This article starts from the observation that popular culture resides in a contradictory space. On the one hand it seems to be thriving, in that the range of media objects that were previously studied under the rubric of popular culture has certainly expanded. Yet, cultural studies scholars rarely study these media objects as popular culture. Instead, concerns about immaterial labor, about the manipulation of voting behavior and public opinion, about filter bubbles and societal polarization, and about populist authoritarianism, determine the dominant frames with which the contemporary media environment is approached. This article aims to trace how this change has come to pass over the last 50 years. It argues that changes in the media environment are important, but also that cultural studies as an institutionalizing interdisciplinary project has changed. It identifies “the moment of popular culture” as a relatively short-lived but epoch-defining moment in cultural studies. This moment was subsequently displaced by a set of related yet different theoretical problematics that gradually moved the study of popular culture away from the popular. These displacements are: the hollowing out of the notion of the popular, as signaled early on by Meaghan Morris’ article “The Banality of Cultural Studies” in 1988; the institutionalization of cultural studies; the rise of the governmentality approach and a growing engagement with affect theory.
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This is the introduction to a special issue on media and transgression, one of early cultural studies’ key terms. It inquires into the uses of transgression as a critical concept to query contemporary media culture which is discussed in six case studies: on political satire, Mukbang, cult drama, the policing of film piracy, media scandals, and online trolls. Transgression points to the energy that fuels the media ecology – from content and content production to audience practices and the policing of content ownership. It is the (conscious) overstepping of moral and legal boundaries, that challenges written and unwritten rules. The frisson of rule breaking and the reward of rule re-establishment (whether by powerful parties or everyday gossip) are transgression’s bookends. Together they support the cyclical rhythm of media culture that maintains not just our interest as viewers but our interests and connectedness as citizens, whether in celebration, outrage or condemnation.
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Wereldwijd onderzoek: Hoe gebruiken nieuwsmedia social media? Jongeren lezen geen krant meer, ze kijken op hun smartphone die ze altijd bij de hand hebben. Binnen het lectoraat social media en reputatiemanagement van NHL hogeschool te Leeuwarden heeft een groep internationale studenten in 12 landen onderzoek gedaan. Hierbij hebben ze meer dan 150 social media sites bestudeerd van nieuws media. De resultaten maken deel uit van een internationaal onderzoek van NHL Hogeschool en Haaga Helia University. De onderzoeksvraag was: Wat speelt zich af in de nieuwsmedia? Persbureaus kunnen het overzicht gebruiken om hun social media te optimaliseren. En voor ieder die journalistiek een warm hart toedraagt is het interessante informatie over de nieuwsmedia in een overgangssituatie (2nd edition)
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This report investigates prior experiences and impacts of the European Capital of Culture (ECoC) with the aim of informing preparation plans for Leeuwarden and Fryslân to organize the event in 2018. The longterm benefits that the ECoC tend to be both tangible through improvements in facilities, and intangible as self-confidence and pride increase as the result of celebrating the destination, its culture and history.
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Social media users can be forgiven for feeling dissatisfied. ‘Old media’ news, based on the perpetual celebrity comeback, has hit a conceptual impasse with new cancel culture. Geert Lovink calls for the renewal of social networking tools giving users a constructive voice.
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Culture of the Selfie is an in-depth art-historical overview of self-portraiture, using a set of theories from visual studies, narratology, media studies, psychotherapy, and political principles. Collecting information from various fields, juxtaposing them on the historical time-line of artworks, the book focuses on space in self-portraits, shared between the person self-portraying and the viewer. What is the missing information of the transparent relationship to the self and what kind of world appears behind each selfie? As the ‘world behind one’s back’ is gradually taking larger place in the visual field, the book dwells on a capacity of selfies to master reality, the inter-mediate way and, in a measure, oneself.
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In this paper we discuss the general approach and choices we made in developing a prototype of a social media monitor. The main goal of the museum monitor is to offer museum professionals and researchers better insight in the effects of their own social media usage and compare this with other actors in the cultural heritage sector. It gives researchers the opportunity to consider communication within the sector as whole. In the research project “Museum Compass” we have developed a prototype of a social media monitor, which contains data of current and historic online activities on Facebook, Twitter, YouTube, Foursquare and Flickr of all registered Dutch museums. We discuss – mostly in a practical sense – our approach for developing the monitor and give a few examples as a result of its usage.
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An ELISA was set up using polyvinylchloride microtiter plates coated with rabbit anti-UK IgG's and affino-purified goat anti-UK IgG's as second antibody. Detection occurred with rabbit anti-goat IgG antibodies conjugated with alkaline phosphatase. The assay is specific for urokinase (UK) with a detection limit of 100 pg/ml sample. Tissue-type plasminogen activator, up to concentrations of 100 ng/ml, does not interfere. The assay measures the antigen of the inactive zymogen pro-UK, the active enzyme UK and the UK-inhibitor complex with equal efficiency and gives the total UK antigen present, irrespective of its molecular form. Culture media of fibroblasts, endothelial- and kidney cells showed, despite the absence of active UK, antigen levels of 1.2, 23 and 65 ng/ml, respectively. In human plasma the UK concentration was found to be 3.5 +/- 1.4 ng/ml (mean +/- SD, n = 54). The inter- and intra-assay variations were 20% and 6%, respectively.
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All social media should have a sticker saying 'Don't Jump for the Tool!' While it is tempting 'to use Twitter', the choice of a medium like Twitter cannot be seen in isolation of strategic goals, instruments and expected results, i.e. a communication strategy. We designed a board game, called the Media Strategy Game, which makes professionals aware of the choices and opportunities involved in developing a communication strategy. By playing the game, assumptions about objectives and results are made explicit and awareness is created for the activities needed to achieve objectives. The game therefore serves to stimulate discussions, provides insights for the development of an efficient media policy, and helps to create consensus. While designed for professionals who need to communicate a message inside or outside of an organization, it has also proved very valuable in trainings and in higher education. Recently a workbook has been added to the board game that helps professionals to formulate their communication strategy by providing 16 hands-on models for business strategy, business modelling, leveraging tools and formulating indicators to measure impact.
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A collection of essays about current technological and social developments in the area of psychology, media, technology and culture. User profiles, digital identities and contextualization and semantic disclosure are taken as starting points.
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