Cet article vise à éclairer le rôle de la télévision et d’Internet dans la campagne de 2010 qui a abouti à l’élection de Dilma Rousseff à la présidence du Brésil. Ce faisant, il s’agit de considérer, d’une part, l’analyse d’un expert en communication politique sur l’influence des réseaux sociaux et des médias traditionnels dans les élections remportées par la candidate du Parti des Travailleurs ; d’autre part, de discuter les positions de Dominique Wolton sur le journalisme, Internet, l’information, l’opinion et (...) la communication, en correspondance avec différents points de vue intellectuels à propos d’un événement politique majeur.This article aims at shedding light on the role of television and Internet during de 2010 campaign, up to the election of Dilma Rousseff as President of Brazil. While taking into consideration a political communication expert’s analysis about the influence of social networks and traditional medias in the election of the Partido dos Trabalhadores candidate, it discusses the ideas of Dominique Wolton on journalism, Internet, information, opinion and communication, at the intersection with various intellectuals thoughts in regards to a major political event. (shrink)

Through the analysis of facial feature extraction technology, this paper designs a lightweight convolutional neural network. The LW-CNN model adopts a separable convolution structure, which can propose more accurate features with fewer parameters and can extract 3D feature points of a human face. In order to enhance the accuracy of feature extraction, a face detection method based on the inverted triangle structure is used to detect the face frame of the images in the training set before the model extracts (...) the features. Aiming at the problem that the feature extraction algorithm based on the difference criterion cannot effectively extract the discriminative information, the Generalized Multiple Maximum Dispersion Difference Criterion and the corresponding feature extraction algorithm are proposed. The algorithm uses the difference criterion instead of the entropy criterion to avoid the “small sample” problem, and the use of QR decomposition can extract more effective discriminative features for facial recognition, while also reducing the computational complexity of feature extraction. Compared with traditional feature extraction methods, GMMSD avoids the problem of “small samples” and does not require preprocessing steps on the samples; it uses QR decomposition to extract features from the original samples and retains the distribution characteristics of the original samples. According to different change matrices, GMMSD can evolve into different feature extraction algorithms, which shows the generalized characteristics of GMMSD. Experiments show that GMMSD can effectively extract facial identification features and improve the accuracy of facial recognition. (shrink)

This is a review of the Japanese film, Like Father, Like Son. The movie tells the story of two families attempting to resolve the dilemma of learning that their 6-year old sons are actually not their biological children, but rather children swapped at birth by a nurse with malicious intent.

In 2003, the State Administration of Radio, Film and Television (SARFT) determine those network development years and released a policy document. This indicates that management is aware of the importance of pay TV and digital TV and hoping to promote the development of network services and system integration, and change the business model of the radio and television industry has long rely solely on advertising. As of July 2009, approved by the State Administration of Radio, Film (...) and Television to set up a pay TV channel has 142 units, divided into two categories broadcast on nationwide broadcast and province. In 7 years, the national digital pay TV channels from scratch, from small to large, from more than 20 of the initial development to the current level of 142, the number increased by 7 times. Judging from the number of digital pay channels have begun to take shape, the categories covered very rich. But from the overall development situation of Chinese digital TV, pay-TV channels, the number of users is far less than the (wired) digital TV subscribers, the development is very optimistic. 2010 cable industry revenues constitute the revenue of the premium channels is also very small. At present, China has a number of pay-TV channels integrated operating agencies, the premium channels transmission operators institutions user access and pay channels, operations, CCTV and local TV stations to form a pay channels. (shrink)

From farmers’ markets to primetime television cooking shows, notions of ‘knowing where our food comes from’ and ‘reconnecting’ with the sources of our food are now central to a range of contemporary cultural movements and popular media texts. While these ideas have primarily been mobilized by those with activist commitments to ethical and sustainable food production, they are also increasingly appearing in the media and marketing strategies of large agribusiness and retailing corporations, including those of the major Australian supermarkets. (...) This paper explores some of the techniques currently used by major supermarkets to respond to criticisms about their food ethics, market control and relationship with producers. Using a case study of Australian supermarket Coles and its integration of its ‘Helping Australia Grow’ campaign into reality television cooking show, My Kitchen Rules, it will consider the textual practices of, and social media response to, Coles’ sponsorship and integrated advertising strategies of putting a ‘face’ to the farmers who produce the products found on supermarket shelves. By emphasizing to Coles customers that they, too, can ‘know where their food comes from’ and that their purchasing decisions support individual farmers and family farms rather than large conglomerates, these strategies help to locate Coles within a network of meanings that seek to both shift and contest negative perceptions of the supermarket chain’s corporate practices and food politics in ways that potentially complicate the activist discourses from which they draw. (shrink)

The term “network” is now applied to everything from the Internet to terrorist-cell systems. But the word’s ubiquity has also made it a cliché, a concept at once recognizable yet hard to explain. Network Aesthetics, in exploring how popular culture mediates our experience with interconnected life, reveals the network’s role as a way for people to construct and manage their world—and their view of themselves. Each chapter considers how popular media and artistic forms make sense of decentralized (...) network metaphors and infrastructures. Patrick Jagoda first examines narratives from the 1990s and 2000s, including the novel Underworld, the film Syriana, and the television series The Wire, all of which play with network forms to promote reflection on domestic crisis and imperial decline in contemporary America. Jagoda then looks at digital media that are interactive, nonlinear, and dependent on connected audiences to show how recent approaches, such as those in the videogame Journey, open up space for participatory and improvisational thought. Contributing to fields as diverse as literary criticism, digital studies, media theory, and American studies, Network Aesthetics brilliantly demonstrates that, in today’s world, networks are something that can not only be known, but also felt, inhabited, and, crucially, transformed. (shrink)

A stable democracy requires a shared identity and political culture. Its citizens need to identify as one common demos lest it fracture and balkanise into separate political communities. This in turn necessitates some common communication network for political messages to be transmitted, understood and evaluated by citizens. Hence, what demarcates one demos from another are the means of communication connecting the citizens of those demoi, allowing them to debate and persuade each other on the proper conduct of government and (...) on issues of common interest. For the ancient Athenians, their public sphere was the agora (marketplace); for the Federalists in the American colonies, the newspaper; for us today, it is the Internet. Until now, the physical nature of these communication networks has resulted in a trade-off between the reach of political messages (the numeric and geographic composition of the demos who receive political messages and may participate in the public sphere) and the ability to target the content of a message on that network towards individual citizens. One-to-one interpersonal conversation in the agora was highly targeted but could reach only as far as a voice could carry. The speakers and audience were well known to each other through personal interaction. As the printing press and later television allowed for greater and greater reach, the content of these messages became more generic as the speakers became more distant from their audience. The wider the audience grew, the less a message could be targeted at a particular audience segment without alienating others. (shrink)

This article raises the important question as to why cooking, a seemingly mundane practice, performs social and cultural functions that go much beyond cooking, cooking instructions, and food preparation, and specifically how it functions in a media context. By integrating theories about inquiry, discourse analysis, gender, and sociolinguistics, the article makes an important contribution to the growing literature on contemporary discourse in the media. The research was conducted on popular television cooking channels, the Food Network and the Cooking (...) Channel, and involved close analyses of a sample of instructional cooking shows. The article is an exploration of social and communicative dynamics inherent in cooking, especially from the public discourse of contemporary cooking shows. (shrink)

This article presents the findings of an audience research conducted with 86 young Spanish people aged 15 to 29 years. The investigation examines the modes of reception of television fiction, and the impact of the shows on the viewers. Friends’ influence on the choice of program, and the tendency to use social networks to comment on the shows and to talk about themselves, underline the crucial role played by TV fiction and new technologies in socialization processes. While most participants (...) criticized the propensity of television fiction to build extreme stereotypes, they also showed a clear predilection for Spanish programs, and admitted that their characters often offer inspiration to face everyday problems. (shrink)

This article examines some of the story conventions of network television news to explain the ways in which healthcare interest groups develop and maintain their presence in this medium—a process that has significant implications for public understanding of healthcare issues, and therefore to bioethics. The article is divided into three sections. The first section focuses on three major normative conventions of television news: adherence to a simple narrative structure, the balance ethic, and avoidance of the “think-piece” and (...) outlines the basic strategies available to interest groups for exploiting these normative conventions. Section two introduces three case studies of organizations and individuals who have run high-profile media campaigns. Section three explores the implications for bioethics of the observations made in this article. (shrink)

This article starts with the environmental changes in human cognition, analyzes the virtual as the main feature of visual perception under digital technology, and explores the transition from passive to active human cognitive activities. With the diversified understanding of visual information, human contradiction of memory also began to become prominent. Aiming at the problem that the existing multimodal TV media recognition methods have low recognition rate of unknown application layer protocols, an adaptive clustering method for identifying unknown application layer protocols (...) is proposed. This method clusters application layer protocols based on similarity of the load characteristics of network stream application layer protocol data. The method divides the similarity calculation in the clustering algorithm to improve the clustering efficiency of the algorithm. Experimental results show that the proposed method can efficiently and accurately recognize unknown visual communication. This article proposes that, in the interactive multimodal visual information transmission, human visual perception experience has changed, the diversity of visual information content expression makes the aesthetic subject more personalized and stylized. (shrink)

With the development of technology, news media and film and television media are spreading faster and faster, and at the same time, the spread of rumors is also accelerated. This article briefly describes the application of artificial intelligence in news media and film and television media using a back-propagation neural network algorithm to reform refutation of rumors in news media and film and television media, and compared it with K-means and support vector machine algorithms in simulation (...) experiments. The results showed that the BPNN-based rumor recognition model had better recognition performance and shorter recognition time; it was more accurate in recognizing Weibo texts that were complete and faster in recognizing bullet screen comments that were short; the BPNN-based rumor recognition model also had the lowest false detection cost and performed stably when being used in actual Weibo platform and bullet screen video website. (shrink)

Objective: To map the tone of local and global economic information transmitted in news and non-news TV programming during economic recovery, and to resolve a conflict in the literature between research where a negative trend in economic news was identified and studies which concluded that economic news reflects actual economic circumstances. Method: A content analysis of 140 hours of prime-time programming aired by commercial networks and public broadcasting in Israel during one month. Results: Local news reflects fairly accurately current trends (...) in the stock exchange while still maintaining a general tendency to employ a negative tone more frequently than a positive tone, even during economic recovery. Global economic news is more positive in tone than local economic news. References to the economy in the news are more positive and frequent than references to the economy in non-news programming. The tone of economic news in public broadcasting is more negative than the tone of economic news aired on commercial stations. Conclusions: The existence of a negative bias in economic news depends on the reported event. While News about the stock exchange is not biased, less concrete news is negatively biased. (shrink)

As it faces the threats and seizes the possibilities presented by sustainability, the television business is experiencing a profound shift. The potential for long-term expansion in the television industry is investigated in this study by looking at sustainable entertainment management practices. The research finds important tactics that production businesses and television networks may use to incorporate social, economic, and environmental sustainability into their operations by looking at existing practices and new developments. Case studies of prominent firms, examination (...) of sustainability reports, and expert interviews make up the research's mixed-methods strategy. The results show that in order to promote sustainability, it is crucial to use energy-efficient technology, decrease waste with digital manufacturing processes, and encourage social responsibility with inclusive content and fair labour standards. In order to achieve sustainable development in the long run, the research stresses the significance of stakeholder involvement and strategic alliances. Stakeholders in this sector may use the suggestions made in this paper to improve their sustainability initiatives and meet the changing needs of the global market in a way that is good for the environment and their bottom line. (shrink)

This article examines how on-air conversations between journalists indicate how US television coverage of a race-related crisis can reflect racial ideology. Using critical discourse analysis, we examined interjournalistic discourse about African Americans in national network and cable news programs that aired after Hurricane Katrina reached New Orleans. While we expected conversational semantic items from conservative Fox News to reflect racial ideology, we also found such discursive elements from politically moderate and progressive news organizations such as CBS, CNN, and (...) MSNBC. These findings are consistent with Anxiety Uncertainty Management theory, which predicts that exposure to stressors in unfamiliar settings causes individuals to think in ethnocentric, dichotomous, stereotypical ways. Our research underscores the impact of white privilege on language, communication, and news production, and the need for cultural competence training to enhance journalists’ ability to discuss racial matters with ease. (shrink)

This is primarily a sociological study of the impact on the viewer of television coverage of particular key events. Singled out especially are: MacArthur day in Chicago in 1951, the 1952 political conventions, and the Kennedy-Nixon debates of 1960. The impact of television on political opinion and the effect of nationally televised voting returns on late voters are also explored. Relying on the method of questionnaires and interviews with strategically placed eye-witnesses and television watchers, the Langs discovered: (...) that there is a difference between being there in person and "being there" via T.V., that the major networks differ, often markedly, with respect to the impression of the event conveyed, and that in spite of seeming to be a "see for yourself" news medium, T.V. can't help but introduce some "refraction," some inadvertent bias, into the actuality it conveys. Although there is occasional passing reference to McLuhan, there is little discussion of T.V. as medium. Rather, content, and content of news coverage specifically, is the primary focus. However, in the last chapter, and here and there throughout the book, there are more speculative reflections on what the authors have discovered. For example, they speculate on the way television coverage becomes an event in its own right and on the way television "manufactures" actuality, transforming the viewers' quest for truth into a quest for trust. The book is a helpful, feet-on-the-ground reference point for the exploration of the problems of media and messages.--S. O. H. (shrink)

Tube of Plenty is an abridgement of Erik Barnouw's classic 3-volume History of Broadcasting in the United States. The paperback edition was first published in 1976 and a second edition in 1982. Much has happened in television in the 1980s; the decline of the three major networks, the expansion of cable and satellite television, film channels like Home Box Office, the success of ESPN, and MTV, and the increased way in which the White House in Washington has managed (...) and controlled national news and its contents. Barnouw has added an extensive chapter dealing with the changes of the 1980s and looking ahead to the 1990s. (shrink)

This article explores the emergence of standards and regulation associated with the provision of Closed Circuit Television (CCTV) surveillance systems in the United Kingdom. It argues that despite the intrusive and controlling nature of CCTV technology there is limited formal intervention in the form of legislation, governing its introduction and use. Instead government has sought to influence the regulation of the technology indirectly through its ability to shape and govern policy networks in the policy arena. In doing so, it (...) is argued here, that government remains the dominant actor in the policy process. (shrink)

Based on cloud computing and statistics theory, this paper proposes a reasonable analysis method for big data of film and television. The method selects Hadoop open source cloud platform as the basis, combines the MapReduce distributed programming model and HDFS distributed file storage system and other key cloud computing technologies. In order to cope with different data processing needs of film and television industry, association analysis, cluster analysis, factor analysis, and K-mean + association analysis algorithm training model were (...) applied to model, process, and analyze the full data of film and TV series. According to the film type, producer, production region, investment, box office, audience rating, network score, audience group, and other factors, the film and television data in recent years are analyzed and studied. Based on the study of the impact of each attribute of film and television drama on film box office and TV audience rating, it is committed to the prediction of film and television industry and constantly verifies and improves the algorithm model. (shrink)

This research aims to analyze the influencing factors of migrant children’s education integration based on the convolutional neural network algorithm. The attention mechanism, LSTM, and GRU are introduced based on the CNN algorithm, to establish an ALGCNN model for text classification. Film and television review data set, Stanford sentiment data set, and news opinion data set are used to analyze the classification accuracy, loss value, Hamming loss, precision, recall, and micro-F1 of the ALGCNN model. Then, on the big (...) data platform, data in the Comprehensive Management System of Floating Population and Rental Housing, Student Status Information Management System, and Student Information Management System of Beijing city are taken as samples. The ALGCNN model is used to classify and compare related data. It is found that in the MR, STT, and MPQA data sets, the classification accuracy and loss value of the ALGCNN model are better than other algorithms. HL is the lowest, the Pre is second only to the BERT algorithm, and the Re and F1 are both higher than other algorithms. From 2015 to 2019, the number of migrant children in different grades of elementary school shows a gradual increase. Among migrant children, the number of migrant children from other counties in this province is evidently higher than the number of migrant children from other provinces. Among children of migrant workers, the number of immigrants from other counties in this province is also notably higher than the number of immigrants from other provinces. With the gradual increase in the years, the proportion of township-level expenses shows a gradual decrease, whereas the proportion of district and county-level expenses shows a gradual increase. Moreover, the accuracy of the ALGCNN model in migrant children and local children data classification is 98.6 and 98.9%, respectively. The proportion of migrant children in the first and second grades of a primary school in Beijing city is obviously higher than that of local children. The average final score of local children was greatly higher than that of migrant children, whereas the scores of migrant children’s listening methods, learning skills, and learning environment adaptability are lower, which shows that an effective text classification model is established based on the CNN algorithm. In short, the children’s education costs, listening methods, learning skills, and learning environment adaptability are the main factors affecting migrant children’s educational integration, and this work provides a reference for the analysis of migrant children’s educational integration. (shrink)

In order to solve the problems of high investment and low box office losses in the film industry, this study analyzes the topic of film box office and film and television reviews based on social network big data. Firstly, the factors that affect the box office of the movie are analyzed. Secondly, continuous and discrete feature parts, text parts, and fusion parts are merged. The box office prediction model of mixed features using deep learning is established, and the (...) movie box office is predicted. Finally, compared with other algorithms and models, the box office prediction model of mixed features using deep learning is verified. The results show that compared with other models, the prediction accuracy of the mixed feature movie box office prediction model using depthwise separable convolution -Transformer is higher than that of other algorithm models. Its optimal mean square error value is 0.6549, and the optimal mean absolute error value is 0.1706. The constructed model predicts the box office of nine movies, and the error between the predicted value and the true value is about 10%. Therefore, the established movie box office prediction model has a good effect. This study can predict movies’ box office to reduce investment risk, so it is of great significance to movie investors and the social economy. (shrink)

As the development of artificial intelligence technology, the deep-learning -based Virtual Reality technology, and DL technology are applied in human-computer interaction, and their impacts on modern film and TV works production and audience psychology are analyzed. In film and TV production, audiences have a higher demand for the verisimilitude and immersion of the works, especially in film production. Based on this, a 2D image recognition system for human body motions and a 3D recognition system for human body motions based on (...) the convolutional neural network algorithm of DL are proposed, and an analysis framework is established. The proposed systems are simulated on practical and professional datasets, respectively. The results show that the algorithm's computing performance in 2D image recognition is 7–9 times higher than that of the Open Pose method. It runs at 44.3 ms in 3D motion recognition, significantly lower than the Open Pose method's 794.5 and 138.7 ms. Although the detection accuracy has dropped by 2.4%, it is more efficient and convenient without limitations of scenarios in practical applications. The AI-based VR and DL enriches and expands the role and application of computer graphics in film and TV production using HCI technology theoretically and practically. (shrink)

Saturday Night Live (SNL) has exploited sexual power differentials, pedophilia and molestation, and produced “Digital Shorts” that use women for sexual ends. SNL has even made light of slavery and mass shootings. Suffice it to say, SNL's producers, writers, and actors are unafraid to push the boundaries of what is considered socially acceptable on network television. By presenting awkward or insensitive or offensive material – like dating in a concentration camp – SNL performers remind people just how horrific (...) some situations are, and hopefully it ignites the viewer's passion against the thing that is being mocked. SNL has a prophetic role in culture, speaking speaks truth to power through humor. SNL passes Joel Feinberg's test: no one is forced to watch. No one compels SNL to create socially acceptable sketches, but similarly, no one compels people to watch SNL. (shrink)

At present, the news broadcast system using mobile network on the market provides the basic functions required by TV stations, but there are still many problems and shortcomings. In view of the main problems existing in the current system and combined with the actual needs of current users, this paper has preliminarily developed a news broadcast system based on 5G Live. The card frame adaptive strategy significantly improves the user experience by using gradual video frame buffering technology. Hardware codec (...) technology significantly reduces the consumption of system resources; H.264 high-compression algorithm can reduce network bandwidth by 50% compared with MPEG-2 and MPEG-4 without a significant change in image quality. At the same time, the use of mobile video acquisition terminals in the system not only solves the problem that satellite broadcast vehicles cannot reach the site due to the lack of roads but also greatly reduces the cost of early deployment and late maintenance of the news broadcast system. This paper studies the card frame adaptive strategy, the system resource consumption reduction solution, and the deployment scheme of the mobile video and audio transmission terminal, which is of great significance to improve the design and research of the news broadcast system under the wireless network application and also has certain reference value for the design of other broadcasting and television solutions. (shrink)

This paper presents the first results of an ongoing semiotic research over TV series targeted to early childhood in Italy. In particular, it focuses on discussing and explaining the great success of the animated series Peppa Pig aired in Italy on the thematic channel Rai YoYo, by comparing it with other series available in the same channel, in the period of its first launch. Most of the programs taken into account refers to animals with the purpose of using them as (...) a mean to speak about manhood, in a simplified and appealing way. Nothing new. Fairy tales have always been filled with animals to mean vices and virtues of the humans. Aim of the paper is to reveal the complexity of such reference to animals in Peppa Pig’s stories. This goal will be achieved by comparing it to another series which references to pigs aired simultaneously in the same Italian network. Moreover, this paper will consider other animals embodying the bouquet of meaning proposals offered by Rai YoYo: a dog and some shapeless creatures known as Barbapapas. As a conclusion of such enquire a synthetic model which positions each of the series analyzed will be presented. (shrink)

The growing interest in ethics and ethical behavior has not manifested itself in an ethical analysis of television programming beyond a journalism context. This study examines one social/ethical issue - lying in prime time network television situation comedies. Results show sitcom characters who lie are motivated primarily by self-interest. This egoistic approach raises questions of ethical maturity and provides a model of behavior that may have negative implications for society.

Examination of visual images in evening network television stories about 5 environmental catastrophes indicates that news producers usually ignored their own network's policies about identifying news footage from advocacy groups and almost always ignored their own network's policies about labeling file hotage. In some unlabeled footage was used in symbolic ways that would not substantially mislead viewers. In other cases, unlabeled video suggested the persistence of a catastrophic reality that had not existed for as long as (...) 4 years. (shrink)

In 2009, the United States Air Force aired a series of science fiction-themed recruitment commercials on network television and their official YouTube channel. In these advertisements, the superimposition of science fiction imagery over depictions of Air Force operations frames these missions as near-future sci-fi adventure, ironically summarized by the tagline: “It’s not science fiction. It’s what we do every day.” Focusing on an early advertisement for the Air Force’s Reaper unmanned aerial vehicle, this essay explores how themes essential (...) to the science fiction genre play a role in influencing contemporary attitudes about autonomous and semi-autonomous robotic weapons, as well as the way in which the aesthetic and functional qualities of these advanced technologies are used to frame moral arguments about their use. As a reconfiguration of the near-future battleground in the guise of science fiction, the “Reaper” ad reveals the way in which science fiction has come to serve as a functional-aesthetic benchmark and cultural sounding board, against which “every day” technologies can be measured and claims about their value, ethos, and social appeal are made. This essay explores the ethical entanglements between science fiction film and video games, and military technology, and the complex role science fiction plays in influencing public attitudes towards military technologies. (shrink)

In 2009, the United States Air Force aired a series of science fiction-themed recruitment commercials on network television and their official YouTube channel. In these advertisements, the superimposition of science fiction imagery over depictions of Air Force operations frames these missions as near-future sci-fi adventure, ironically summarized by the tagline: “It’s not science fiction. It’s what we do every day.” Focusing on an early advertisement for the Air Force’s Reaper unmanned aerial vehicle, this essay explores how themes essential (...) to the science fiction genre play a role in influencing contemporary attitudes about autonomous and semi-autonomous robotic weapons, as well as the way in which the aesthetic and functional qualities of these advanced technologies are used to frame moral arguments about their use. As a reconfiguration of the near-future battleground in the guise of science fiction, the “Reaper” ad reveals the way in which science fiction has come to serve as a functional-aesthetic benchmark and cultural sounding board, against which “every day” technologies can be measured and claims about their value, ethos, and social appeal are made. This essay explores the ethical entanglements between science fiction film and video games, and military technology, and the complex role science fiction plays in influencing public attitudes towards military technologies. (shrink)

Leave it to the boob tube to explain the meaning of existence. Let Gilligan's Island teach you about situational ethics. Learn about epistemology from The Brady Bunch. Explore Aristotle's Poetics by watching 24. Television has grappled with a wide range of philosophical conundrums. According to the networks, it's the ultimate source of all knowledge in the universe. So why not look at the small screen for answers to all of humanity's dilemmas? There's not a single issue discussed by the (...) great thinkers of the past that hasn't been hashed out between commercials in shows like Mad Men and Leave It To Beaver..."--P. [4] of cover. (shrink)

Every day, television news operations have available dozens of video news releases (VNRs), public relations handout videos designed to mimic news formats. Electronic tracking indicates some of these VNRs are used. Critics typically assail VNRs on ethical grounds, that VNRs deceive audience members into thinking they are watching news gathered by reporters, rather than a promotional pitch. Using a snowball technique, the researchers presented survey respondents with authentic-looking local television news stories; 157 respondents evaluated three stories (out of (...) nine). Some stories used station-generated footage, some network, and some VNRs. Respondents were asked their best estimation of the source. The data indicated a real likelihood VNR deception is occurring. Two of the three VNRs deceived at least half the respondents. Respondents were incorrect an average of 46% of the time when attempting to identifying VNRs, compared to 29% incorrectly identifying network video and 20% incorrectly identifying locally shot video. (shrink)

By strict definition, television journalism, like every form of journalism, has always been ?unreal?; some form of constructed mediated reality.1 But now, television journalism is coming to a crossroads?one where ethics and technology will meet squarely at right angles if not head?on. And it is reality, even the constructed mediated kind, that will be at risk. In a few years, television journalism at the network and local levels will have the capability, through television's emerging conversion (...) from analog to digital technology, to easily manipulate video and audio in utterly fundamental ways. It will be simple to completely re?shape, even to create, reality. The question won't be: ?Is it live or is it Memorex?"2 rather, it will be something like: ?Is it real or is it digitex?"3This article explores this new technology and the concomitant merger of form and substance in television journalism; it presents several hypothetical examples of this kind of unethical behavior and the motivations behind them; and, finally, it wonders what impact unethical digitexing might have on the First Amendment. (shrink)

Arguments do not occur against silent backdrops. From the drone of televisions to the music in a retail space to the symphony of combustion engines on the street, we are perpetually immersed in sound. We live in a noisy world. The combined sounds of these environments, or soundscapes, provide the very conditions of social interaction. Charles Hirschkind remarked that soundscapes are as necessary "to politics and public reason as are markets, associations, formal institutions, and information networks". These soundscapes are far (...) from neutral and can be designed to promote desired outcomes: soothing tones as you board an airplane to alleviate fear, a blaring voice over the loudspeaker to compel... (shrink)

The 1991 war against Iraq was one of the first televised events of the global village in which the entire world watched a military spectacle unfold via global TV satellite networks.1 In retrospect, the Bush administration and the Pentagon carried out one of the most successful public relations campaigns in the history of modern politics in its use of the media to mobilize support for the war. The mainstream media in the United States and elsewhere tended to be a compliant (...) vehicle for the government strategy to manipulate the public, imperiling democracy which requires informed citizens, checks and balances against excessive government power, and a free and vigorous critical media (see Kellner 1990 and 1992). Indeed, if the media do not adequately inform citizens, provide a check against excessive government power and corruption, and adequately debate the key issues of the day, democracy is undermined. M oreover, the U.S. media, especially CNN, completely dominated global coverage of the event. CNN had cameras and reporters in Baghdad throughout the war, a large crew in Israel, and live coverage of all U.S. military and government press conferences. Thus its images, discourses, and material tended to shape global coverage of the event. This meant that the Bush administration and Pentagon was able to control the flow of images and discourses and thus to manage the TV spectacle of the Gulf War.2 In this chapter, I first discuss the production of the text of the "crisis in the Gulf" and then "the Gulf war." This will involve analysis of disinformation and propaganda campaigns by the Bush administration, the Pentagon, and their allies, as well as dissection of the constraints produced by the so-called pool system. I also indicate how the political economy of the media in the United States facilitated the manufacturing of consent for U.S. government policies. Then I analyze the meanings embedded in the text of the war against Iraq and the reception of the text/event by the audience.. (shrink)

The Tanner Lectures on Human Values, founded July 1, 1978, at Clare Hall, Cambridge University, was established by the American scholar, industrialist, and philanthropist Obert Clark Tanner. Lectureships are awarded to outstanding scholars or leaders in broadly defined fields of human values and transcend ethnic, national, religious, or ideological distinctions. Volume 30 features lectures given in 2010 at Princeton University; Yale University; the University of California, Berkeley; the University of Utah; Stanford University; Clare Hall, Cambridge University; Harvard University; and Brasenose (...) College, Oxford University. CONTRIBUTORS: Bruce Ackerman, “The Decline and Fall of the American Republic” Bruce Ackerman is Sterling Professor of Law and Political Science at Yale and the author of fifteen books that have had a broad influence in political philosophy, constitutional law, and public policy. John Adams, “Doctor Atomic and His Gadgets” John Adams is a musician, composer, writer, and conductor whose work stands out for its depth of expression, its sonic brilliance, and the profoundly humanist nature of its themes. Isabel Allende, “In the Hearts of Women” Isabel Allende is a social activist and feminist whose novels and memoirs have established her as one of the most res-pected writers of our time. Abdullahi An-Nacim, “Transcending Imperialism: Human Values and Global Citizenship” Abdullahi Ahmed An-Nacim is the Charles Howard Candler Professor of Law at Emory Law School and an internationally recognized scholar of Islam and human rights in cross-­cultural perspectives. Mark Danner, “Torture and the Forever War” Mark Danner is a writer, journalist, and professor who has written for more than two decades on foreign affairs and international conflict. Sir Christopher Frayling, “Art and Religion in the Modern West: Some Perspectives” Sir Christopher Frayling is a historian, critic, and an award-winning broadcaster on British network radio and television. He has written seventeen books on the arts and popular culture. Jonathan Lear, “Becoming Human Does Not Come That Easily” Jonathan Lear is the John U. Nef Distinguished Service Professor at the Committee on Social Thought and the Depart-ment of Philosophy at the University of Chicago. His research and writings focus on philosophical conceptions of the human psyche. Ahmed Rashid, “Afghanistan” and “Pakistan” Ahmed Rashid is a reporter from Pakistan whose unique knowledge of this complex region allows him a panoramic vision and nuanced perspective that no Western writer can emulate. (shrink)

Beyond Ideology addresses the predominance of television news. This research attempts to rise above partisanship, that is, go beyond ideology in order to focus on cultural influences, if any, that may exist in the network newsrooms.

Recent decades have witnessed the rise of chefs to a position of cultural prominence. This rise has coincided with increased consciousness of ethical issues pertaining to food, particularly as they concern animals. We rank cookbooks by celebrity chefs according to the minimum number of sentient animals that must be killed to make their recipes. On our stipulative definition, celebrity chefs are those with their own television show on a national network in the United States, the United Kingdom, Canada (...) or Australia. Thirty cookbooks by 26 such chefs were categorized according to the total number of cows, pigs, chicken, fish and other species they included as ingredients. The total number of animals killed was divided by the number of non-dessert recipes to generate an average number of animal deaths per recipe for each book. We outline the rationale for our project and its methodology before presenting a ranked table of 30 cookbooks by celebrity chefs. This method generates several interesting findings. The first concerns the wide variation in animal fatalities among cookbooks. The chef with the heaviest animal footprint killed 5.25 animals per recipe, while the omnivorous chef with the smallest footprints killed 0.19 per recipe. Clearly, not all approaches to meat eating are equal when it comes to their animal mortality rate. Pigs and large ruminants are all substantially bigger than poultry, which are themselves bigger than many fish. The prime determinant of a chef’s place in the index was the number of small animals his or her recipes required. Whether a chef cooked in the style of a particular cuisine (Italian, French, Mexican etc.), by contrast, had no discernible influence on his or her ranking. We analyze how different chefs present themselves—as either especially sensitive or insensitive to ethical issues involving animals and food—and note cases where these presentations do or do not match their index ranking. -/- . (shrink)

The greatest intensity of “live” life is captured from as close as possible in order to be borne as far as possible away. Jacques Derrida. Echographies of Television . Rainer Ganahl has made a study of studying. As part of his extensive autobiographical art practice, he documents and presents many of the ambitious educational activities he undertakes. For example, he has been videotaping hundreds of hours of solitary study that show him struggling to learn Chinese, Arabic and a host (...) of other languages. The stacked boxes of tapes are then presented like minimalist monoliths, dense archives of effort. About fifteen years ago, Ganahl began photographing the lectures that he attends. At the time, he hadn’t seen anyone else doing it, so besides his spare selection of images of the speaker and the audience, much of the time the lectures would just pass into memory, undocumented, or recorded in writing alone. Since then, he has felt the transition to digital cause a significant shift in his process. At the same time, he has seen the habit become ubiquitous as others photograph, record, and videotape the lectures all around him. In keeping with the theme of this inaugural issue of continent. , can we propose each small grouping of photographs that result an isthmus stretching between two disparate bodies of mind? The first being the body of the lecture as spelled out in the title of each work – the experience of the event in all its constituent parts. The second is the body of the recipient, the listener, in this case an artist, who plays a minimal role just beyond the prescripted behavior of sitting and listening. He uses a gesture of documentation to draw a line between himself and the event, creating an artwork. Františka + Tim Gilman: As we mentioned before, the theme of the magazine for this issue is "isthmus." It seems like a very good way into your work, and it leads us to ask what connection you see between your photographs of the lecture and the lecture itself? Rainer Ganahl: The relationship is of course a concrete, pictorial one, or if you want a mimetic one but also an abstract one because the photographs carry the title of the lecture, the names of the lecturers, the site, the institution and the time of the lecture. Photos are fixed moments of time and can reproduce images displayed and reproduce visuals presented at a moment but they don’t come with time based recordings that video or sound takes are offering. What remains of a lecture is usually just the memory, some notes and all the announcements of it. In my case I end up with a visual product I declare as my artwork. It might not differ from any snapshot taken by any other student or member of the audience but I do this in a semi-systematic way with certain rules and procedures I have set up. While I am at a lecture I am mainly focusing on the lecture itself. Last night I went to one of Slavoj Žižek which demanded quite some concentration. I even was asking him a question at the end. I took photos as well but still didn’t lose track of the lecture. I didn’t walk around, I was not preoccupied by where I was sitting and what light I was having like some of the other photographing and filming people in the room who came and left, moved around and tried to capture him from this and that angle, from close and far. I just sat there and concentrated on the lecture and yet managed to take about 30 or so images of him, the public around me and of the film clips he presented. Once the lecture is over the story changes: it all becomes a question of the images, their selection, their visual qualities, their labeling and archiving. The function of the images also change: not only do they stand for an intellectual event in a row of lectures that become part of my intellectual history within many possible such histories but they also have to function as art, something not everybody else with images of lecturers demands of their images. This is my specific claim as an artist to impose them as artworks. And as with all artistic propositions the offer can be accepted or rejected. I basically spend my life trying to do exactly that: making what I declare as art, offering something to anybody interested in it as my art, an offer that is not and will never be accepted as such by all people. F+T: What are your criteria for selection, i.e. how do you choose which lectures to photograph, by lecturer, by topic, or do you photograph any and every lecture you can? RG: As everything in my life, I go by my interest which is the result of many factors. If I am aware of a lecturer, read his books or appreciate his works my interest of attending his much higher than if I am not aware of it. I usually don’t go to lecturers simply based on their subjects—something that can happen of course, if the subject, the title of the lecture is promising or at the heart of my interest. Sometimes I also wait for years to get a change to photograph certain people but I do that in a very low-level “keep your ears up” mentality and not in a systematic scanning of all channels and possibilities. I do not go into philosophy departments and photograph everybody teaching there. I go with the flow—and unfortunately a great deal of great talks I also miss because I hear too late of them. Often, I also stumble into them by traveling, by getting emails from friends and by simply being in the right spot at the right time. Somehow you could look at my lecture par cours as some kind of loose intellectual flâneurism . If you know of interesting lectures and events, please, let me know. F+T: Is your selection of images more of a production or post-production method? That is, do you take a lot of photos and select only a few images from each lecture, or do you take them very selectively? Do you have a particular methodology for the selection of images? RG: This all changed a bit with the arrival of digital photography. In the beginning I had to pay a lot of money for film developing. Hence, I was taking either one role - 36 images - or half a role - 13 images - depending on who talked and whether they projected images. With the unlimited capacity of digital imaging I easily end up between 30 and 150 images of one event still depending of whether images are presented or not. In the first years of that project when I wasn’t fully aware yet of what I was doing, I printed at least 2 images of any lecture and sometimes three or even four, a choice that was also constrained by costs. But again, since I have a web site and since images can easily be selected and presented on my web site without generating remarkable costs I have now more and more pain to reduce them to less than ten or eight images for an event. Now, before I have them printed which really is expensive, I can present them already as artwork on my web site without any immediate costs. Thus the economic factor is at the end of the chain which enables me to be more ‘generous’ and include more images. Over the last years I have been mostly selecting at least four photographs for a lecture unit but recently also as many as ten. But so far only one set above four images has been actually printed and sold. What might sound even more shocking is the likely fact that if a curator or a collector demands me to reduce the number of images due to costs, I might compromise at this current stage if the images have not been yet printed or published outside my own web site. This means that to a certain degree any selection that has only seen publication on my web site and not yet been produced runs the risk to change in numbers of images included. Needless to say, I am the last one that finally makes a decision and I do honor all given earlier decision if those were final. F+T: How do you feel the act of photographing the lecture affects your reception of the contents of the lecture? And your recollection afterwards, do you remember the lecture more having photographed it, or just having sat and listened? RG: As mentioned above, I get very little distraction from photographing since I can multitask well and do not obsess about the quality of the image: I photograph from where I am and listen with my ears and not my eyes. I am not sure whether the images serve as a mnemonic devise to the content of the lecture if there are no images involved but they at least remind me that the lecture existed, the title of the lecture and the name of the people and institutions involved. The titles of the hundreds of lectures I took during the past 15 years can also be read as an essay of theoretical life in that period. This will be come more and more visible as time passes by. These images age much better than I do. F+T: You mentioned at the outset of our discussions that you started this practice some time ago and have seen the practice of photographing lecturers become more commonplace. Why do you think that this shift has taken place? RG: The answer is very simple. Photographing is now free of any charge and hence omnipresent. You buy a phone or any other personal digital assistant and it has a camera integrated in it whether you want it or not. There is no need to develop images and there is no hassle to keep images, to distribute images, to organize images and save them. It is all virtual, not creating any costs and doesn’t require any efforts. You don’t spend twenty dollars for photo-developing anymore, you don’t need to walk anymore to your pharmacy or your photo shop to drop off and return to pick up and pay. You don’t need to go to the post office to send somebody a picture. You have a program like Photoshop already built into your camera. Photographing is now a thing for everybody—with functioning cameras made for two year olds. It is technically now nearly impossible to make bad images. The image quality is virtually guaranteed by cheap, high performing, mini-computers packed into miniscule cameras. With all these technological changes, we are undergoing now a cultural paradigm shift that includes permanent recording (not only still image taking) of everything. I wonder even whether babies are just born to be photographed—at least a process where the first photograph is right there. What is interesting now, is how the law is trying to catch up. I am experiencing and expecting more restrictions on photographing and recording—something already in place in many museums and in certain galleries—as the recording devices become more and more invisible and undetectable. It is an interesting cat and mouse play and will end up with some of us that are photographing the world around us in court. The world has become very transparent and everybody is contributing to it with social networking technologies—like twitter and Facebook—that are designed to monitor and communicate every step we make in our lives. F+T: Why did you start the practice? As a way to remember, or to capture the experience of the lecture and the environment there? RG: A couple of years earlier I started to photograph my own reading seminars as part of my art work with results that surprised me positively. I really liked these images of students and people discussing heavy non-fiction with me. The reading seminars justified this kind of pictorialism. Then in 1995 I had the chance to attend an entire seminar by Edward Said entitled “The Representation of Intellectuals at Columbia University,” which really gave me the idea to start this series. Why not also photograph these lectures I visit all the time since this really is a way of representing intellectuals? F+T: The constellation of images and the title seem like a kind of portrait, do you agree? If so, is it a portrait of the speaker, of yourself, or of the event? RG: Well, to follow up on the previous question the lectures are more than just portraits of lecturers since I include not only the speakers but also the audience, an audience that is not named or specifically highlighted as is the speaker. So if we stick with the metaphor of the portrait we would have to extend it also to the environment, the class room, the lecture hall, the arrangements of seats or benches, tables, lecture stands and other stuff typically seen on my images. Often the walls are decorated or even tagged with graffiti or posters and other stuff. There is a big difference between a small seminar room at the English Department of Columbia University, full with books and cabinets and a lecture room at a Paris or Frankfurt university that accommodates 50 to 150 people. We should, maybe, also distinguish between lectures that are one time events—mostly open to the public, free of charge or paid—and events that are weekly, closed to the public and held mostly in universities that can cost fortunes or be paid by the State as it is still predominantly the case in continental Europe. All this, of course, is not necessarily announced in the title of the lecture and is subject to information that isn’t visible on the images. To a certain degree we see also portraits of a general privilege when it comes to the public of certain institutions that are highly selective and extremely costly without forgetting that most of the lectures are dealing with theory, art, philosophy and other highbrow subjects. In general, I would say we see very little if we don’t know already what’s going on, who the lecturer, the institutions, the context are in which we subsequently can zoom into variants like sexual, racial, or age-related make-up without ignoring clothing fashions, hair styling, body mannerisms, gadgets and stuff. F+T: Do you see a relation between this body of work and your other work, for example your language studies? RG: Everything I do is “unfortunately” related. I say unfortunately because this makes my work not so easy to grasp. The relationship to the language studies is relatively clear since both are originally grounded in the domain of education and knowledge production. Nearly all my work comes across that nexus where knowledge and power are addressed. I was at one point wondering what the relationship was to some of my earlier indexical work where I was happy alone with footnotes from books painted on the walls: I came to understand that both are just different manifestations of knowledge and information. F+T: Do you foresee continuing the series indefinitely, or is there an end to it? RG: I think that I will continue this series indefinitely or to be more precise, as long as I go listen to lectures and want to learn something which brings me to your previous question: What do the reading seminars, language studies, historical research and lecture hopping have in common: I learn something. Further Reading Rainer Ganahl’s website William Kaizen. “ Vulgar Politics .” art&education . April 2009. Web. Smith, Roberta. “ Rainer Ganahl: ‘Language of Emigration & Pictures of Emigration .’” New York Times April 23 2010. Web. (shrink)

The bookModeling Reality covers a wide range of fascinating subjects, accessible to anyone who wants to learn about the use of computer modeling to solve a diverse range of problems, but who does not possess a specialized training in mathematics or computer science. The material presented is pitched at the level of high-school graduates, even though it covers some advanced topics (cellular automata, Shannon's measure of information, deterministic chaos, fractals, game theory, neural networks, genetic algorithms, and Turing machines). These advanced (...) topics are explained in terms of well known simple concepts: Cellular automata - Game of Life, Shannon's formula - Game of twenty questions, Game theory - Television quiz, etc. The book is unique in explaining in a straightforward, yet complete, fashion many important ideas, related to various models of reality and their applications. Twenty-five programs, written especially for this book, are provided on an accompanying CD. They greatly enhance its pedagogical value and make learning of even the more complex topics an enjoyable pleasure. (shrink)

The art of living today has shifted to a continuous state of the experimental. In one of his last texts, _Telemorphosis_, renowned thinker and anti-philosopher Jean Baudrillard takes on the task of thinking and reflecting on the coming digital media architectures of the social. While “the social” may have never existed, according to Baudrillard, his analysis at the beginning of the twenty-first century of the coming social media–networked cultures cannot be ignored. One need not look far in order to find (...) oneself snared within some sort of screenification of a techno-social community. “What the most radical critical critique, the most subversive delirious imagination, what no Situationist drift could have done... television has done.” Collective reality has entered a realm of telemorphosis. (shrink)

On May the 3rd, 2002, the European Centre for Ethics held the Politeia Conference in the Palace of the Royal Academy in Brussels. The conference title was The Rise of Lifestyle Politics and its Consequences for Liberty. In this issue we present the lectures delivered during this conference.The Politeia Conference intends to familiarize a broad public with innovative ideas to stimulate dialogue about the future of our society. Held every two years, the Politeia Conference invites internationally renowned academics with inspiring (...) views about social and political events.The conference is an interdisciplinary initiative. The conference enjoyed the support of the Royal Flemish Academy of Belgium for Arts and Science. It was a joint inter-university event, with the participation of K.U.Leuven, V.U.Brussels, the University of Ghent and the University of Antwerp.Until recently, political ideology provided a broad context of meaning and united a large group of people who strived for the same social ideals. The communication between the leadership of a political party and the grass-roots members went by way of local party representatives, and the voter's ballot was a sign of trust in the ability of the party leadership to translate their ideas into concrete political decisions.Now it seems that the traditional ideology-based political movements are a thing of the past. Their role and influence is in decline, while the importance of communication through the mass media has increased dramatically. Politicians are finding it necessary to show their faces on television.The efforts they make in diligently following certain issues turn out to be less 'rewarding' than submitting noteworthy legislative proposals, making audacious pronouncements, or participating in talk shows or demonstrations. What appeals nowadays to the reader or viewer — i.e., the voter — is not in the first place a specific message or a powerful argument.The focus now is on the politician as an individual, the lifestyle he personifies, and whether or not he is a smooth talker. In such an environment, political communication has a great deal in common with advertising. But when the majority of citizens entertain themselves with media spectacles and exhibit little interest in substantive arguments about decisions made at an increasingly abstract and global level, then political power withdraws from the eye of public opinion.A potentially troubling development that goes together with the waning influence of traditional political ideologies is the shift towards a more meritocratic society. The highest aspiration of a society driven by economic growth is not the general welfare or service to the community, but personal success.People are not judged on the basis of their loyalty and commitment to their organization, but on their individual achievements and belongings. However, a growing number of citizens feel they are unable to attain the kind of achievements and obtain the belongings that command respect today. This feeling of powerlessness has less to do with intellectual baggage or material considerations than with a lack of social recognition for their accomplishments.This malaise is particularly acute among those working in sectors where the emphasis is on the general public welfare and where career rewards are relatively meagre: education, health care and various other public services. Identification with the dominant political culture is also problematic among immigrants, who tend to work in low-prestige jobs and bear the stigma of a foreign origin.For these reasons, a growing number of people are distancing themselves from 'official' culture and taking refuge in the virtual enclaves of various mass media where a carefully cultivated house style ensures an attractive forum for a specific target group.A network or a newspaper that aims at a clearly definable segment of the population is an excellent medium for targeted advertising. Moreover, the creation of an atmosphere in which viewers, listeners and readers all feel at home benefits customer relations. Just as in real enclaves, the creation of a virtual enclave with an 'us versus them' presupposes a pressure to conform.Someone who does not meet the implicit expectations that are cultivated within a particular medium is denied access to the medium. Anything ugly, strange or out of the ordinary is held up to ridicule or indignation. The authority of a house style applies not only to the choice of fictional content, but also to the sort of news that is reported. News of crime and scandal is much better at strengthening the virtual solidarity of the group of insiders than abstract information concerned with the well-being of the actual society or world community.A virtual group gives the viewer, listener or reader a feeling of security, but it also undoubtedly contributes to a provincialism characterized by suspicion of everything complex, new or foreign. People who are susceptible to taking refuge in a virtual enclave are often the same people who feel attracted to political parties who favour a mono-ethnic enclave.In any case, there exists a demonstrable connection between the amount of television a person watches, a preference for commercial networks, soaps and game shows, on the one hand, and the choice of authoritarian leadership and xenophobia, on the other. This is a worrying state of affairs, in particular given the recent electoral success of anti-democratic parties in Europe.In order to resist anti-democratic feelings, we clearly need another sort of politics than 'lifestyle politics'. One aim of the Politeia Conference was to ask whether the decline of traditional ideology-based politics is an irreversible fact in light of the impact of the free market on the aspirations of citizens. Or is it possible to keep politics and the media out of the purely economic sphere, to create zones for real political debate and ethically inspired journalism? In this issue you will find some responses to these questions. (shrink)

As endosymbionts, the mitochondria are unique among organelles. This review provides insights into mitochondrial behavior and introduces the idea of a unified collective, an interconnected reticulum reminiscent of the Borg, a fictional humanoid species from the Star Trek television series whereby decisions are made within their network (or “hive”), linked to signaling cascades that coordinate the cross‐talk between mitochondrial and cellular processes (“subspace domain”). Similarly, mitochondrial dynamics are determined by two distinct processes, namely the local regulation of fission/fusion (...) and the global control of their behavior through cellular signaling pathways. Indeed, decisions within the hive provide each mitochondrial unit with autonomous control of their own degradation, whereby mitochondrial fusion is inactivated and they become substrates for autophagy. Decisions within the subspace domain couple signaling pathways involved in the functional integration of mitochondria with complex cellular transitions, including developmental cues, mitosis, and apoptosis. (shrink)

From the New York Times-bestselling author of Where Good Ideas Come From and Everything Bad Is Good for You, a new look at the power and legacy of great ideas. In this illustrated volume, Steven Johnson explores the history of innovation over centuries, tracing facets of modern life (refrigeration, clocks, and eyeglass lenses, to name a few) from their creation by hobbyists, amateurs, and entrepreneurs to their unintended historical consequences. Filled with surprising stories of accidental genius and brilliant mistakes-from the (...) French publisher who invented the phonograph before Edison but forgot to include playback, to the Hollywood movie star who helped invent the technology behind Wi-Fi and Bluetooth-How We Got to Now investigates the secret history behind the everyday objects of contemporary life. In his trademark style, Johnson examines unexpected connections between seemingly unrelated fields: how the invention of air-conditioning enabled the largest migration of human beings in the history of the species-to cities such as Dubai or Phoenix, which would otherwise be virtually uninhabitable; how pendulum clocks helped trigger the industrial revolution; and how clean water made it possible to manufacture computer chips. Accompanied by a major six-part television series on PBS, How We Got to Now is the story of collaborative networks building the modern world, written in the provocative, informative, and engaging style that has earned Johnson fans around the globe. (shrink)

In the bygone days of U-2 spy planes and Sputnik, the only ethical issues attached to satellites seemed to involve military secrecy and national boundaries. Now, with high-powered lenses, infrared senso ry devices, ubiquitous sateIEites, and instan,t high-resolution image transmission, the communication ethics issues-like the powers of global observation-have greatly magnified. Possibly, conventional warfare has become obsolete because television networks have access to a worldwide satellite images that show troops, fleets, and fighter squadrons forming prior to attack. Civilian privacy (...) has changed drastically as well because backyard sunbathers, naturalists, couples, speeding vehicles, and naked paramours seen through bedroom windows can all be identified, photographed, and publicized without their awareness or permission. Because the power, range, fuequency, and commercialism of such space photography will increase, ethicists must survey the surveillance. Vendors in many countries now routinely sell space imagery to news outlets. This means there are at least two types of communication ethics to consider: (a) In journalism ethics, editors and producers must decide whether they will publish many types of invasive photographs, some of which may also deal with military secrecy; and (b) in new media ethics, decisions about who employs, duplicates, regulates, as well as who sells and buys satellite imagery, must be monitored and debated. (shrink)

The modern information age brings changes to all phenomena of human life. For example, the natu re of wars change. They are transferred from the actual battlefield to the information space, i.e. they become hybrid. The winner is the one whose narrative becomes dominant in the global information space. The Russian-Ukrainian war is a vivid example of the latest confrontation. It takes place between two absolutely opposite positions, a compromise between which is impossible. This conflict is deeply existential, because Russia (...) sharply denies the existence of Ukraine as an independent state and as a nation in general. This is evidenced by the rhetoric of the aggressor state and numerous war crimes. However, this war is not only between two sides. By denying Ukraine its existence, Russia is also at war with the values that Ukrainians uphold and on the basis of which they strive to build their own country. And these are the values of the free democratic world. Therefore, Russia opposes not only one country, but all those who also share them. That is why the information war begins to reach far beyond the borders of Ukraine. Already today, we can see the influence of Russia, whose propaganda influences the agenda of many leading Western countries. Using both classic mass media (newspapers, radio, television) and new ones (communities in social networks, bloggers, etc.), it intervenes in the global information space. The Internet only further complicates the dissemination of reliable information and promotes propaganda, because now there is almost no control over the flow of information. Habermas states this problem, noting that everyone is now a potential author without editorial control. Therefore, in conditions where the mass media gravitate towards entertainment and most of the information flows in an uncontrolled stream, there is a war for human minds. That’s why the current situation becomes a challenge for communicative theory, which has learned to make a correct diagnosis, but has not yet offered its option for exiting the crisis. Habermas’ post “War and In dignation” is so far only a testimony to the failure of his philosophy in the face of real challenges. Therefore, modern war is also a direct test for communicative theory, which must either find a way out of its limits or confirm its defeat. (shrink)

This study examines the accountability of assessments in news interview settings on two Arabic networks. It employs a conversation analytic approach, in addition to quantitative analysis to identify the most adopted practices that show participants’ orientation to the accountability of assessments. The data consists of 28 hours of recorded interviews on the Arab television news networks, Aljazeera Al-Arabiya channels. The findings show that interviewers and interviewees adopt different strategies to avoid the accountability of their displayed assessments. Interviewers attribute their (...) assessments either to third parties or to the upshot of interviewees’ answers. Similarly, interviewees introduce accounts before and following their proffered assessments to provide epistemic support to these assessments. Furthermore, interviewers introduce follow-up questions to scrutinize interviewees’ assessments and accounts or seek interviewees’ reaffirmation of these assessments to highlight their accountability. (shrink)

I bring you greetings from the United States, where its citizens have been closely following the events of the past three weeks. There has been a great change in the feelings of common American people towards the Russian people. Many have expressed their sense of identity and solidarity with the people of Moscow and St. Petersburg as they witnessed the resistance for the attempted coup. Americans have enormous respect for constitutional government as well as for democracy, and they saw the (...) coup as unconstitutional from the start. A major factor was the television news service. The major American broadcast networks  NBCD, CBS, ABC  and the cable networks, especially CNN  provided often live coverage throughout the days and nights of events in the streets and squares of Moscow, and later in the halls of the Soviet and Russian Parliaments. We witnessed press conferences, from one with the committee of 8 to one 3 nights ago in which Boris Yeltsin and Mikhail Gorbachev spoke with the American people. We made our individual judgments about events, often listening to debates between experts and scholars on Soviet affairs  some Russian, some Ukrainian, some from the Baltic states  and we spoke frequently and freely with one another  even some of discussions with our friends were televised. We experienced fear and dread as it seemed great military forces were being brought to bear on your White House. We wept with grief and rage as the deaths of Russians confronting tanks were reported. We cheered to see Russian women scolding soldiers in the streets. In the aftermath, there has been much discussion of Russia’s needs and how Americans might help. In that curious mixture of avarice and beneficence that is the way of American business, discussions were held on starting a restaurant, and import service, on how to use rubles to pay for local expenses and hard currency for profit-taking. (shrink)