'R.I.P. man...u are missed and loved by many': entextualising moments of mourning on a Facebook Rest in Peace group site

Digital media offer new domains for people to articulate aspects of their everyday selves, as well as to share resources, views, attitudes, and emotions on an unprecedented scale (Barton and Lee 2013; Georgakopoulou 2006; Jones and Hafner 2012). The recent emergence of online environments as new sites for the temporal, spatial and social expansion of death and mourning (Brubaker and Hayes 2011; Brubaker, Hayes and Dourish 2013) has attracted scholarly interest in digital post-death rituals of mourning and memorialisation as an important social phenomenon (Walter et al. 2011; de Vries and Roberts 2004). While previous studies have been largely based on content analyses of individual MySpace logs and Facebook or discussion forum posts, the present study approaches digital memorial posts as entextualised moments of mourning shared with and for a networked audience (John 2013; Androutsopoulos 2014). The article analyses a corpus of Facebook memorial posts (N=525) as post sequences, wall events and texts, looking at how content on the site is produced, shared and discursively regimented. Based on the analysis, it is suggested that the intextualisation of moments of mourning on Facebook is participatory: it involves users’ selection of moments for public display relating to offline ceremonies of mourning, calendar-important dates or personal updates and contributing to the production of a textured wall in memory of the dead. The textuality of posts is found to rely on an ad hoc blending of formal genres of mourning and vernacular genres of writing dependent on (i) situational (date of posting activity, position in the post sequence) and (ii) extra-textual parameters (gender of poster, relationship with the deceased). The present socio-discursive investigation contributes to the growing, in-depth understanding of the texture and textuality of Web 2.0 mourning practices

(Re)contextualising audience receptions of reality TV

This paper seeks to recontextualise key findings from recent studies of reality TV audiences in light of insights drawn from across the wider field. It suggests that modes of engagement and response adopted by different reality TV audiences appear broadly consistent with those identified in relation to a wide variety of genres viewed in diverse national contexts, as charted in the Composite Multi-dimensional Model of audience reception (Michelle 2007). To further illustrate these parallels, this paper analyses online audience responses to a specific event that occurred during the 2006 reality game show, Rock Star: Supernova, applying the Composite Multi-dimensional Model as its conceptual schema. In so doing, this paper seeks to demonstrate how we might move beyond the traditional focus on specificities of genre and format to recognise and begin to theorise broader continuities in the nature of audience engagement that may persist beyond the transition to new, hybrid, and increasingly interactive media formats

Musical preferences and technologies: Contemporary material and symbolic distinctions criticised

Today how individuals interact with various cultural items is not perfectly consistent with theoretical frameworks of influential scholars on cultural consumption, such as Bourdieu (1984), Gans (1999), and Peterson and Simkus (1992). One such variation is in the ever increasing variety of technological modes to acquire and listen to music (Pinch and Bijsterveld, 2004). However, as a consequence of digital divides (van Dijk, 2006), technological items may not be distributed equally among social groups. At present, the value of status-making through a preference for different genres of music extends itself to different forms of consumption and ways of experiencing music. We are yet to fully understand the power these practices have on generating status. This article is therefore motivated by the need to integrate within quantitative frameworks of taste and cultural consumption, an analysis of individuals’ technological engagement. These two dimensions, integrated as components of musical practices, enhance our understanding of cultural boundaries across different social groups.The objective is to bridge a gap detected in the literature, addressing the following questions: Are technological modes to listen to music related to musical tastes

From Modern Rock to Postmodern Hard Rock: Cambodian Alternative Music Voices

Cambodian modernity was driven by the political agenda of the Sihanouk government beginning in the 1950s, and Cambodian rock and roll emerged in the 1960s in step with Sihanouk\u27s ambitious national modernization project. Urban rockers were primarily upper-class male youths. In. the postcolonial era rock and roll was appropriated from abroad and given a unique Cambodian sound, while today\u27s emerging hard rock music borrows foreign sociocultural references along with the music. Postmodern Cambodia and its diaspora have seen the evolution of a more diverse music subculture of alternative voices of hard rock bands and hip-hop artists, as well as post-bourgeois and post-male singers and songwriters. Keywords: Modernity, Postmodernity, Cambodian Music, Alternative Voices, Rock, Hard roc

The Industry and Policy Context for Digital Games for Empowerment and Inclusion:Market Analysis, Future Prospects and Key Challenges in Videogames, Serious Games and Gamification

The effective use of digital games for empowerment and social inclusion (DGEI) of people and communities at risk of exclusion will be shaped by, and may influence the development of a range of sectors that supply products, services, technology and research. The principal industries that would appear to be implicated are the 'videogames' industry, and an emerging 'serious games' industry. The videogames industry is an ecosystem of developers, publishers and other service providers drawn from the interactive media, software and broader ICT industry that services the mainstream leisure market in games, The 'serious games' industry is a rather fragmented and growing network of firms, users, research and policy makers from a variety of sectors. This emerging industry is are trying to develop knowledge, products, services and a market for the use of digital games, and products inspired by digital games, for a range of non-leisure applications. This report provides a summary of the state of play of these industries, their trajectories and the challenges they face. It also analyses the contribution they could make to exploiting digital games for empowerment and social inclusion. Finally, it explores existing policy towards activities in these industries and markets, and draws conclusions as to the future policy relevance of engaging with them to support innovation and uptake of effective digital game-based approaches to empowerment and social inclusion.JRC.J.3-Information Societ

Popular music, psychogeography, place identity and tourism: The case of Sheffield

Tourism and cultural agencies in some English provincial cities are promoting their popular music ‘heritage’ and, in some cases, contemporary musicians through the packaging of trails, sites, ‘iconic’ venues and festivals. This article focuses on Sheffield, a ‘post-industrial’ northern English city which is drawing on its associations with musicians past and present in seeking to attract tourists. This article is based on interviews with, among others, recording artists, promoters, producers and venue managers, along with reflective observational and documentary data. Theoretical remarks are made on the representations of popular musicians through cultural tourism strategies, programmes and products and also on the ways in which musicians convey a ‘psychogeographical’ sense of place in the ‘soundscape’ of the city

Conventions and mutual expectations — understanding sources for web genres

Genres can be understood in many different ways. They are often perceived as a primarily sociological construction, or, alternatively, as a stylostatistically observable objective characteristic of texts. The latter view is more common in the research field of information and language technology. These two views can be quite compatible and can inform each other; this present investigation discusses knowledge sources for studying genre variation and change by observing reader and author behaviour rather than performing analyses on the information objects themselves

Reading "all about" computerization: five common genres of social analysis

This paper examines unstated, but critical, social assumptions which underlie analyses of computerization. It focuses on the popular, professional and scholarly literature which claims to describe the actual nature of computerization, the character of computer use, and the social choices and changes that result from computerization. This literature can be usefully segmented five ideal type genres: utopian, anti-utopian, social realism, social theory, and analytical reduction. Each genre is characterized and illustrated. The strengths and weaknesses of each genre are described. In the 1990s, there will be a large market for social analyses of computerization. Utopian analyses are most likely to domínate the popular and professional discourse. The empirically oriented accounts of social realism, social theory and analytical reduction, are likely to be much less common and also less commonly seen and read by computer professionals and policymakers. These genres are relatively subtle, portray a more ambiguous world, and have less rhetorical power to capture the imagination of readers. Even though they are more scientific, these empirically anchored genres don't seem to appeal to many scientists and engineers. It is ironic that computing -- often portrayed as an instrument of knowledge -- is primarily the subject of discourses whose knowledge claims are most suspect. Conversely, the discourses whose claims as valid knowledge are strongest seems to have much less appeal in the mass media and technological communities

Academic literacies in the digital university

Academic Literacies is an international field of study concerned with literacies and learning in tertiary education. Some recent work in this field has focused on online and elearning environments. In our book of 2007 (Goodfellow & Lea 2007) we used an academic literacies perspective to critique what we see as the focus in much elearning practice on the 'management of learning' at the expense of disciplinary pedagogies. We argued for attention to be paid to the centrality of texts, however mediated, in the construction of knowledge and the practices of learning. Our current focus on the 'digital' extends this critique to engage with three major discourses of technology currently constructing the 'digital age' in relation to education. The first is the metaphor of the 'digital native' or 'net generation'. The second is the discourse of 'Learning 2.0, the third is the trope of the 'unbundled university'. We conclude that we need to pay much more attention to textual practice around learning and scholarship,and that, as researchers and scholars, we need to work for the reconciliation of new discourses of the digital with the continuing development of critical pedagogical and social practice in the academy and the public sphere

How It's Being Done: Arts Business Training Across the U.S.

This report seeks to answer the question "How is business training being delivered to artist across the U.S.?" Artists need to proactively manage the business side of their creative practice, often approaching their practice as an entrepreneurial endeavor, particularly as public funding for the arts has declined and funding for individual artists is especially difficult to find. To support their efforts, state and local agencies, artist services organizations, universities and others are providing training, resources, and technical services directly to artists. We have identified 163 programs or services offered by 79 different organizations or individuals that provide arts business training or resources of various types to individual artists and the leaders of small arts organizations