This article focuses on the interactions produced by the use of the digital camera in a mass observation into everyday fashions in Nottingham. The research project includes a team of researchers, and so there is no single research relationship. Therefore this article uses the mass observation, which includes photographs and interviews with in excess of 800 participants, to highlight the complexities of the research relationship. The definition of this relationship is widened out to include the interactions between researcher and participant, the relationship participants have to each other, and the relationship they have to themselves.The digital camera is seen as a site of negotiation between researchers and participants; in turn, the research relationship is redefined as a web of interactions which are mediated by the camera and the photographic images.

Digital Photography and Research Relationships: Capturing the Fashion Moment

This dissertation examines nonprofit, co-operative, and volunteer media enterprises operating outside Saskatchewan’s state and commercial media sectors. Drawing on historical research and contemporary case studies, I take the position that this third sector of media activity has played, and continues to play, a much-needed role in engaging marginalized voices in social discourse, encouraging participation in community-building and local governance, fostering local-global connectedness, and holding power to account when the rights and interests of citizens are jeopardized. The cases studied reveal a surprising level of resiliency among third sector media enterprises; however, the research also finds that the challenges facing third sector media practitioners have deepened considerably in recent decades, testing this resiliency. A rapid withdrawal of media development support from the public sphere has left Saskatchewan’s third sector media at a crossroads. The degree of the problem is largely unknown outside media practitioner circles, even among civil society allies. I argue this relates to the lack of recognition of nonprofit, co-operative, and volunteer media as a distinct third sector, thus obscuring the global impact when hundreds of small undertakings shed staff and reduce operations in multiple locations across Canada. At the same time, there is increasing recognition that such media have the potential to fill a void left by commercial and state media organizations that have retreated from local communities. Accordingly, this dissertation makes the case for a coordinated media development strategy as a component of the social economy. The challenge is to build useful mechanisms of support among civil society allies that do not replicate oppressive donor-client relationships that are all too common in the arena of governmental and private sector support. While never simple, the opportunities and social benefits are considerable when citizens devise the means to participate in the creation of a robust, diverse media ecology.

Independent Voices: Third Sector Media Development and Local Governance in Saskatchewan

Another radio is possible: Thai community radio from the grass roots to the global

The article explores Open Access in the context of recent contributions in communication and public relations theory, notably Bakhtinian dialogism. Increasingly since the 1960s communication and public relations theory have shifted their focus away from one-way, asymmetrical to two-way, symmetrical models, thereby progressing to more equitable and interactive, multi-level conceptual models of dialogic and polyphonic communication [1]. It is in this context that Bakhtinian dialogism becomes highly relevant. The influence exerted today by the Russian literary theoretician Mikhail M. Bakhtin (1895-1975) extends far beyond literary theory into fields such as philosophy of language, linguistics, musicology, anthropology, culture studies, classic studies, history, political science and theology, communication and public relations theory, including new media [2]. Open Access is interpreted by using the Bakhtinian concepts of dialogue, polyphony and carnival, which in combination view Open Access as a healthy and sustainable, consumer-led answer to the serials crisis and a revolt against the system that has produced the serials crisis, viz. hegemonic power structures and relations of traditional, subscription-based and commercially motivated scholarly publishing

Open Access and Bakhtinian Dialogism

O presente ensaio constitui um comentario critico a tese de Paul Virilio de que certo tipo de praticas na fronteira entre a arte e a tecno-ciencia, praticas a que se convencionou chamar “bio-arte”, epitomizam o radicalismo expressionista e niilista do presente. A investigacao aqui iniciada revela, atraves de um olhar sobre as praticas artisticas de Eduardo Kac, que estas, longe de apelarem a tal radicalismo, so se tornam operativas e significativas numa atmosfera de compromisso etico e politico que e tomada como inescapavel dada a relevância que assumem as bio-tecno-ciencias no mundo contemporâneo.

/pdf/fluidez-tectonica-as-bio-tecno-ciencias-a-bio-arte-e-a-35btanngv1.pdf

Fluidez tectónica. As bio-tecno-ciências, a bio-arte e a paisagem cognitiva do presente

The words ‘dialogical’ or ‘dialogism’ appear often in literary criticism and philosophy, but further research is necessary regarding the meaning of these terms in the visual arts. When applied to visual arts, these terms usually become tropes similar to their counterparts in literary theory, that is, metaphors to support the analysis of cultural products that are materially self-contained (for example books, paintings) and therefore incapable of creating the living experience of dialogues. It is clear that one can engage in a dialogue about a book, but the book itself is not a dialogical medium.1 The understanding of art as inter-communication moves us away from the issue of ‘what is it that art or the artist communicates?’ to question the very structure of the communication process itself. It is not so much what is being communicated in a particular situation that is at stake, but the very possibility of verbi-vocovisual interlocution that ultimately characterizes symbolic exchanges. Works of art created with telematic media are communication events in which information flows in multiple directions. These events aim not to represent a transformation in the structure of communication, but to create the experience of it. I propose that new insights can be gained by examining art works that are themselves real dialogues, that is, active forms of communication between two living entities.

Negotiating Meaning: the Dialogic Imagination in Electronic Art

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Negotiating Meaning: the Dialogic Imagination in Electronic Art