Mass media and the web in the light of Luhmann’s media system

The aim of the article is to observe the contemporary media system in the light of Luhmann’s media system, namely a specific function system of society which has witnessed ever greater internal complexity vis-a-vis an environment marked by the spread of the web and social network sites. From the viewpoint of sociocybernetics, the question of increased complexity can be addressed through an ecological approach in order to analyse the distinction between the mass media and the web – in its specific 2.0 evolution, characterized by user-generated content and algorithms. This approach allows to observe the reciprocal relations by preserving the autonomy of the two spheres without resorting to explanations that have to do with hybridization or the blur of the boundaries. In this sense the article analyses Facebook – as an example of web 2.0 operational logic – as a social system distinct from that of the mass media, where the first substantial difference depends on the role played by individuals in reproducing communication and on the role of the algorithm. In this sense mass media and the web are treated on the basis of their relationship of structural coupling by observing how they irritate, or disturb, each other and at the same time maintain their autonomy

Rethinking public agenda in a time of high-choice media environment

Contemporary political communication is conditioned by an information environment characterised, on the one hand, by increased choice, and on the other by the fragmentation and multiplication of the ways of consuming information. This article introduces the notion of the ‘interrelated public agenda’ as a frame to study this context, taking into account elements of convergence and divergence from a single viewpoint, adopting a complex analysis model which proceeds along axes which make it possible to detect a continuum in which opposing forces are in a constant, problematic equilibrium. In this sense, we identified three dimensions which are helpful in describing public agenda interrelations. First, horizontality vs verticality, which contains the dynamics of power, and is generated in a context of political disintermediation, through the altered nature of the media system—in the complex relation between legacy media and web 2.0, and between social, institutional actors, and others. Second, personal vs aggregative, which stresses the need to take account of convergences and divergences between personal orientation towards certain issues and the aggregative pressure in different media spaces in which people feel at home: from information consumption via media diets of varying complexity to active participation in the production of content or in public discourse, offline and online. And finally, dynamic vs static, which points to the need to orient analysis towards the relation between media spaces rather than focusing on specific spaces, thus helping, importantly, to make up for the current dearth of research in comparison with studies of single platforms

Networked amateur: performing arts and participatory culture in the continuum professionals-amateurs

The main goal of this contribution is to observe the relationship be- tween culture, communication and creativity as a complex phenomenon that requires us to follow the forms of co-evolution between a specific system of society—the art system—and the forms of communication. From the point of view of social system theory, and in particular that of Niklas Luhmann (2000), the art system is the place in which creativity is institutionalized and produces cultural forms such as communicable movements and artistic currents. Moreover the art sys- tem operates thanks to its specific institutions—art galleries, muse- ums, magazines, theatres, etc.—that is, through those social contexts that produce and circulate artistic communication. Nevertheless and inside the general theory of functional social dif- ferentiation it’s important to consider the relationship between the art system and its environment and the mutual irritability1 among the different functional systems of the society. The main systemic rela- tionship to observe, and the one that concerns us here, is between art and media. From its beginnings art has interacted with technology and has undertaken a continuous exchange with the media which has as- similated languages, aesthetics and logics. On this basis, the reflection on creativity and culture must take account of changes in communication. More precisely, we face a change of scenario and read it in a systemic and mediological key. From the systemic perspective we must observe the change of scenario from the point of view of social complexity; from the mediologic perspective, we must highlight the complexity of communication. In other words, the social complexity— which in our terms is the complexity of communication—is closely linked to the evolution of the media. That’s why the world-society (Luhmann 1997), which is the society formed by all possible communi- cations, emerges in a relation of homology with the context of global communication of the world-media (Boccia Artieri 2004). In this sense, the media should be considered as contexts of individual and collective experience and not “simple” tools for the transmission of information. This character of the media concerns the communication of the whole society and the way in which individuals participate in the communication and it is highlighted by the art system and the creative processes in the broadest sense. In fact, we will try to see how creativ- ity is a process that has spread culturally in relation to the evolution of the media and even more evidently with the digital culture. There are many contexts of the society in which it is possible to observe this trend. As mentioned above, however, art and creativity are the privi- leged places to observe this process and its steps. In the first section we will show how the evolution of the relationship between media— in its digital perspective—and society has changed individuals’ per- ception of their positioning in communication, even at the collective level as audience, public, consumers and citizens. This process created a suitable context for the emergence of a figure we call networked amateurs. This figure becomes central to the analysis of the system of art and creativity. The art system, as explained in the second section, evolved under the influence of the artistic avant-garde who conceived public participation as the goal of art. This principle is now being en- couraged by the language of the digital offering a spreadability of the artistic gesture in connection with the spread of the reality of the net- worked amateurs. A series of examples of projects and artistic works—both in visual art and in the field of theatre performance—in the third section show how the engagement of the spectator has be- come a central element in the creative process. But this type of crea- tive process remains internal to the art system, showing the self- 64 The Network Amateur reference and closing operation of the system. At the same time the artistic gesture, such as aesthetic widespread gesture, finds a way to express itself and be seen in the digital environment, in particular, as we explain in the fourth section, in the social network sites— especially those based on images, such as Instagram—and online worlds—such as Second Life

Below the Radar: Private Groups, Locked Platforms, and Ephemeral Content—Introduction to the Special Issue

none3noopenBoccia Artieri, Giovanni; Brilli, Stefano; Zurovac, ElisabettaBoccia Artieri, Giovanni; Brilli, Stefano; Zurovac, Elisabett

The construction of the meanings of #coronavirus on Twitter: An analysis of the initial reactions of the Italian people

The first months of 2020 saw the coronavirus pandemic explode. Moving from China, it arrived in Europe and hit Italy. The place where the debate around it exploded was the media ecosystem. In a short time, it was an explosion of tweets related to the hashtag #coronavirus on Twitter. With the aim of reconstructing the meanings of the hashtag and the content, in terms of sentiment and opinions, of the reactions of the Italians, we collected in a large size corpus, the hundred thousand Italian tweets containing the #coronavirus produced during the media hype period from the Twitter repository (February 24th - 28th, 2020). Media hype period was discovered by digging in the online articles of ‘la Repubblica', based on the presence of the words: coronavirus and Italy. The media hype is February 26th. The corpus underwent Emotional Text Mining (ETM), an unsupervised methodology, which allows social profiling based on communication. The study of the word chosen to talk about a topic and their co-occurrence allows the understanding of people’s symbolizations, representations, and sentiment, about the coronavirus. In a retrospective logic, this mechanism allows us to reconstruct the sensemaking and nuances of meaning attributed by users to the coronavirus hashtag

Ontogeny and phylogeny: molecular signatures of selection, constraint, and temporal pleiotropy in the development of Drosophila

<p>Abstract</p> <p>Background</p> <p>Karl Ernst Von Baer noted that species tend to show greater morphological divergence in later stages of development when compared to earlier stages. Darwin originally interpreted these observations via a selectionist framework, suggesting that divergence should be greatest during ontogenic stages in which organisms experienced varying 'conditions of existence' and opportunity for differential selection. Modern hypotheses have focused on the notion that genes and structures involved in early development will be under stronger purifying selection due to the deleterious pleiotropic effects of mutations propagating over the course of ontogeny, also known as the developmental constraint hypothesis.</p> <p>Results</p> <p>Using developmental stage-specific expressed sequence tag (EST) libraries, we tested the 2 hypotheses by comparing the rates of evolution of 7,180 genes obtained from 6 species of the <it>Drosophila melanogaster </it>group with respect to ontogeny, and sex and reproduction-related functions in gonadal tissues. Supporting morphological observations, we found evidence of a pattern of increasing mean evolutionary rate in genes that are expressed in subsequent stages of development. Furthermore, supporting expectations that early expressed genes are constrained in divergence, we found that embryo stage genes are involved in a higher mean number of interactions as compared to later stages. We noted that the accelerated divergence of genes in the adult stage is explained by those expressed specifically in the male gonads, whose divergence is driven by positive selection. In addition, accelerated gonadal gene divergence occurs only in the adult stage, suggesting that the effects of selection are observed primarily at the stages during which they are expected occur. Finally, we also found a significant correlation between temporal specificity of gene expression and evolutionary rate, supporting expectations that genes with ubiquitous expression are under stronger constraint.</p> <p>Conclusion</p> <p>Taken together, these results support both the developmental constraint hypothesis limiting the divergence of early expressed developmentally important genes, leading to a gradient of divergence rates over ontogeny (embryonic < larval/pupal < adult), as well as Darwin's 'selection opportunity' hypothesis leading to increased divergence in adults, particularly in the case of reproductive tissues. We suggest that a constraint early/opportunity late model best explains divergence over ontogeny.</p

Networked Intimacy. Intimacy and Friendship among Italian Facebook users

In this paper, we describe the results of a qualitative study conducted with 120 Italian Facebook users to investigate how Facebook enables people to achieve a mutually constitutive intimacy with their own friendship network: a negotiation of intimacy in public through self-disclosure, where the affordances of the platform are useful to elicit significant reactions, validations and demonstrations of affection from others. We observed that, in order to achieve various levels of intimacy on Facebook, people engage in various strategies: Showing rather than telling, Sharing implicit content, Tagging, Expectation of mutual understanding and Liking. These strategies produce a collaborative disclosure that relies on others’ cooperation to maintain the boundaries between private and public space. Based on these premises, we developed a framework of collaborative strategies for managing public intimacy that both systematizes and extends the findings identified in previous studies of intimacy on Facebook. We describe this framework as networked intimacy and we discuss the consequences of it in the light of already existing research on online self-disclosure

Understanding Engagement and Willingness to Speak Up in Social Television: A Full-Season, Cross-Genre Analysis of TV Audience Participation on Twitter

The widespread use of digital platforms has changed the way people watch television. Despite an abundance of empirical studies, full-season, cross-genre analyses of different TV formats are rare. Based on a data set of 1,383,414 tweets, this study aims to close this gap by comparing Twitter commentaries around the 2012–2013 seasons of the Italian edition of The X Factor and the political talk show Servizio Pubblico. For each episode, we identify peaks of Twitter engagement and analyze the corresponding TV scene, revealing the role played by suspense and surprise in catalyzing the engagement of online audiences. A content analysis of 12,640 tweets created during peaks of engagement reveals how willingness to speak up varies when the topic is politics rather than entertainment