Co-authorship in the age of cyberculture: Open Educational Resources at the Open University of the United Kingdom

Locating Open Educational Resources (OER) as a phenomenon of cyberculture, this paper presents a reflection on the possibilities of co-authorship that are entailed in OER initiatives of different natures and settings within a large organisation. A selection of OER-related projects and activities carried out at the Open University of United Kingdom (UKOU) are examined from the perspective of a comparative framework proposed by Okada (2010). The framework identifies key features and differences between ‘Closed’ and ‘Open’ Education, that is, respectively, formal education, which takes place within the constraints of institutional Virtual Learning Environments, and informal education, which is gradually taking place more widely in cyberspace. The paper is introduced with a succinct discussion of the connection between cyberculture and the emergence of OER, followed by a presentation of the comparative framework adopted. The UKOU´s structure and methods are then presented, and various projects are discussed. The article concludes by proposing a brief commentary on the creative potential that is being unleashed at the very boundaries between formal and informal educational spaces that cyberculture is challenging

Media Culture 2020: collaborative teaching and blended learning using social media and cloud-based technologies

The Media Culture 2020 project was considered to be a great success by all the partners, academics and especially the students who took part. It is a true example of an intercultural, multidisciplinary, blended learning experience in higher education that achieved it goals of breaking down classroom walls and bridging geographical distance and cultural barriers. The students with different skills, coming from different countries and cultures, interacting with other enlarges the possibilities of creativity, collaboration and quality work. The blend of both synchronous and asynchronous teaching methods fostered an open, blended learning environment, one that extended the traditional boundaries of the classroom in time and space. The interactive and decentralized nature of digital tools enabled staff and students to communicate and strengthen social ties, alongside participation in the production of new knowledge and media content. For students and lecturers, the implementation of social media and cloud platforms offered an innovative solution to both teaching and learning in a collaborative manner. By leveraging the interactive and decentralised capabilities of a range of technologies in an educational context, this model of digital scholarship facilitates an open and dynamic working environment. Blended teaching methods allow for expansive collaboration, whereby information and knowledge can be accessed and disseminated across a number of networked devices

Introduction: latest advancements in audiovisual translation education

The consumption of audiovisual content, from the more traditional animations, documentaries, movies, and TV shows to the more recent online user-generated content found on social media platforms, including video games, has grown exponentially over the last few decades. The omnipresence of screens in society has led to transformations in audiences’ watching habits, now impatient to enjoy their programmes as soon as possible and inclined to binge watch. Recent technological advances in the production of specialist audiovisual translation (AVT) software and web-based applications have paved the way for further changes and enhancements in the ways professionals localise audiovisual content and in the nature of the services provided. This special issue sheds light on the current teaching and learning practices, methodologies and issues encountered by translator trainers specialised in AVT, with particular emphasis on pedagogical innovation, media accessibility, and translation technology

A Survey Analysis of Art Teachers’ Use of Transmedia Technology

[EN] Transmedia technology is a modern innovative system which scientists consider to be real communication revolution. Transmedia technology is investigated and actively implemented in different life spheres and social activities, such as mass media, journalism, marketing, culture, education etc. There is an urgent need to study the opportunities of using the transmedia technologies in art education, in particular in music teachers’ professional training. The implementing of transmedia technology in music teachers’ professional training contributes to the qualitative development of their professional competence, broadening of their outlooks, the improvement of artistic abilities, and professional skills. To study in detail both teachers’ and HEI students’ mastering of transmedia technology, the online survey “Transmedia Technology in Art Education” was held. HEI lecturers, secondary school Art teachers, teachers of Art school in Sloviansk, students of SHEI “Donbas State Pedagogical University” and Communal Institution “Pokrovsk Pedagogical College” took part in this questionnaire. The analysis of tests has proved the low level of acknowledgement about the essence of transmedia technology. However, it has demonstrated a high level of general technology knowledge and skills that makes it possible to implement the transmedia technology in educational process. We have revealed a number of issues which require the attention and further development.Havrilova, L.; Oriekhova, V.; Beskorsa, O.; Churikova-Kushnir, O.; Sofronii, Z. (2021). A Survey Analysis of Art Teachers’ Use of Transmedia Technology. Multidisciplinary Journal for Education, Social and Technological Sciences. 8(1):58-84. https://doi.org/10.4995/muse.2021.14875OJS588481Ahrikova, E. V. (2016). Formirovanie navykov transmediynogo povestvovaniya u studentov - budushchikh zhurnalistov sredstvami inostrannogo yazyka [Development of transmedia storytelling skills of students - future journalists using foreign language]. Obshchestvo: sotsiologiya, psikhologiya, pedagogika, 8, 91-94. https://cyberleninka.ru/article/n/formirovanie-navykov-transmediynogo-povestvovaniya-u-studentov-buduschih-zhurnalistov-sredstvami-inostrannogo-yazykaAl-Khanaki, J. (2016). Printsipy transmediynogo povestvovaniya [Principles of transmedia storytelling]. Uspekhi sovremmenoy nauki i obrazovaniya, 11 (5), 108-113.Alves, O., Ricardo, G., Flexor & Ochi, C. (2020). The Impact of Smart Cities on the Emergency of Transmedia Literacy. Humanidades & Inovacao, 7(6), 221-229.Beskorsa, O. (2017). Virtual Learning Environment Moodle as a Means to Organize Blended Learning in Teaching Practical Phonetics of German Language. Information Technologies and Learning Tools, 62, 86-97. https://doi.org/10.33407/itlt.v62i6.1832Brusk, J. & Engstrom, H. (2020). Marvinter: A case study of an inclusive transmedia storytelling production. Convergence: The International Journal of Research into New Media Technologies. https://doi.org/10.1177/1354856520923972Castells, N. M.& Illera, J. L. (2018). Activity and learning contexts in educational transmedia. Digital education review, 33, 77-86.Chenu, C., German, R., Gressier-Soudan, E., Levillain, F., Astic, I. & Roirand, V. (2014). Transmedia storytelling and cultural heritage interpretation: the CULTE project. MWF2014: Museum and The Web Florence, Mar 2014, Florence, Italy. http://mwf2014.museumsandtheweb.com/paper/transmedia-storytelling-and-cultural-heritage-interpretation-the-culte-project/Chinita, F. (2020). Peter Greenaway's The Tulse Luper Suitcases Project (2003-2005) Transmedia Storytelling as Self-Reference Multimediality. Transmediations: Communication Across Media Borders / ed. Salmose, N. & Ellestrom, L. Routledge, Oxford, England. Pp. 31-51. https://doi.org/10.4324/9780429282775-3Dalelio, C. M. (2020). The collaborative identity project: A shared transmedia experience in digital representation. Communication Teacher, 34(2), 153-160. https://doi.org/10.1080/17404622.2019.1653486 .Fleming, L. (2013). Expanding Learning Opportunities with Transmedia Practices: Inanimate Alice as an Exemplar. Journal of Media Literacy Education, 5(2), 370-377. https://digitalcommons.uri.edu/cgi/viewcontent.cgi?article=1124&context=jmleGarcía-Marín, D., Aparici, R. (2018). New sound communication. Cartography, grammar and transmedia narrative of podcasting. El Profesional de la Informacion, 27, 964-974. https://doi.org/10.3145/epi.2018.sep.11Garcia-Roca, A. (2020). Virtually digital reading: the collective challenge of textual interpretation. Cinta de Moebio, 67, 65-74. https://doi.org/10.4067/S0717-554X2020000100065Girón García, C. & Navarro Ferrando, I. (2014). Digital Literacy and Metaphorical Models. Multidisciplinary Journal for Education, Social and Technological Sciences, 1(2), 160-180. https://doi.org/10.4995/muse.2014.2991Gonzalez-Diez, L., Puebla-Martinez, B., & Perez-Cuadrado P. (2018). De la maquetación a la narrativa transmedia: una revisión del concepto de 'diseño de la información periodística. Palabra Clave 21, 445-468. https://doi.org/10.5294/pacla.2018.21.2.8Haamer, K. (2020). Transmedia Music. Perspectives on the Future of Music. http://krishaamer.com/transmedia-music/Havrilova, L., Ishutina, О., Zamorotska, V., & Kassim, D. (2019). Distance Learning Courses in Developing Future Music Teachers' Instrumental Performance Competence. Cloud Technologies in Education. Proceedings of the 6th Workshop CTE 2018, Kryvyi Rih, Ukraine. EUR-WS.org, online, 429-442. http://ceur-ws.org/Vol-2433/Javanshir, R., Carroll, B. & Millard, D. (2020). Structural patterns for transmedia storytelling. PLOS ONE, 15(1). https://doi.org/10.1371/journal.pone.0225910Jenkins, H. (2003). Transmedia Storytelling. MIT Technology Review. https://www.technologyreview.com/s/401760/transmedia-storytelling/Martinez, R. A., Atienza, L. D., & Zamora, E. G. (2018). Creation of transmedia contents in the hyperconnected society. Revista Fuentes, 20(1), 29-41. https://doi.org/10.12795/revistafuentes.2018.v20.i1.02Mateos-Rusillo, S. M. & Gifreu-Castells, A. (2018). Transmedia Storytelling and Its Natural Application in Museums. The Case of the Bosch Project at the Museo Nacional del Prado. Curator, 61, 301-313. https://doi.org/10.1111/cura.12252McCarthy, E., Tiu, M., & Li, L. (2018). Learning Math with Curious George and the Odd Squad: Transmedia in the Classroom. Technology, Knowledge and Learning, 23, 223-246. https://doi.org/10.1007/s10758-018-9361-4More Than Meets the Eye: Special Effects and the Fantastic Transmedia Franchise by Bob Rehak. New York University Press, 2018.Moya, E. (2020). Transmedia and New Politics. ISEGORÍA. Revista de Filosofía Moral y Política, 62, 55-74. https://doi.org/10.3989/isegoria.2020.062.03Moya, E., & Moya, J. (2018). Prosum, swarming and transmedia. Towards a new concept of stakeholder. Revista icono 14-revista cientifica de comunicacion y tecnologias, 16(2), 25-50. https://doi.org/10.7195/ri14.v16i2.1213Myatin, Е. (2006). Podcasting - synthesis of the Internet and radio. https://www.ixbt.com/td/podcasting.shtmlPerez-Manzano, A. & Almela-Baeza, J. (2018). Gamification and transmedia for scientific promotion and for encouraging scientific careers in adolescents. Comunicar, 55, 93-103. https://doi.org/10.3916/C55-2018-09Ryan, M.-L. (2020). Transmedia Storytelling and Its Discourses. Transmediations: Communication Across Media Borders / ed. Salmose, N. & Ellestrom, L. Routledge, Oxford, England. Pp. 17-30. https://doi.org/10.4324/9780429282775-2Scolari, A. C. (2016). Alfabetismo transmedia. Estrategias de aprendizaje informal y competencias mediáticas en la nueva ecología de la comunicación, 103, 12-23.Scolari, A. C. (Ed.). (2018a). Teens, media and collaborative cultures: exploiting teens' transmedia skills in the classroom. Barcelona: Transmedia Literacy.Scolari, A., Masanet, M.-J., Guerrero-Pico, M., & Establés, M.-J. (2018). Transmedia literacy in then we media ecology: teens' transmedia skills and informal learning strategies. El profesional de la información, 27(4), 801-812. https://doi.org/10.3145/epi.2018.jul.09Scolari, C. A. (2018b). Transmedia branding: Brands, narrative worlds, and the mcwhopper peace agreement. Semiotika, 224, 1-17. https://doi.org/10.1515/sem-2016-0216Shim, A., Yecies, B., Ren, X. & Wang, D. (2020). Cultural intermediation and the basis of trust among webtoon and webnovel communities. Information Communication & Society, 23(6), 833-848. https://doi.org/10.1080/1369118X.2020.1751865Sime, J.-A., Themelis, C. (2020). Educators' perspectives on transmedia identity management: Redefining tele-teacher presence. Distance Education, 41(1), 70-85. https://doi.org/10.1080/01587919.2020.1727292Sixto-Garcia, J., Melo, S. D. & Guilhermina, A. (2020). Self-destructive content in university teaching: new challenge in the Digital Competence of Educators. Communication & Society-Spain, 33(3), 187-199. https://doi.org/10.15581/003.33.3.187-199Sotelo, X. "Critical Thinking Competence, Problem Solving Skills and Social Responsibility through Transmedia Stories of Social Intervention" in EDULEARN18 Conference Proceedings 10th Annual International Conference on Education and New Learning Technologies. (pp. 8033-8040).Tormakhova, A. M. (2018). Transfeminizm ta yoho vplyv na vizualni praktyky transmedia [Transfeminism and its influence on visual practice of transmedia]. Ukrainska kultura: mynule, suchasne, shliakhy rozvytku, 29, 131-135.Vyhovska, N. A. (2014). Transmediynyy rasskaz / multimediynaya istoriya kak novye sposoby dostavki kontenta sovremennoy zhurnalistiki: teoreticheskie aspekty [Transmedia storytelling / multimedia story as a new means of delivering the content of modern journalism: theoretical aspects]. Scientific Lettersof Academic Societyof Michal Baludansky, 1 (1), 168-172.What are podcasts, how are they listened to and why are the useful? (2019). https://blog.comfy.ua/chto-takoe-podkasty-kak-ikh-slushat-i-pochemu-ehto-polezno/Wood, А. (2020). More Than Meets the Eye: Special Effects and the Fantastic Transmedia Franchise by Bob Rehak (review). JCMS: Journal of Cinema and Media Studies, 59(2), 192-196. https://doi.org/10.1353/cj.2020.0016Yeates, R. (2020). Serial fiction podcasting and participatory culture: Fan influence and representation in The Adventure Zone. European Journal of Cultural Studies, 23(2), 223-243. https://doi.org/10.1177/1367549418786420Zhenchenko M. (2019). Tsyfrovi transformatsii vydavnychoi haluzi [Digital Transformation of the Publishing Industry]. Kyiv: Zhnets.Zhurba, M. (2018). The Transmedia Universe of digitized culture. National Academy of Managerial Staff of Culture and Arts Herald, 3. https://doi.org/10.32461/2226-3209.3.2018.14708

Towards QoE-Driven Optimization of Multi-Dimensional Content Streaming

Whereas adaptive video streaming for 2D video is well established and frequently used in streaming services, adaptation for emerging higher-dimensional content, such as point clouds, is still a research issue. Moreover, how to optimize resource usage in streaming services that support multiple content types of different dimensions and levels of interactivity has so far not been sufficiently studied. Learning-based approaches aim to optimize the streaming experience according to user needs. They predict quality metrics and try to find system parameters maximizing them given the current network conditions. With this paper, we show how to approach content and network adaption driven by Quality of Experience (QoE) for multi-dimensional content. We describe components required to create a system adapting multiple streams of different content types simultaneously, identify research gaps and propose potential next steps