Practicing at Home: Computers, Pianos, and Cultural Capital

Part of the Volume on Digital Young, Innovation, and the Unexpected Bourdieu focused attention on the role of education and the influence of status distinctions on the selection and valorization of particular forms of cultural capital. Although Bourdieu did not write about digital media, he was a keen observer of status distinctions in education and how these translate into job markets. Through an extended analogy between learning the piano and learning the computer, I demonstrate Bourdieu's relevance for an expanded vision of digital literacy -- one that would forefront the material and social inequalities in U.S. domestic Internet access and in public education. High Tech High School, supported by the Gates Foundation, provides a case of why it is important to examine current digital pedagogy in terms of unarticulated and implicit models of entrepreneurial labor, both because these set up unrealistic expectations and because they can express corporate norms rather than critical pedagogy

In the Living Room: Second Screens and TV Audiences

© The Author(s) 2015. This article is based on a small pilot project exploring the role, function, and meanings of second screens and companion apps for TV audiences that is contextualized by existing academic audience research. This is mapped alongside industry research and academic debate about second screens. The results illustrate some disjunction between industry expectations of usage and viewers' everyday experiences. I argue that industries' tendency to conflate "viewer" with "fan" indicates a less than nuanced understanding of the television/companion app audience. Further, the lean forward/lean back binary applied to digital media users and television audiences respectively points to a problematic not addressed in much industry literature, while the respondents for this research indicate a complex interplay between the pleasures of viewing that incorporates the social and the personal with the second screen and the TV text

Pleasure and meaningful discourse: an overview of research issues

The concept of pleasure has emerged as a multi-faceted social and cultural phenomenon in studies of media audiences since the 1980s. In these studies different forms of pleasure have been identified as explaining audience activity and commitment. In the diverse studies pleasure has emerged as a multi-faceted social and cultural concept that needs to be contextualized carefully. Genre and genre variations, class, gender, (sub-)cultural identity and generation all seem to be instrumental in determining the kind and variety of pleasures experienced in the act of viewing. This body of research has undoubtedly contributed to a better understanding of the complexity of audience activities, but it is exactly the diversity of the concept that is puzzling and poses a challenge to its further use. If pleasure is maintained as a key concept in audience analysis that holds much explanatory power, it needs a stronger theoretical foundation. The article maps the ways in which the concept of pleasure has been used by cultural theorists, who have paved the way for its application in reception analysis, and it goes on to explore the ways in which the concept has been used in empirical studies. Central to our discussion is the division between the ‘public knowledge’ and the ‘popular culture’ projects in reception analysis which, we argue, have major implications for the way in which pleasure has come to be understood as divorced from politics, power and ideology. Finally, we suggest ways of bridging the gap between these two projects in an effort to link pleasure to the concepts of hegemony and ideology