Professional and amateur musicians alike use social media as a platform for showcasing and promoting their music. Social media evaluation practices—rating, ranking, voting, “liking,” and “friending” by ordinary users, peers, and critics—have become essential promotional tools for musicians. In this report, H. Cecilia Suhr examines one recent development in online music evaluation: the use of digital badges to aid in assessment and evaluation. Digital badges have emerged in recent years as a potential credentialing method in informal learning environments.
Music videos were once something broadcast by MTV and received on our TV screens. Today, music videos are searched for, downloaded, and viewed on our computer screens—or produced in our living rooms and uploaded to social media. In We Used to Wait, Rebecca Kinskey examines this shift. She investigates music video as a form, originally a product created by professionals to be consumed by nonprofessionals; as a practice, increasingly taken up by amateurs; and as a literacy, to be experimented with and mastered.
The New York Times declared 2012 to be “The Year of the MOOC” as millions of students enrolled in massive open online courses (known as MOOCs), millions of investment dollars flowed to the companies making them, and the media declared MOOCs to be earth-shaking game-changers in higher education. During the inevitable backlash that followed, critics highlighted MOOCs’ high dropout rate, the low chance of earning back initial investments, and the potential for any earth-shaking game change to make things worse instead of better.
Fresh from a party, a teen posts a photo on Facebook of a friend drinking a beer. A college student repurposes an article from Wikipedia for a paper. A group of players in a multiplayer online game routinely cheat new players by selling them worthless virtual accessories for high prices. In Disconnected, Carrie James examines how young people and the adults in their lives think about these sorts of online dilemmas, describing ethical blind spots and disconnects.
The popular image of the “digital native”—usually depicted as a technically savvy and digitally empowered teen—is based on the assumption that all young people are equally equipped to become innovators and entrepreneurs. Yet young people in low-income communities often lack access to the learning opportunities, tools, and collaborators (at school and elsewhere) that help digital natives develop the necessary expertise.
Behind the lectern stands the professor, deploying course management systems, online quizzes, wireless clickers, PowerPoint slides, podcasts, and plagiarism-detection software. In the seats are the students, armed with smartphones, laptops, tablets, music players, and social networking. Although these two forces seem poised to do battle with each other, they are really both taking part in a war on learning itself. In this book, Elizabeth Losh examines current efforts to “reform” higher education by applying technological solutions to problems in teaching and learning.
Today, DIY—do-it-yourself—describes more than self-taught carpentry. Social media enables DIY citizens to organize and protest in new ways (as in Egypt’s “Twitter revolution” of 2011) and to repurpose corporate content (or create new user-generated content) in order to offer political counternarratives. This book examines the usefulness and limits of DIY citizenship, exploring the diverse forms of political participation and “critical making” that have emerged in recent years.
Although they may disavow politics as such, civic-minded young people use every means and media at their disposal to carry out the basic tasks of citizenship. Through a mix of face-to-face and digital methods, they deliberate on important issues and debate with peers and powerbrokers, redefining some key dynamics that govern civic life in the process. In Participatory Politics, Elisabeth Soep examines the specific tactics used by young people as they experiment with civic engagement.
In Phantasmal Media, D. Fox Harrell considers the expressive power of computational media. He argues, forcefully and persuasively, that the great expressive potential of computational media comes from the ability to construct and reveal phantasms—blends of cultural ideas and sensory imagination. These ubiquitous and often-unseen phantasms—cognitive phenomena that include sense of self, metaphors, social categories, narrative, and poetic thinking—influence almost all our everyday experiences.
There has been widespread concern in contemporary Western societies about declining engagement in civic life; people are less inclined to vote, to join political parties, to campaign for social causes, or to trust political processes. Young people in particular are frequently described as alienated or apathetic. Some have looked optimistically to new media—and particularly the Internet—as a means of revitalizing civic life and democracy.