical student blogs are novel pedagogical tools for fostering peer-to-peer learning in academic medicine and are currently underutilized as a near-peer resource for premedical students to learn about the medical profession. To evaluate the pedagogical utility of medical student blogs for introducing core themes in the medical humanities, the authors conducted qualitative (...) analysis of one hundred seventy-six reflective essays by baccalaureate premedical students written in response to medical student-authored narrative blog posts. Using an iterative thematic approach, the authors identified common patterns in the reflective essays, distilled major themes, coded the essays, and conducted narrative analysis through close reading. Qualitative analysis identified three core themes and one overarching theme. The premedical students’ essays demonstrated significant self-reflection in response to near-peer works, discussed their perceptions of medical professionalism, and expressed concerns about their future progress through the medical education system. The essays consistently attributed the impact of the medical student narratives to the authors’ status as near-peers. The authors conclude that reading and engaging in reflective writing about near-peer blog posts encourages premedical students to develop an understanding of core concepts in the medical humanities and promotes their reflection on the profession of medicine. Thus, incorporating online blogs written by medical trainees as narrative works in medical humanities classrooms is a novel pedagogical method for fostering peer-to-peer learning in academic medicine. (shrink)

Previous research has shown that the perception that one’s partner is investing effort in a joint action can generate a sense of commitment, leading participants to persist longer despite increasing boredom. The current research extends this finding to human-robot interaction. We implemented a 2-player version of the classic snake game which became increasingly boring over the course of each round, and operationalized commitment in terms of how long participants persisted before pressing a ‘finish’ button to conclude each round. Participants (...) were informed that they would be linked via internet with their partner, a humanoid robot. Our results reveal that participants persisted longer when they perceived what they believed to be cues of their robot partner’s effortful contribution to the joint action. This provides evidence that the perception of a robot partner’s effort can elicit a sense of commitment to human-robot interaction. (shrink)

When people rely on the web to gather and distribute information, they can build a sense of trust in the websites with which they interact. Understanding the correlates of trust in most websites (general website trust) and trust in websites that one frequently visits (familiar website trust) is crucial for constructing better models of risk perception and online behavior. We conducted an online survey of active Internet users and examined the associations between the two types of web (...) trust and several independent factors: information technology competence, adverse online events, and general dispositions to be trusting or cautious of others. Using a series of nested ordered logistic regression models, we find positive associations between general trust, general caution, and the two types of web trust. The positive effect of information technology competence erases the effect of general caution for general website trust but not for familiar website trust, providing evidence that general trust and self-reported competence are stronger associates of general website trust than broad attitudes about prudence. Finally, the experience of an adverse online event has a strong, negative association with general website trust, but not with familiar website trust. We discuss several implications for online behavior and suggest website policies that can help users make informed decisions about interacting with potentially risky websites. (shrink)

Nick Dyer-Witheford and Greig de Peuter. Games of Empire: Global Capitalism and Video Games . Minneapolis: University of Minnesota Press. 2009. 320pp. pbk. $19.95 ISBN-13: 978-0816666119. In Games of Empire , Nick Dyer-Witheford and Greig de Peuter expand an earlier study of “the video game industry as an aspect of an emerging postindustrial, post-Fordist capitalism” (xxix) to argue that videogames are “exemplary media of Empire” (xxix). Their notion of “Empire” is based on Michael Hardt and Antonio Negri’s (...) Empire (2000), which characterizes the contemporary world order as a decentralized system of global economic, political, and economic power that transcends national boundaries. In the view of the authors, Hardt and Negri’s account sets itself apart from other analyses of international politics by offering a “comprehensive account of conditions of work, forms of subjectivity, and types of struggle in contemporary capital” (xx). Dyer-Witheford and de Peuter thus divide Games of Empire into three sections to reflect each of these aspects of Empire ’s argument, seeing their work as the first account to explore “virtual games within a system of global ownership, privatized property, coercive class relations, military operations, and radical struggle” (xxix). Books in the University of Minnesota Press’s Electronic Mediations series “explore the humanistic and social implications” of new technologies that spark “significant changes in society and culture, politics and economics, thinking and being.” That’s an abstract goal, and one that Games of Empire surely meets. Yet at times it can be difficult to understand exactly which specific intervention this book seeks to make. It is unclear whether the authors of Games of Empire see their work as an indictment of game scholars’ lack of attention to political economy, or whether it’s a work of political theory hoping to show that other disciplines should be paying more attention to the production and play of videogames. Because Dyer-Witheford and de Peuter don’t directly criticize previous political critiques of gaming—such as Edward Castronova’s exploration of the “porous membrane” allowing two-way traffic between virtual economies and those of the real world, or Alexander Galloway’s unraveling of control protocols in algorithmic design, or Ian Bogost’s idea of political procedural rhetoric—they sometimes leave the reader wondering how to situate the book in the broader discourse on games and politics, either separately or together. Thus, Games of Empire might best be seen as an introduction to the writings of Hardt and Negri for game players and designers, rather than as a text for communicating the basic concepts of game studies and design. It is neither a truly new theory of games or digital media, nor is it a new theory of Empire—and that’s not a criticism. It is instead an introduction to Empire through popular culture, as Zizek does for Lacan in Looking Awry . If one were teaching an introductory course on contemporary political theory, this book would offer obvious inroads into Negri and Hardt’s thinking for a number of reasons. Despite its radical ideological bent, the book isn’t off-putting to readers who don’t necessarily share the authors’ politics. It synthesizes complex ideas from difficult thinkers like Marx, Foucault, and Guattari while integrating modifications and critiques of Empire theory itself. And although the book is dense, sometimes feeling longer than it actually is (just over 200 pages), Games of Empire maintains a breezy readability by tightly coupling core concepts of Empire theory to well-known games and widely-publicized conflicts within the videogame industry. The first section of the book focuses on immaterial labor, the accumulation of “cognitive capital,” and the global process of manufacturing videogame consoles. It is significant for the authors that videogames began as hacker experiments within research institutes of the military industrial complex, programmed on stolen time, before becoming a commodity (7). This is the first in a string of examples showing how creative dissidence and conflict fuel the continuing evolution of Empire’s control. Dyer-Witheford and de Peuter explain that the videogame industry now constitutes an international production apparatus dominating both creative work in developed nations and manual labor in developing ones. Because game industries in the United States, Western Europe, and Japan are predominately non-unionized, they serve as an exemplary system for analyzing how global capital exploits contemporary intellectual work—including an excellent analysis of the “EA Spouse” scandal of 2004. On the side of the consumer, the authors argue that rabid “console races” that drive the industry forward from a technological perspective serve to structure gamer identity and combat piracy; later in the book, these machines offer a window into the worlds of Congolese coltan mining and electronic waste (222-224). In the second section, Dyer-Witheford and de Peuter move on to deep case studies of individual games to show how the most popular game genres embed imperial assumptions about conflict, exchange, and urban life. First they argue that military training games such as Full Spectrum Warrior —co-developed by university researchers, industry developers, and military contractors—contribute to the “banalization” of war, a subjective state wherein perpetual preparedness for war is accepted as a part of everyday life (100). Chapter five covers Michel Foucalt’s notion of “biopower,” the extension of capital accumulation to life itself. The authors argue that virtual worlds such as World of Warcraft , which take market capitalism as a given and force players into essentialist roles and racial antagonisms, are organized to maximize control and profit (often on the backs of virtual currency “farmers” in China and southeast Asia). Finally, they criticize the naïve assumption that humor and cynicism in the popular sandbox game franchise Grand Theft Auto offer any remedy to its racialized, violent content. Instead, such games indulge and normalize the fantasy of getting rich at any cost by keeping the realities of contemporary urban life and corporate greed at a safe distance (181). Part three of Games of Empire focuses on “games of multitude,” a preliminary attempt to escape from Empire’s order through alternate modes of videogame development and play. Multitude is defined dialectically, as “the engine and the enemy” of Empire (187). This is the most important, yet also most contradictory section of the text. It lays bare the process by which Empire and its media feed our creative and intellectual development to overabundance. At a certain point, the force of the multitude reaches such a level that it threatens the stability of Empire; however, instead of following Hardt and Negri’s utopian assumptions about the radical potential of the multitude, the authors here follow Paolo Virno’s warning that Empire is “very good at adopting apparently iconoclastic practices and utopian ideas as management techniques and revenue sources” (188). At every turn, advances in player configurative power provide new sources of revenue and advertising angles for the game industry. A disappointing shortcoming of these latter pages is the lack of truly new examples for radical resistance within game development. Instead, it turns out that the radical left seems satisfied with the same mild successes that the left-of-center also has celebrated: artist’s mods, virtual world activism, and critical counterplay within strategy- and wargames. Having been frequently cited by many authors before Dyer-Witheford and de Peuter, this idea of subversion or resistance through play feels tired and unpersuasive. It is unclear if the authors believe it is possible to embrace game design itself as a way of pursuing what they call “exodus” from Empire, or if an all-too-fashionable subversion is the only workable strategy. While the book does explore how the earliest independent game studios were eventually subverted and incorporated into the game industry proper, it doesn’t affirm or critique more recent non-commercial, DIY game development projects such as Klik-of-the-Month Club and Ludum Dare. Dyer-Witheford and de Peuter’s analysis of so-called “tactical games,” including the editorial works of La Molleindustria, leads to an even more ambivalent take on the contemporary design ecology. At the conclusion of his essay on “Countergaming,” Galloway asserts that avant-garde videogame artists “should create new grammars of action […] should create alternative algorithms” (Galloway 125). Yet Dyer-Witheford and de Peuter characterize works such as McDonald’s Video Game and Oiligarchy as didactic, suggesting that the role of radical political games might be “limited to that of agitprop” (199). They are concerned that games like those of Molleindustria rigidly structure the activities of their players in order to prove a point. Yet, despite their repeated assertion that the equation of greater interactivity with democratic digital liberation is flawed, the authors see potential in policy simulators that “allow players to edit or tweak” (202) their parameters in response to what Bogost has called simulation fever , the simultaneous drive toward and fear of simulation (Bogost 108). The possibility of practicing radical design is bucked, and early attempts at critical game development like those of Molleindustria’s seem to be relegated to the status of exceptions that prove the rule for player-centered exodus. Overall, there is one glaring question Games of Empire leaves unanswered: how exactly are videogames the “exemplary media” of Empire, and what are the implications of videogames being exemplary in this way? Presumably Dyer-Witheford and de Peuter want to avoid essentialist claims, so they’re not keen on following Wark’s desire to mark “the game’s difference from [legacy media] as something that speaks to changes in the overall structure of social and technical relations” (Wark 225). It is also unclear how the production apparatuses, labor standards, and subjectivizing processes involved in the creation and use of other any other kind of digital media would fail to justify their equally exemplary status. Even the book’s concluding paragraph holds that virtual games “are one molecular component of this undecidable collective mutation” (Dyer-Witheford and de Peuter 229) of intellect, labor, and daily life. In the end, the authors seem to back away from their focus on games as exemplary to bring their work in line with broader theories of the gradual digitization of the everyday, in line with Galloway and Manovich. Despite these flaws, there is an undeniable elegance to Games of Empire ’s contrasting of gaming’s overwhelmingly imperial content with its multitudinous form . And its ambivalence about the potential of independent or political game development might be seen by scholars of Empire as a strength rather than a weakness, an acceptance that every new expression of multitude offers another opportunity for the expansion of Empire. The book also functions as a strong, all-encompassing call to greater responsibility on the part of mainstream game developers to be more conscious of the ideologies they embed in their work, of the way their intellectual property is used and manipulated by those who employ them, and of the material impact their industry has on the world at large. For players it offers a toolbox of concepts for radical examinations of their own play activities, asking them to be more cognizant of the consequences of their consumption of digital media and the ways in which their virtual lives interface with the real. REFERENCES Bogost, Ian. Unit Operations: An Approach to Videogame Criticism . Cambridge, Mass.: MIT Press, 2006. Castranova, Edward. Synthetic Worlds: The Business and Culture of Online Games . Chicago, Illinois: University of Chicago Press, 2006. Dyer-Witheford, Nick and de Peuter, Greig. Games of Empire: Global Capitalism and Video Games . Minneapolis, Minnesota: University of Minnesota Press, 2009. Galloway, Alexander. Gaming: Essays on Algorithmic Culture . Minneapolis, Minnesota: University of Minnesota Press, 2006). Wark, McKenzie. Gamer Theory . Cambridge, Mass.: Harvard University Press, 2007. (shrink)

The blog is an increasingly familiar newcomer to the panoply of academic genres, offering researchers the opportunity to disseminate their work to new and wider audiences of experts and interested lay people. This digital medium, however, also brings challenges to writers in the form of a relatively unpredictable readership and the potential for immediate, public and potentially hostile criticism. To understand how academics in the social sciences respond to this novel rhetorical situation, we explore how they discoursally recontextualize in blogs (...) the scientific information they have recently published in journal articles. Based on two corpora of 30 blog posts and 30 journal articles with the same authors and topics, we examine the ways researchers carefully reconstruct a different writer persona and relationship with their readers using stance and engagement model. In addition to supporting the view that the academic blog is a hybrid genre situated between academic and journalistic writing, we show how writers’ rhetorical choices help define different rhetorical contexts. (shrink)

Although it is not yet officially recognized as a clinical entity which is diagnosable, Internet Gaming Disorder (IGD) has been included in section III for further study in the DSM-5 by the American Psychiatric Association (APA, 2013). This is important because there is increasing evidence that people of all ages, in particular teens and young adults, are facing very real and sometimes very severe consequences in daily life resulting from an addictive use of online games. This article summarizes general (...) aspects of IGD including diagnostic criteria and arguments for the classification as an addictive disorder including evidence from neurobiological studies. Based on previous theoretical considerations and empirical findings, this paper examines the use of one recently proposed model, the Interaction of Person-Affect-Cognition-Execution (I-PACE) model, for inspiring future research and for developing new treatment protocols for IGD. The I-PACE model is a theoretical framework that explains symptoms of Internet addiction by looking at interactions between predisposing factors, moderators, and mediators in combination with reduced executive functioning and diminished decision making. Finally, the paper discusses how current treatment protocols focusing on Cognitive-Behavioral Therapy for Internet addiction (CBT-IA) fit with the processes hypothesized in the I-PACE model. (shrink)

A few years ago, I found myself sitting next to a renowned Language poet at a poetry reading in a crowded downtown Manhattan venue. A longtime fan, I introduced myself and shared with him that I had just taught some of his infamously challenging poems in a poetry class at Tel Aviv University and that students were very responsive. When I mentioned that it was hard to get hold of some of his books but that we had found the poems (...) online, he told me how glad he was that, thanks to the internet, his work is accessible in Tel Aviv and everywhere else. Unable to resist the temptation to play language games with a Language poet, I responded by saying that his work was actually far from accessible. This pun/paradox seems to me to apply as well to the online archive UbuWeb—a “pirate library consisting of hundreds of thousands of freely downloadable avant-garde artifacts.” Founded in 1996, UbuWeb provides access to cultural artifacts in the form of video, text, and sound, works that are difficult to access not just because they are obscure, forgotten, unknown, rare, out of print, or otherwise hard to find, but because, as avant-garde, part of their operation involves, let us say, problematizing accessibility.UbuWeb's story is the subject of Duchamp Is My Lawyer, an accessible memoir/manifesto, deftly written by its founder and near-sole operator, the luminary conceptual artist Kenneth Goldsmith (“UbuWeb is mostly just me”). Its title, which Goldsmith takes from Virgil Abloh, raises at least two questions: Why does Ubu need a metaphorical lawyer, and why would Duchamp fill the bill? The first question has to do with the precarious legality of the website, which, as Goldsmith tells us in detail, almost never asks for permission from copyright holders, uploading materials first and dealing with consequences later. Much of the book deals with the maneuvering involved with “hiding in plain sight”—interpreting “fair use” broadly, and standing up to scary-sounding cease-and-desist letters that sometimes come from parties who are not even the actual rights holders of the material. Instead of playing the game of compliance, Ubu partakes in an anti-capitalist, free-for-all gift economy, never paying or asking for payment for the priceless treasures it houses. The democratic vision seeps into the selection and organization of the material on the website, which throughout the book Goldsmith describes as boundary-blurring, jumbled, unstable, biased, subjective, incomplete, fluid, idiosyncratic, and nonhierarchical.But again, why Duchamp? Ushering in an entire avant-garde tradition that Ubu celebrates, archives, and manifests in its own rebellious, outlaw spirit of operation, Duchamp, a hero in the book and, presumably, for its author, functions as both precedent and justification. After all, Ubu duplicates what Duchamp did in his most famous artistic intervention: the repurposing of found objects. In that sense, as Goldsmith writes, “UbuWeb can be considered one enormous appropriative artwork, a giant collage, which appropriates not a single object but rather the entire history of the avant-garde.” While the word entire is perhaps a stretch (and inconsistent with Goldsmith's many descriptions of the site's collection as inevitably partial and subjective), UbuWeb is best appreciated, I think, as a giant work of art made of works of art (some of which are themselves, in the tradition of “found art” and collage, made of works of art), a creative noncreation and akin to Goldsmith's own notion of “uncreative writing.” The radical accessibility it offers, from which so many users around the world continue to benefit, has thankfully not curtailed the equally radical inaccessibility of the material within. (shrink)

The aim of this article is to explore website interactivity as discourse. Whereas the use of writing, images and layout in web design has been explored extensively, interactivity, that is, interactions between a web user and the website system, remains an underdeveloped area of discourse studies. To analyze interactivity as discourse, the article uses data from a research project on offline and online shopping for electronics, viewing the offline-online relationship as recontextualization in the sense that webshop interactivity represents and transforms (...) in-store shopping actions. Using a methodology that combines analytical framework for interactive sites and approach to discourse analysis, the article maps cursor resources and interactive webshop features as actions and compares them to the actions that constitute in-store shopping. On this basis, the article offers reflections on how interactivity plays a defining role in the digital resemiotization of social practices. (shrink)

This paper critically examines the rising popularity of blogging in the US as a new kind of public space that has the potential to extend and deepen the way in which we interact and engage each other in political discourse. To proponents of deliberative democracy these moves are promising since they seem to point to the development of vibrant online public forums where political issues can be freely and openly debated. In this paper I evaluate this promise and ask whether (...) or not blogging is consistent with the main theoretical tenets of deliberative democracy. My argument is that, despite some shortcomings, there is significant potential for the blogosphere to develop into a meaningful deliberative community. (shrink)

Internet services, such as review sites, FAQ sites, online auction sites, online flea markets, and social networking services, are essential to our daily lives. Each Internet service aims to promote information exchange among people who share common interests, activities, or goods. Internet service providers aim to have users of their services actively communicate through their services. Without active interaction, the service falls into disuse. In this study, we consider that an Internet service has a network externality as its main feature, (...) and we model user behavior in the Internet service with network externality as a dynamic game. In particular, we model the diffusion process of users of an ISNE as an infinite-horizon extensive-form game of complete information in which: each user can choose whether or not to use the ISNE in her/his turn and the network effect of the ISNE depends on the history of each player’s actions. We then apply Markov perfect equilibrium to analyze how to increase the number of active users. We derive the necessary and sufficient condition under which the state in which every player is an active user is the unique Markov perfect equilibrium outcome. Moreover, we propose an incentive mechanism that enables the number of active users to increase steadily. (shrink)

The rise of Internet-mediated communication poses possibilities and challenges for organisation studies, also in the area of corporate social responsibility and business and society interactions. Although social media are attracting more and more attention in this domain, websites also remain an important channel for CSR debate. In this paper, we present an explorative study of activist groups’ online presence via their websites and propose a combination of methods to study both the structural positioning of websites and the (...) meanings in these websites. We focus on the websites of SOMO, the Centre for Research on Multinational Corporations, and of one of its campaigns, makeITfair, concerned with labour conditions in the IT industry worldwide. This allows us to show how this combination of methods can further our understanding of the way activist networks’ online presence can provide insights into the tactics these networks apply to achieve institutional change on CSR issues. Meanwhile, we identify some notable differences between styles and word use in the two organisations’ websites. We conclude with a set of suggestions for future research. (shrink)

Digital media presents an array of interesting challenges adapting new modes of collaborative, online communication to traditional writing and literary practices at the practical and theoretical levels. For centuries, popular concepts of the modern author, regardless of genre, have emphasized writing as a solo exercise in human communication, while the act of reading remains associated with solitude and individual privacy. "The Community and the Algorithm: A Digital Interactive Poetics" explores important cultural changes in these relationships thanks to the rapid development (...) of digital internet technologies allowing near-instantaneous, synchronous, multimedia interaction across the globe. The radical shift in how we author and consume media as an online, electronic transmission effectively resituates the writing process across the liberal arts as less a solitary act of individual enquiry and reflection, and more an ongoing, collaborative process of creative interaction within a multimedia environment or network. Contributions in this anthology demonstrate a robust history and equally diverse contemporary approach to multimedia interaction for literary and artistic ends. Central to all media formats, computation is explored throughout this volume to critically examine how algorithmic procedures in writing help bring forward many key concepts to building creative communities in a digital environment. Each chapter in this book accordingly introduces readers to various new collaborative experiments using a broad range of different digital media formats, including VR, Natural Language Generation (NLG), and metagaming tools. This book will appeal broadly to students, instructors, and independent artists working in the digital arts, while its emphasis on social interactivity will interest theorists and teachers working in theatre, social media, and cyberpsychology. Its secondary focus on computation and media programming as a site of artistic experimentation will also interest programmers and web designers at various professional levels. (shrink)

Throughout history, education has always been essential for humanity's justice and fundamental for the creation of a free and satisfying society with the dissemination of knowledge. Hence, in addition to the life occurrences educating people, traditional higher education methods have played an important role for a long period. However, the age of technology has changed the educational system along with the people's lifestyles to meet the continuously changing conditions. During the past twenty years, the Information and Communication Technologies (ICTs) led (...) to the emergence of e-learning non-traditional educational methods bringing about an innovative dimension of virtual learning. With its beneficial features provided by the Internet and various technologies, this method passes the control of time and location from the tutors to the students during the learning process. Despite the entrance of online education into the students' life many years ago, the Covid-19 outbreak initiated in 2020 turned this method into the only possible way of education for almost two years. Afterward, plenty of studies investigated its effects on students' social and academic life, mostly considering its negative impacts on their mental health and motivation due to interaction issues. They also pointed out the specific problems of tactile learner students in the lack of face-to-face design courses. As an innovative solution able to be adopted, game technologies, increasing immersion of the learner in a real-world skill, and triggering motivation are one of the best methods integrated into educational systems. Known as serious games, these games, adopted by almost any domain, convey educational content along with entertainment, increasing interaction. They train or enhance a certain skill or topic to the player by immersing them. While serious games are more expanded nowadays, they are still not being played by the mass public due to people's immersiveness expectations of a game. Hence, the Head-Mounted Displays (HMDs), with their emergence, increased the players' engagement and immersion with all types of virtual environments in digital games. This technology, however, evolved serious games area most, among others, by enabling the opportunity to provide a riskless and low-cost learning environment for real-world skills. In the process of suggesting serious games as a replacement for the traditional educational methods, the most important factor is being aware of their effectiveness for education. Generally, digital games, one of the world's biggest and fastest-growing industries, rely heavily on the virtual landscape, a major part of its development process. Its design demands remarkable effort, and it directly affects the whole game's characteristics. Hence, serious games, as a type of digital game, carry the same attributes. With the appearance of virtual reality technology, gaming started to gain more immersiveness and engagement with artificial elements and environments. Although virtual landscapes were always being developed since the emergence of digital games, the studies taking virtual landscapes into account are mostly using them as a tool for enhancing real spaces, not as a domain for the sake of its development. While other design domains are applying various design methodologies, it is challenging to find a standard design methodology for the design and production of virtual landscapes in the gaming industry, leading to inconsistent and low-quality results. Hence, it comes to the question of what is the virtual landscapes' role in serious games and their effect on the data comprehension rate. Since the literature lacks regarding the gradual change of the virtual landscape in serious games and the content they transmit, this thesis aims to figure out the gradual chronological evolution of the virtual landscapes in serious games. It also aims to seek how this change and the virtual reality technology invention have affected the contents transmitted by digital games and its influence on the player interaction and learning rate. To do so, in the process of this thesis, we developed, tested, and evaluated various serious games, both text-based and with 360° photos. The steps taken revealed the reluctance of the players to follow the providing educational content and their inadequacy of interaction. Hence, the thesis seeks the reasons ending to this result and the ways of increasing this learning rate. Afterward, the thesis uses a currently available but not massively used digital game classification methodology. This methodology, which is based on the principles of architecture, landscape architecture, and urban planning, classifies the games based on their constituting virtual landscapes. Hence, the thesis considers all Steam games, one of the biggest video game digital distribution services, filtered with the 'education' tag, ending in 2531 digital games. Afterward, adding the 'game' tag the result reduced to 1102 games. Finally, with some manual filterings ignoring the irrelevant content, the final number decreased to 702. Sorting chronologically, we made an Excel database including the games' introductory information, the content they transmit, their release date, if they support HMD or not, and whether they are simulation games or not. Due to Steam's dating spectrum, our database includes games dating back from 1992 to 2020. Afterward, we classified all of these games using the virtual landscape classification methodology and generated their related codes based on their player scale, story, dimension, space shape, and interaction level. Investigating the results, they revealed some growth patterns relating to the content educated in the game, the VR technology, and the virtual landscape evolution. Adding the user reviews of Steam, we reverse engineered five of the best serious games on the database due to the digital game design methodology. This methodology divides the games' virtual environment into five layers, namely, player activity map (PAM), story layer, natural environment layer, virtual environment layer, and media layer. Reverse engineering the five best digital games ever, based on the IGN database, enabled us to compare the outcomes. Due to released data, we understand how the games' assets are distributed within the various layers of the virtual environment in the most successful games. Finally, the thesis aims to provide a framework based on these results for developing serious games to increase player interaction and enhance the learning rate. However, these results can be expanded to any virtual landscape other than only serious games' for their interaction enhancement. Currently, the landscape architecture domain only adopts the virtual landscape area as a tool for enhancing design in the real world. However, in the near future, landscape architects will perform in the virtual landscape area as a domain to be enhanced. Hence, that day, the results of this study will play an important role and will be a roadmap for generating highly interactive virtual landscapes. (shrink)

Over one million tokens of comments were collected for the study using data mining methods. The videos under which the comments were dug out were not chosen arbitrarily but according to the current official national YouTube trends in Poland and the Czechia. The comments were collected under the most popular videos in ten categories: cars, comedy, fashion & lifestyle, gaming, music, non-political interview, politics, report, sports, and video blog. The data collection was carried in 2021–2022 and 2023 from under 40 (...) videos per language and period, 160 videos in total. The corpus data should reveal more about the internet register through the part of speech (POS) frequencies, and the syntactical statistics. In addition, the comments are stylistically clustered in R to make dependencies in linguistic usage visible and better understandable. The study aims to expand the term register, using Polish and Czech, to include language on the internet and distinguish between authentic and non-authentic internet registers in comparison to other registers. An additional sociolinguistic aspect of the analysis is the influence of the Russian war against Ukraine on the linguistic behavior of YouTube users. (shrink)

In the face of ubiquitous information communication technology, the presence of blogs, personal websites, and public message boards give the illusion of uncensored criticism and discussion of the ethical implications of business activities. However, little attention has been paid to the limitations on free speech posed by the control of access to the Internet by private entities, enabling them to censor content that is deemed critical of corporate or public policy. The premise of this research is that transparency alone (...) will not achieve the desired results if ICT is used in a one way system, controlled by the provider of information. Stakeholders must have an avenue using the same technology to respond to and interact with the information. We propose a model that imposes on corporations a public trust, requiring these gatekeepers of communication technology to preserve individual rights to criticism and review. (shrink)

Choreography and Ceremony: The Artful Side of Action "Actions" are normally thought of as taken by individuals. But to understand their quality, it is not enough to classify them from the perspective of individual psychology (rational vs. emotional, technical vs. artistic, etc.). We need to grasp their relation to those forms of collective life which have a historical existence independent of specific individual action (institutions, the conventions of social gathering, the organizing principles of games, architecture, music, ritual, etc.). This (...) paper focuses on what characteristics such forms of collective life share, not what seems to separate them (eg. into sacred vs secular, technology vs creative art). The main features emphasized are their choreography, that is their enactment within commonly understood patterns of a spatial and temporal kind, as well as rules of interactive movement; and their ceremonial character, something which can be found in simple situations such as a conversation or a meal, though much more intensely in major religious ritual. A particularly resonant image for these enactments of social life is the dance. Because there is a ceremonial aspect to all social interaction, the paper argues that individual action, necessarily oriented to the social context, always has an "artful" side (however habitual or technical). The paper draws on the writings of Wittgenstein on action, and those of Collingwood on language and art, to shape the argument. Illustrations are provided of the "artful" employment of language (especially by actors on the stage), the "artful" side of material culture, and from the author's own ethnographic studies, the significance of dance among Sudanese refugees in Ethiopia. (shrink)

In Philosophical Questions: Readings and Interactive Guides, James Fieser and Norman Lillegard make classic and contemporary philosophical writings genuinely accessible to students by incorporating numerous pedagogical aids throughout the book. Presenting the readings in manageable segments, they provide commentaries that elucidate difficult passages, explain archaic or technical terminology, and expand upon allusions to unfamiliar literature and arguments. In addition, opening "First Reactions" discussion questions, study questions, logic boxes, and chapter summaries require students to delve more deeply into important issues and (...) to reconstruct arguments in their own words. Some study questions test for minimal comprehension, while others are designed to provoke analysis and independent philosophical reflection. This extensive pedagogical support enables students to more easily comprehend and engage with challenging material by establishing an interactive dialogue with the philosophers. This topically organized anthology and textbook includes numerous excerpts from contemporary philosophers, as well as from Western classics and major Eastern texts, encouraging students to explore connections between works from the Western and Eastern traditions and from different time periods. Topics covered include the philosophy of religion; human nature and the self; souls, minds, bodies, and machines; epistemology; ethics; and political philosophy. A glossary, portraits of philosophers, title pages of famous works, and thirteen specially commissioned cartoons are also included. Philosophical Questions: Readings and Interactive Guides is a rich and flexible volume ideal for introduction to philosophy courses. An Instructor's Manual with Test Questions will be available to adopters of the book. In addition, a Companion Website accompanies the book. (shrink)

Young children are prolific question-askers. The growing ubiquity of voice interfaces (e.g., Apple’s Siri, Amazon’s Alexa), as well as the availability of voice input in search fields, now make it possible for children to ask questions via Internet search when they are able to speak clearly, but before they have learned to read and write, typically between 3 and 6 years of age. The prevalence of voice search makes it important to understand children’s changing conceptions of digital devices as a (...) source of information and the role of technology-mediated question-asking in development. While limited research has focused on young children's use of voice interfaces, reviewing two related bodies of literature sheds light on how this use might unfold. This paper brings together studies of how children look for information, and of how they perceive and understand the informational and social roles of technology, drawing on human-computer interaction research. We conclude by highlighting lines of questioning for future work on younger children’s interaction through voice search. (shrink)

As the internet becomes increasingly important in establishing identities and social networks, it becomes a mechanism for social control. We apply the components of Foucault’s means of corrective training—hierarchical observation, normalizing judgment, and examination—to the comments section of a popular couponing blog to analyze tactics participants use to discipline each other’s couponing behaviors. We find Foucault’s framework applicable with some modification. Participants use discursive techniques to establish hierarchical surveillance however hierarchies are not upheld throughout the interactions, making lateral surveillance more (...) applicable. Participants engage in normalizing judgment by critiquing and correcting “deviant” behavior and positively reinforcing “good” behavior. The blog itself mirrors the examination; as the blog master describes activities, participants try them, and return to the site to report their results, which can then be compared to others. These findings illustrate online interactions as a mechanism of informal social surveillance and control. (shrink)

This paper investigates the drivers and inhibitors of Internet privacy concern. Applying the Multidimensional Development Theory to the online environment, we identify the important factors under four dimensions—i.e., environmental, individual, information management, and interaction management. We tested our model using data from an online survey of 2417 individuals in Hong Kong. The results show that the factors under all four dimensions are significant in the formation of Internet privacy concern. Specifically, familiarity with government legislation, Internet knowledge, benefit of information disclosure, (...) privacy protection, and social presence reduce Internet privacy concern, while individuals’ previous privacy invasion experience, risk avoidance personality, and sensitivity of information requested by websites increase Internet privacy concern. We conducted an analysis of unobserved heterogeneity to confirm the significance of these factors. A follow-up moderation analysis shows that the individual factors moderate the effects of the information management factor and the interaction management factors. The findings provide an integrated understanding of the formation of Internet privacy concern. (shrink)

In the verse of Sūrah al-An'ām 6/38, "Nothing has we omitted from the Book" as it is stated in the 59th verse of the same sūrah, “Anything fresh or dry (green or withered) but is (inscribed) in a record clear (to those who can read)." has been commanded. In the verses of the an-Naḥl 16/44 and 89, it is stated that it was revealed to the Prophet to explain to people everything that was revealed to them. In this meaning, there (...) are other verses in the Qur'ān. Based on these and similar verses, according to some, the Qur'ān; it is a general source of information that anyone who has lost his camel's bridle as an allusion to all knowledge, all knowledge of those before him and those who will come until the Day of Judgment, can find it in the Qur'ān. On the contrary, according to some, it is useless to look for everything in the Qur'ān, which was sent for the guidance of man, happiness in this world and the hereafter, and it is necessary to look for things in line with his goals. From this point of view, the article focuses on the content of the thesis that there is knowledge of everything in the Qur'ān, in Turkish and Arabic websites, and it is tried to understand how the Qur'ān is portrayed as a source of information on these platforms. While doing this, a search was made on Google, one of today's popular and easy access to information platforms, by typing ‘Is there everything in the Qur'ān’. And the content in the first five rows, written and visual, was transferred to the study without falling into repetition. Among these, an evaluation was made based on the most read internet sites and it was seen that the general opinion was that there is everything in the Qur'ān. Content creators have often answered the question of how such a thing is possible, by analogy, in which all the information of a tree is stored in a kernel, a large bale of cotton takes up very little space when compressed, or -in an easy-to-understand analogy for today's people- huge amounts of memory cards are stored in tiny memory cards explained by compressing information. As proof of this, History in the Qur'ān, Technology in the Qur'ān, Astronomy in the Qur'ān and Mathematics in the Qur'ān, are just a few of the titles in this content. Again, according to those who think this way, it is another way of explaining the subject that the Qur'ān is secret and only those who have deepened in science and have certain competence can discover that secret when the time comes. On the other hand, there are also some who say that there is no knowledge of everything in the Qur'ān, even if it is a little. Despite the verses stating that nothing is missing in the book and that everything wet and dry is in the book, it is important how those who hold this view explain the subject. For example, the concept of kitāb is one of the words that have a wujūhāt (different meanings) when the whole of the Qur'ān is taken into account. Because, in various places in the Qur'ān, this word is used in the meaning of the Qur'ān, the lawh-i mahfūẓ, the written/obligatory and the book of deeds. In addition, even if the Qur'ān is meant, it has been stated that the wording here is common, not in the meaning that the knowledge of everything is in the Qur'ān, but in the sense that the things about guidance or in line with the goals of the Qur'ān can be found in it. As a matter of fact, there are other examples of this in the Qur'ān. Considering the context, there is no explicit or implicit presumption in the relevant verses that the Qur'ān is meant by the kitāb-ı mubīn (a revealed book). Therefore, the first period commentators and later commentators understood this expression not as the Qur'ān, but as the lawh-i mahfūẓ. Interestingly, some of the content producers of the website were able to claim that although the commentators expressed their views in writing or orally, the Qur'ān was meant by the kitāb-ı mubīn, and the preference for the lawh-i mahfūẓ needed explanation. As a result, it is understood that those who claim to have all the information in the Qur'ān actually understand the verses in question literally. If the Qur'ān has everything, it is the necessary consequence of this proposition that the Qur'ān will suffice for us without the need for anything else. In our opinion, it is an important contradiction that among those whose views are given, that they leave the method aside on this issue, even though they emphasize reason and method. This makes it very difficult to obtain healthy information about the epistemic value of the Qur'ān from the internet, which is a popular source of information, and to clarify the mind of ordinary people on this subject. (shrink)

Based on content analysis and in-depth interviews with the editors of 5Harfliler, Catlak Zemin and Recel-blog, popular pro-feminist women’s websites in Turkey, this article shows that these websites constitute important projects in feminist memory work in two ways: explicitly, by commemorating women in history, the gains of the women’s movement in Turkey, and by archiving misogynist policies and gender unequal legislation; implicitly, in the essays written by anonymous women whose personal memories of feminist activism as well as oppression (...) and patriarchy experienced in everyday life become sources for discussion of feminist identity and politics and contribute to women’s history writing from below. The websites also serve as a platform where feminist identity is negotiated and the past, present and future of feminist politics are discussed in a humorous, agonistic and affective style. The source of deliberation is often women’s everyday experiences and concerns rather than formal politics. Although keeping a distance from formal politics renders these websites open to criticisms of naiveté and apoliticism, they provide a creative platform for the constructive discussion of women’s shared everyday problems which are closely connected to a larger political context. (shrink)

Doxing is the intentional public release onto the Internet of personal information about an individual by a third party, often with the intent to humiliate, threaten, intimidate, or punish the identified individual. In this paper I present a conceptual analysis of the practice of doxing and how it differs from other forms of privacy violation. I distinguish between three types of doxing: deanonymizing doxing, where personal information establishing the identity of a formerly anonymous individual is released; targeting doxing, that discloses (...) personal information that reveals specific details of an individual’s circumstances that are usually private, obscure, or obfuscated; and delegitimizing doxing, which reveals intimate personal information that damages the credibility of that individual. I also describe how doxing differs from blackmail and defamation. I argue that doxing may be justified in cases where it reveals wrongdoing, but only if the information released is necessary to reveal that such wrongdoing has occurred and if it is in the public interest to reveal such wrongdoing. Revealing additional information, such as that which allows an individual to be targeted for harassment and intimidation, is unjustified. I illustrate my discussion with the examples of the alleged identification of the creator of Bitcoin, Satoshi Nakamoto, by Newsweek magazine, the identification of the notorious Reddit user Violentacrez by the blog Gawker, and the harassment of game developer Zoe Quinn in the ‘GamerGate’ Internet campaign. (shrink)

Computer-mediated interaction on the Internet provides new opportunities to examine the links between reputation, risk, and the development of trust between individuals who engage in various types of exchange. In this article, we comment on the application of experimental sociological research to different types of computer-mediated social interactions, with particular attention to the emergence of what we call ‘trust networks’ (networks of those one views as trustworthy). Drawing on the existing categorization systems that have been used in experimental social psychology, (...) we relate the various forms of computer-mediated exchange to selected findings from experimental research. We develop a simple typology based on the intersection of random versus fixed-partner social dilemma games, and repeated versus one-shot interaction situations. By crossing these two types of social dilemma games and two types of interaction situations, we show that many forms of Internet exchange can be categorized effectively into four mutually exclusive categories. The resulting classification system helps to integrate the existing research on t rust in experimental social psychology with the emerging field of computer-mediated exchange. (shrink)

Learning grammar requires practice and practicing grammar can be boring. We examined whether an instructional game with intrinsically integrated game mechanics promotes this practice: compared to rote learning through a quiz. We did so “in the field.” Tens of thousands children visited, in their leisure time, a public website with tens of attractive online games for children during a 6-week-long period. Of these children, 11,949 picked voluntarily our grammar training intervention. Thereafter, unbeknown to them, they were assigned either (...) to the game or the quiz condition. By means of learning analytics, we examined variables related to participants’ persistence and performance. The results showed large participant drop-out before completing the first level in both conditions, confirming the boringness of the topic. More children completed at least one level in the game compared to the quiz. However, more children completed the intervention with the quiz. In the game, children answered fewer questions correctly and made more errors compared to the quiz. These findings suggest that even if a game initially catches user attention, it may not hold it. Plus, even if it is a minimalistic game with intrinsic integration of learning and playing, it may be distractive. We conclude that persistence in practicing grammar may be driven by other means than by a game’s shooting mechanics; for instance, by a desire to learn the topic and a feeling of achievement or by quizzing mechanics. (shrink)

A comprehensive collection of the writings of Mark Fisher (1968-2017), whose work defined critical writing for a generation. This comprehensive collection brings together the work of acclaimed blogger, writer, political activist and lecturer Mark Fisher (aka k-punk). Covering the period 2004 - 2016, the collection will include some of the best writings from his seminal blog k-punk; a selection of his brilliantly insightful film, television and music reviews; his key writings on politics, activism, precarity, hauntology, mental health and popular modernism (...) for numerous websites and magazines; his final unfinished introduction to his planned work on "Acid Communism"; and a number of important interviews from the last decade. Edited by Darren Ambrose and with a foreword by Simon Reynolds. (shrink)

Digital media transform social options of access with regard to producers, recipients, and literary works of art themselves. New labels for new roles such as »prosumers « and »wreaders« attest to this. The »blogger« provides another interesting new social figure of literary authorship. Here, some old desiderata of Dadaism appear to find a belated realization. On the one hand, many web 2.0 formats of authorship amplify and widen the freedom of literary productivity while at the same time subjecting such production (...) to a periodic schedule. In comparison to the received practices of authors and recipients many digital-cultural forms of narrating engender innovative metalepses (and also their sublation). Writing in the net for internet-publics enables the deliberate dissolution of the received autobiographical pact with the reader according to which the author’s genuine name authenticates the author’s writing. On the other hand, the digital-cultural potential of dissolving the autobiographical pact stimulates scandals of debunking and unmasking and makes questions of author-identity an issue of permanent contestation. Digital-cultural conditions of communication amplify both: the hideand- seek of authorship as well as the thwarting of this game by recipients who delight in playing detective. In effect, pace Foucault’s and Barthes’ postulates of the death of the author, the personality and biography of the author once again tend to become objects of high intrinsic value. (shrink)

Pro-anorexia is an Internet-based movement that provides advice and support for the development/maintenance of an eating disorder. The movement is sometimes framed as a religion, with rituals, psalms, creeds and the invocation of a deity who personifies the ED. The latter aspect is likely to influence identities and behaviours as well as providing emotional support and motivation for community members. However, there is little sustained empirical analysis of how members themselves orient to and self-position within the religious discourse. Here, we (...) apply the concept of interdiscursivity to examine the construction of Ana as god. Drawing on a body of online interactions from one pro-ana website over a 47-day period, we discursively analyse members’ constructions of Ana and their relationship with her. With reference to biblical texts, we consider how these constructions directly reference concepts of Christian religion and faith. Implications for understanding pro-ana and interdiscursivity are discussed. (shrink)

A comprehensive collection of the writings of Mark Fisher (1968-2017), whose work defined critical writing for a generation. This comprehensive collection brings together the work of acclaimed blogger, writer, political activist and lecturer Mark Fisher (aka k-punk). Covering the period 2004 - 2016, the collection will include some of the best writings from his seminal blog k-punk; a selection of his brilliantly insightful film, television and music reviews; his key writings on politics, activism, precarity, hauntology, mental health and popular modernism (...) for numerous websites and magazines; his final unfinished introduction to his planned work on "Acid Communism"; and a number of important interviews from the last decade. Edited by Darren Ambrose and with a foreword by Simon Reynolds. (shrink)

Ideal for students with little or no background in philosophy, Ethical Choices: An Introduction to Moral Philosophy with Cases provides a concise, balanced, and highly accessible introduction to ethics. Featuring an especially lucid and engaging writing style, the text surveys a wide range of ethical theories and perspectives including consequentialist ethics, deontological ethics, natural and virtue ethics, the ethics of care, and ethics and religion.Each chapter of Ethical Choices also includes compelling case studies that are carefully matched with the theoretical (...) material. Many of these cases address issues that students can relate directly to their own lives: the drinking age, student credit card debt, zero tolerance policies, grade inflation, and video games. Other cases discuss current topics like living wills, obesity, human trafficking, torture "lite," universal health care, and just-war theory. The cases provide students with practice in addressing real-life moral choices, as well as opportunities to evaluate the usefulness and applicability of each ethical theory. Every case study concludes with a set of Thought Questions to guide students as they reflect upon the issues raised by that case.Ethical Choices is enhanced by several pedagogical features. These include summaries at the end of each section, lists of key terms, questions For Reflection and Discussion at the end of each chapter, Guidelines for a Case Study Analysis, and suggestions For Further Reading that include Internet sources. Starred sections indicate more advanced material that may be included at the instructor's discretion. A companion website at www.oup.com/us/burnor contains additional resources for both students and instructors: chapter outlines, flashcards of key terms, sets of Helpful Hints to further aid students in mastering the material, and an additional chapter on our Moral Obligations Towards the Future. (shrink)

Childhood is increasingly saturated by technology: from television to the Internet, video games to 'video nasties', camcorders to personal computers. _Children, Technology and Culture_ looks at the interplay of children and technology which poses critical questions for how we understand the nature of childhood in late modern society. This collection brings together researchers from a range of disciplines to address the following four aspects of this relationship between children and technology: *children's access to technologies and the implications for social (...) relationships *the structural contexts of children's engagement with technologies with a focus on gender and the family *the situatedness of children's interactions with technological objects *the constitution of children and childhood through the mediations of technology _ This book represents a substantial contribution to contemporary social scientific thinking both about the nature of children and childhood, the social impacts of technologies and the various relationships between the two. (shrink)

How would you feel if you thought God wrote a personal note to you...on His website...and it was about some of the stuff that makes you wonder if He really exists at all? This book does make you feel...while it makes you think. Maybe God isn't who we thought He was. Maybe His thoughts aren't what we have been taught. God's Blogs contains some insightful, fresh thoughts that help us see more of God's character, His love, and His grace as (...) He reflects on marriage, death, laughter, dads, and questions like "Why are we here?" and, "What about tsunamis and poverty?" A fascinating read that will make you laugh and cry and search your own thoughts about who He is. What Might God Say on His Blogsite? Basically I'm entering into your blogdom because somehow the rumor got started that I was kind of boring. For those of you who bought into that craziness, you should know that I'm the one who created all the stuff you love...all the stuff that makes life exciting. I invented funny and laughter. I created adventure and romance... I laugh a lot. "Divinely inspired. This is an awesome book!" Jeff Foxworthy Very funny, smart man who loves God "Fresh thoughts on life with God from one of the most creative--and quirky--communicators I know." Louie Giglio Founder of Passion Conferences and author of I Am Not But I Know I AM "This book went through me like liquid fire. It is so inspiring, uplifting, and refreshing." Dolly Parton (everybody knows Dolly) "Wonderfully fresh and imaginative." John C. Maxwell Founder of INJOY Stewardship Services & EQUIP "I found myself reading it out loud to anybody who would listen. You are going to love this book." Andy Stanley Pastor, North Point Community Church Story Behind the Book "Blogging is a huge thing on the Web all over the world. Millions of people are logging on to millions of other people's journals just to see what they have to say. Some blogs have a larger audience than the New York Times. With blogging being so trendy right now, it occurred to me, What might people do if they thought God was blogging online about what He was seeing or what He thought was important? That being the hook, I wanted to take biblical principles written in a form similar to Eugene Peterson's The Message and attempt to use what is cultural to say what is timeless. God's truths about His love and grace and fatherhood, written in a contemporary fashion, might just penetrate the hearts of those who need Him during times of trial, or of those who aren't even sure He exists." -- Lanny Donoho. (shrink)

L’objectif de cet article est de recenser quelques problématiques de philosophie morale susceptibles d’éclairer la nature des interactions sur les sites de rencontres. L’abondance du possible pose la question du rôle de l’imagination. Mais le virtuel n’est pas réductible au fictif et au fantasme, car les échanges à distance sont bien réels. Les témoignages et les enquêtes sociologiques révèlent qu’ils instaurent une sorte d’état de nature où domine la défiance suscitée par la mauvaise foi généralisée. La communication s’oriente donc vers (...) des échanges standardisés, conformes aux valeurs du « marketing de la séduction », et, paradoxalement, vers une dépersonnalisation des protagonistes. Mais le jeu avec l’identité se heurte au problème de la responsabilité morale et aux nouveaux puzzles moraux que suscitent les univers virtuels. À titre d’exemple, il semble très difficile de répondre à la question de savoir si un adultère virtuel constitue ou non une faute morale.This article looks into a series of moral philosophy issues that may shed light on the nature of the interactions taking place on web dating sites. Their wealth of possibilities raises the question of the role of imagination, but the virtual world is more than just fiction and fantasy, since the cyber-exchanges taking place are real. Personal stories and sociological surveys show that these exchanges establish a kind of natural state in which suspicion, arising from a sense of systematic bad faith, prevails. Communication therefore generally follows a standard pattern that obeys the rules of “seduction marketing” and, paradoxically, tends to depersonalise the protagonists. But the identity game then comes up against the question of moral responsibility and the new moral quandaries raised by the virtual world: it seems very difficult to decide, for example, whether virtual adultery is morally wrong, or not. (shrink)

With the emergence of participative social media, the ways in which stakeholders may interact with companies are changing. Social media and Web 2.0 technologies change gatekeeping mechanisms and the distribution of information. In consequence, organizations must realize that they are structurally embedded in online networks of interconnected and equitable actors. In this paper, we analyze how this change in today’s information and communication technologies may affect Corporate Social Responsibility action. We utilize social network analysis to investigate the CSR blogs of (...) three IT firms: Google, Hewlett-Packard, and Intel. The analysis reveals that their Internet-enabled social networks exhibit patterns of power law distribution and an uneven distribution of structural social capital among the actors involved, especially on the corporate side, which fails to fully engage with the network. We conclude by indicating the research implications of shifting social capital dynamics and by deriving implications for management and practice. (shrink)

Technology is not only an object of philosophical reflection but also something that can change this reflection. This paper discusses the potential of computer-supported argument visualization tools for coping with the complexity of philosophical arguments. I will show, in particular, how the interactive and web-based argument mapping software “AGORA-net” can change the practice of philosophical reflection, communication, and collaboration. AGORA-net allows the graphical representation of complex argumentations in logical form and the synchronous and asynchronous collaboration on those “argument maps” on (...) the internet. Web-based argument mapping can overcome limits of space, time, and access, and it can empower users from all over the world to clarify their reasoning and to participate in deliberation and debate. Collaborative and web-based argument mapping tools such as AGORA-net can change the practice of arguing in two dimensions. First, arguing on web-based argument maps in both collaborative and adversarial form can lead to a fundamental shift in the way arguments are produced and debated. It can provide an alternative to the traditional four-step process of writing, publishing, debating, and responding in new writing with its clear distinction between individual and social activities by a process in which these four steps happen virtually simultaneously, and individual and social activities become more closely intertwined. Second, by replacing the linear form of arguments through graphical representations of networks of inferential relations which can grow over time in an infinite space, these tools do not only allow a clear visualization of structures and relations, but also forms of collaboration in which, for example, participants work on different “construction zones” of larger argument maps, or debates are performed at specific points of disagreement on those maps. I introduce the term synergetic logosymphysis to describe a practice that combines these two dimensions of collaborative- and web-based argument mapping. (shrink)

This article examines the possible basis for legal liability of researchers who use the Internet in the collection of research data. In particular, it examines the potential legal issues associated with the protocols of ethnographers who use listserv, discussion board, blog, chat room and other sorts of web or Internet-based postings as the source of their data. The author assumes that the forum for participation is legitimate, in that the list, board, blog, chat, etc. is not created or otherwise concocted (...) by the researcher, but involves situations akin to off-line practices where a researcher would be listening to the conversation or watching the behavior of subjects in a public place. Since these practices do not involve direct interview or interaction with or treatment of "human subjects", much of the precedent involving negligence, informed consent, and related issues is not relevant; however, it is reviewed initially for guidance in suggesting the applicable, legal standards of conduct. This article does not discuss the use of the Internet as a collection device, e.g., in online surveys. Issues of legal harm arising from claims in negligence, privacy, and defamation for subsequent disseimination of such postings are evaluated. Although it is concluded that the likelihood for a success of such claims is small, analysis will include steps that researchers can take to ensure that such risk remains negligible. (shrink)

The aim of the paper is to identify and categorize frequent patterns describing interactions between users in social networks. We analyze a social network with relationships between users that evolve in time already identified. In our research, we discover patterns based on frequent interactions between groups of users. The patterns are described by the characteristics of these interactions, such as their reciprocity, or the relative difference between estimations of global influences of the users participating in the discussions. The modification of (...) the apriori algorithms is applied as one of the methods for pattern identification. The analyzed social network is built using the data set containing data from the Polish blog website salon24, which concerns mostly socio-political issues. (shrink)

Ender's Game explains how Peter and Valentine Wiggin use their world's online nets to get weighty political influence. Peter and Valentine earn money from their online writing, get invited to important discussions, and learn more than the average citizen about political matters. And they continue to build the influence of Locke and Demosthenes, in a public arena. Anonymous is an Internet entity very much like Locke and Demosthenes in the sense that average users are listening to Anonymous without knowing whose (...) views Anonymous represents. The thread running through this chapter is that there's a larger problem than anonymity with virtual politics: it's how to maintain freedom in both worlds. Peter and Valentine used virtual identities on the net to end Earth's dangerous political situation in Ender's Game, but of course, that's only fiction. (shrink)

From his earliest published writings to his last, Roman Ingarden displayed an interest in theoretical biology and its efforts to clarify what distinguishes living organisms from other types of entities. However, many of his explorations of such issues are easily overlooked, because they don’t appear in works that are primarily ontological, metaphysical, or anthropological in nature but are “hidden” within his works on literary aesthetics, where Ingarden sought to define the nature of living organisms in order to compare literary works (...) to such entities. This article undertakes a historical textual analysis that traces the evolution of Ingarden’s thought regarding the nature of the literary work of art as an organism-like entity and uncovers its links with the simultaneous development of his systems theory and its central concept of the “relatively isolated system”: for Ingarden, a literary work and an organism are each a systematically transforming, “living,” functional-structural whole that comprises a system of hierarchically arranged and partially isolated elements whose harmonious interaction allows the literary work or organism to fulfill its chief function. Having completed that historical analysis, we test Ingarden’s assessment of works of art as organism-like entities in a novel context by investigating the organism-like qualities of the contemporary computer game; insofar as their AI-driven behavior displays a form of agency, such games might appear to be even more “alive” than traditional works of art. We show that Ingarden’s conceptual framework provides a useful tool for understanding the “organicity” of such games as works of art, despite the fact that they differ qualitatively from those art forms with which Ingarden was directly familiar. (shrink)

The words ―Rights,‖ ―Trust,‖ ―Human Dignity,‖ and even ―Government‖ have widely varying meanings and connotations, differing across time, languages and cultures. Concepts of rights, trust, and human dignity have been examined for centuries in great depth by ethicists and other philosophers and by religious think-ers, and more recently by social scientists and, especially as related to information, by information scientists. Similarly, discussions of government are well documented in writings back to Plato and Aristotle, with investi-gations of electronic government dating back (...) only to the early 1990s with the advent of the Internet and the World Wide Web. At first e-government was described in glowing, positive terms. Little, if any, attention was paid to two critical questions: 1) Will people trust e-government? and 2) How will cultural differences affect individuals‘ trust in government and their perceptions of govern-ment‘s effect of their human dignity? Examinations of trust and distrust by individuals within organizations have addressed questions of motives and intentions, expectations of behavior, protection of interests, confi-dence in accuracy and reliability of information, vulnerability, and reciprocity, among other complex topics. Establishing e-government services often requires going through several phases: 1) publish , 2) interact transact transform . Building and maintaining trust in e-government require developing an understanding both of the many levels of interactions where trust must be earned and of cultural differences. Another challenge in developing such a framework is that e-government, itself, is very dynamic, changing rapidly over time. Trust in content or a system available one day may not carry over when the content and/or system changes dramatically. Components of a framework must include the follow-ing dimensions: conceptual domains, cultural dimensions, information content dimensions, and system di-mensions. Of course, these dimensions must be considered within the context of rapidly changing govern-ments, ICT services, the digital divide, and other factors. This paper provides a very brief overview of some of the notions of trust and distrust, concentrating on those concerning trust as it relates to notions of power, trust in organizations, and trust in information and information systems as one part of a framework to ad-dress the question of trust in e-government. It also makes a few recommendations for how to build citizen-centric e-government to ensure information rights through a focus on human dignity, fundamental human rights, and earning trust. (shrink)

The interactive nature of the Internet is seen by some as a technological innovation that might boost participation in politics and civic affairs. That potential, however, is clouded by imprecise definitions of interactivity found among scholars and practitioners alike. Evaluation of state legislature Web sites found them to not be very interactive under most definitions of the term. Chief technology officers of the legislatures appear to differ as to which site features promote interactivity. The current state of these sites may (...) do more to encourage civic engagement than to promote interactivity. (shrink)

Background: The COVID-19 crisis has had a considerable mental health impact on healthcare workers. High levels of psychological distress are expected to have a significant impact on healthcare systems, warranting the need for evidence-based psychological interventions targeting stress and fostering resilience in this population. Online cognitive behavioral therapy has proved to be effective in targeting stress and promoting resilience. However, online CBT programs targeting stress in healthcare workers are lacking.Objective: The aim of our study is to evaluate the feasibility and (...) acceptability of an internet-based CBT intervention, the My Health Too program we developed during the first COVID-19 epidemic peak in France.Methods: We recruited 10 participants among Alsace region hospital staff during the first peak of the pandemic in France. They were given 1 week to test the website and were then asked to answer an internet survey and a semi-structured phone interview.Results: We conducted a thematic analysis of the content from the phone interviews. Major themes were identified, discussed and coded: the technical aspects, the content of the website and its impact on participants’ emotions and everyday life. Overall, the participants reported finding the website easy to use and interactive. They described the resources as easy to understand, readily usable, and useful in inducing calm and in helping them practice self-compassion.Conclusion: Our results suggest that the My Health Too online CBT program is highly feasible and acceptable to healthcare workers during the highly stressful times of the pandemic peak. The feedback provided helped to improve the program whose efficacy is to be tested. (shrink)

In an information age of youth social movements, Youth Media Matters examines how young people are using new media technologies to tell stories about themselves and their social worlds. They do so through joint efforts in a range of educational settings and media environments, including high school classrooms, youth media organizations, and social media sites. Korina M. Jocson draws on various theories to show how educators can harness the power of youth media to provide new opportunities for meaningful learning and (...) "do-it-together production." Describing the impact that youth media can have on the broader culture, Jocson demonstrates how it supports expansive literacy practices and promotes civic engagement, particularly among historically marginalized youth. In Youth Media Matters, Jocson offers a connective analysis of content area classrooms, career and technical education, literary and media arts organizations, community television stations, and colleges and universities. She provides examples of youth media work--including videos, television broadcasts, websites, and blogs--produced in the San Francisco Bay Area, Los Angeles, New York, and St. Louis. At a time when educators are increasingly attentive to participatory cultures yet constrained by top-down pedagogical requirements, Jocson highlights the knowledge production and transformative potential of youth media with import both in and out of the classroom. (shrink)

The flow state – an experience of complete absorption in an activity – is linked with less self-referential processing and increased arousal. We used the heart-evoked potential, an index representing brain–heart interaction, as well as indices of peripheral physiology to assess the state of flow in individuals playing a video game. 22 gamers and 21 non-gamers played the video game Thumper for 25 min while their brain and cardiorespiratory signals were simultaneously recorded. The more participants were absorbed in the game, (...) the less they thought about time and the faster time passed subjectively. On the cortical level, the fronto-central HEP amplitude was significantly lower while playing the game compared to resting states before and after the game, reflecting less self-referential processing while playing. This HEP effect corresponded with lower activity during gameplay in brain regions contributing to interoceptive processing. The HEP amplitude predicted the level of absorption in the game. While the HEP amplitude was overall lower during the gaming session than during the resting states, within the gaming session the amplitude of HEP was positively associated with absorption. Since higher absorption was related to higher performance in the game, the higher HEP in more absorbed individuals reflects more efficient brain–heart interaction, which is necessary for efficient game play. On the physiological level, a higher level of flow was associated with increased overall sympathetic activity and less inhibited parasympathetic activity toward the end of the game. These results are building blocks for future neurophysiological assessments of flow. (shrink)

This paper proposes research propositions to study on MMOG and MUD addictions based on their causes – flow state and social interaction. Though previous studies relate MMOG addictions to Internet addictions based on social interactions, this study after examining the underlying theories of Use and Gratification The-ory and Flow Theory concludes that what cause MMOG addiction is flow experience not social interaction. On the other hand, the cause of MUD addiction is social interaction. After proposing the propositions of MUD and (...) MMOG addiction causes, this study provides possible impacts of such addictions based on the reasoning between the two theories and two online game addictions. (shrink)