Access Anytime Anyplace: An Empircal Investigation of Patterns of Technology Use in Nomadic Computing Environments

With the increasing pervasiveness of mobile technologies such as cellular phones, personal digital assistants and hand held computers, mobile technologies promise the next major technological and cultural shift. Like the Internet, it is predicted that the greatest impact will not come from hardware devices or software programs, but from emerging social practices, which were not possible before. To capitalize on the benefits of mobile technologies, organizations have begun to implement nomadic computing environments. Nomadic computing environments make available the systems support needed to provide computing and communication capabilities and services to the mobile work force as they move from place to place in a manner that is transparent, integrated, convenient and adaptive. Already, anecdotes suggest that within organizations there are social implications occurring with both unintended and intended consequences being perpetuated. The problems of nomadic computing users have widely been described in terms of the challenges presented by the interplay of time, space and context, yet a theory has yet to be developed which analyzes this interplay in a single effort. A temporal human agency perspective proposes that stakeholders’ actions are influenced by their ability to recall the past, respond to the present and imagine the future. By extending the temporal human agency perspective through the recognition of the combined influence of space and context on human action, I investigated how the individual practices of eleven nomadic computing users changed after implementation. Under the umbrella of the interpretive paradigm, and using a cross case methodology this research develops a theoretical account of how several stakeholders engaged with different nomadic computing environments and explores the context of their effectiveness. Applying a literal and theoretical replication strategy to multiple longitudinal and retrospective cases, six months were spent in the field interviewing and observing participants. Data analysis included three types of coding: descriptive, interpretive and pattern coding. The findings reveal that patterns of technology use in nomadic computing environments are influenced by stakeholders’ temporal orientations; their ability to remember the past, imagine the future and respond to the present. As stakeholders all have different temporal orientations and experiences, they exhibit different practices even when engaging initially with the same organizational and technical environments. Opposing forces emerge as users attempt to be effective by resolving the benefits and disadvantages of the environment as they undergo different temporal, contextual and spatial experiences. Insights about the ability to predict future use suggest that because they are difficult to envisage in advance, social processes inhibit the predictability of what technologies users will adopt. The framework presented highlights the need to focus on understanding the diversity in nomadic computing use practices by examining how they are influenced by individual circumstances as well as shared meanings across individuals

Cloud Computing versus Crowd Computing. Die Gegenrevolution in der IT-Welt und ihre Mystifikation in der Cloud

Das erste Kapitel widmet sich der Entstehung der sprachlichen bzw. metaphorischen Mystifikation der „Cloud“, das zweite den Vorläufern eines zentral organisierten Computing und die folgenden Kapitel den einzelnen Stadien der Genese des sozial zentrierten Cloud Computing.18

Lo imaginario y lo maravilloso de Internet. Una aproximación antropológica

Uno de los rasgos más notables de la época de la globalización, es, sin duda, el lugar central que ocupa la memoria en la cultura y la política de las sociedades occidentales. En efecto, a partir de las dos últimas décadas del siglo XX ha surgido una, casi obsesiva, preocupación por el pasado y, particularmente, por la memoria de los hechos histórico traumáticos. Tal fenómeno puede atribuirse, entre otras explicaciones, a que el mundo global, surgido del final de la guerra fría, a despecho de las optimistas primeras especulaciones, resultó un escenario violento, de genocidios, conflictos étnicos, nacionales y religiosos. De este modo, los principales protagonistas de la historia reciente pasaron a ser los emigrados, refugiados, genocidas, víctimas y victimarios y, tal como lo plantea Andreas Huyssen, el Holocausto se ha convertido en la matriz interpretativa universal de los hechos de violencia masiva (Huyssen, 2002, p. 13-22). Por otro lado, y relacionado con lo anterior, ha surgido un renovado interés por la memoria y la justicia sobre los criminales del nazismo. En este proceso, el cine ha tenido un papel relevante a través de un considerable número de películas de ficción y documentales que retomaron con asiduidad el tema, a partir la década 80, profusión que contrasta con la etapa anterior.  Según nuestra hipótesis, así como el Holocausto se convirtió en un tropos universal a la hora de explicar las grandes masacres y genocidios de la era actual, la cultura de la globalización volvió a la Shoá, formulando una fuerte crítica a toda la generación que siguió al evento –principales potencias, líderes políticos, instituciones– por haber sacrificado el pasado en función del presente y del futuro y haber consagrado el olvido, el silencio y la impunidad, durante varias décadas.  Dentro de este contexto de revisión del pasado nacionalsocialista y la preocupación por la justicia en relación con los perpetradores del que participa, notablemente, el cine, el presente trabajo se ocupará del filme Laberinto de mentiras (Ricciarelli, 2014), de sus vínculos con el contexto histórico de producción y los nuevos significados que construye en torno a aquellos hechos traumáticos sucedidos al promediar el siglo anterior. Nuestro enfoque considera al cine como fuente de la historia, en el sentido que da cuenta del contexto histórico en el que surge, sus preocupaciones, sus discursos (Ferró, 1995) y, por otra parte, apunta al análisis de sus representaciones para detenerse en los nuevos sentidos que le atribuye a ese pasado (Rosenstone, 1997).One of the most remarkable features of the era of globalization is, without doubt, the central place that memory occupies in the culture and politics of Western societies. Indeed, since the last two decades of the 20th century, there has been an almost obsessive concern for the past and, particularly, for the memory of traumatic historical events. Such phenomenon can be attributed, among other explanations, to the fact that the global world, which emerged from the end of the Cold War, despite the optimistic first speculations, turned out to be a violent scenario, of genocides, ethnic, national and religious conflicts. In this way, the main protagonists of recent history were emigrants, refugees, genocide victims and perpetrators and, as Andreas Huyssen puts it, the Holocaust has become the universal interpretative matrix of the acts of mass violence (Huyssen, A., 2002, p. 13-22). On the other hand, and related to the above, there has been a renewed interest in memory and justice over the criminals of Nazism. In this process, the cinema has had a relevant role through a considerable number of fiction films and documentaries that took up, with assiduity the theme, from the 80s, a profusion that contrasts with the previous stage. According to our hypothesis, just as the Holocaust became a universal tropes in explaining the great massacres and genocides of the current era, the culture of globalization returned to the Shoah, formulating a strong criticism of the entire generation that followed the event –main powers, political leaders, institutions– for sacrificing the past in terms of the present and the future and having enshrined oblivion, silence and impunity, for several decades. Within this context of revision of the National Socialist past and the concern for justice in relation to the perpetrators, of which the cinema plays a significant role, the present work will deal with the film Labyrinth de Lies (Giulio Ricciarelli, 2014), of its links with the historical context of production and the new meanings it builds around those traumatic events that took place at the middle of the previous century. Our approach considers the cinema as a source of history, in the sense that it gives an account of the historical context in which it arises, its concerns, its discourses (Ferró, Marc, 1995) and, on the other hand, it aims at the analysis of its representations to stop at the new senses that attributes to that past (Rosenstone, R., 1997).Uma das características mais notáveis no tempo da globalização é, sem dúvida, o lugar central que ocupa a memória na cultura e nas políticas das sociedades ocidentais. Realmente, a partir das últimas duas décadas do século de XX surgiu um quase obsessivo interesse pelo passado e, particularmente, para a memória dos fatos históricos traumáticos. Esse fenômeno pode ser atribuído, entre outras explicações, a que o mundo global, surgido no fim da Guerra Fria, resultou um cenário violento, de genocídios, conflitos étnicos, nacionais e religiosos. Deste modo, os personagens principais da história recente se tornaram emigrados, refugiados, genocidas, vítimas e vitimadores e, como analisa Andreas Huyssen, o Holocausto se converteu na matriz interpretativa universal dos fatos de violência massiva (Huyssen, 2002, p. 13-22). Por outro lado, e em relação com o anterior, surgiu um renovado interesse pela memória e a justiça sobre os criminais do nazismo. Neste processo, o cinema teve um importante papel através de um número considerável de filmes de ficção e documentais que retomaram assiduamente o tema, a partir da década dos 80, profusão que contrasta com a etapa anterior.  Segunda nossa hipótese, assim como o Holocausto se tornou um tropo universal à hora de explicar os grandes massacres e genocídios da era atual, a cultura da globalização voltou à Shoá, fazendo uma crítica forte a toda a geração que seguiu o evento –potências, líderes políticos, instituições– por ter sacrificado o passado em função do presente e do futuro, e ter consagrado o olvido, o silêncio e a impunidade durante várias décadas.  Neste contexto de revisão do passado nacional-socialista e a preocupação pela justiça em relação com os perpetradores do qual participa notavelmente o cinema, este trabalho se ocupará do filme Labirinto de mentiras (Ricciarelli, 2014), dos seus vínculos com o contexto histórico de produção e os novos significados que constrói ao redor a aqueles fatos traumáticos que sucederam no século passado. Nosso enfoque considera ao cinema como fonte da história, no sentido que dá conta do contexto histórico no qual nasce, seus preocupações, seus discursos (Ferró, 1995), e, por outra parte, aponta à análise de suas representações para deter-se nos novos sentidos que atribui a esse passado (Rosenstone, 1997).&nbsp

Discipleship in a Digital Age: Leveraging Multimodality and Digital Networks

Advancements in communication technology, particularly since the Internet Age, have impacted culture in several fundamental ways. Cognitive and psychological changes have changed how people seek and understand knowledge. The development of horizontal networks made of both space of places, physical locations, and space of flows, Internet locations,1 has reshaped academic, social, and political spheres. The rise in entertainment to transfer information has shifted society’s focus to one of experience and service in everyday life. These changes have impacted the institutional church through a reduction of individuals self-identifying as Christian and in behaviors traditionally considered Christian. In response, the church has the opportunity to redefine how the church builds daily community through horizontal networks informed by an understanding of missional ecclesiology. By applying the lessons learned from multimodality and higher education, decentralized social movements, and habit-forming software development, a collaborative extension of the church can be developed. An outward focused extension shifts from a top down, organized structure to a bottom up, decentralized movement. Leveraging story and multiple modes to develop content becomes critical for the church as a method for sharing the story of the bible with Christians and equip them to share the story of their faith naturally in everyday life. Section one evaluates the history of communication and its impact on cognition, literacy, and the decline of biblical literacy. Section two reviews several categories of solutions, including smaller alternative communities, scripture-focused discipleship movements, bible mobile applications, and multimodal methods found across social networks. Section three builds a framework for creating a partnership with Church Online pastors working to fill a recognized discipleship void. Section four provides an overview of Spoken.Bible (https://spoken.bible), a platform to facilitate discipleship leveraging the strengths of horizontal networks. Section five outlines a time frame and specifications for this platform