Considering the challenges on sustainable agriculture in the district, different institutions join hands to overcome these issues and respond to the felt need of working more integrative both in the agricultural sector and environmental knowledge system. Adding a sense of urgency due to COVID-19 into problem analysis, these institutions accelerated the ambition to develop a Digital Farmer Field School (DFFS). This paper elaborates on the co-construction of principles for the design of a Digital Farmer Field School (DFFS) by the local stakeholders in Enrekang district. The local design team design of the DFFS Enrekang is composed of a transdisciplinary team from relevant government institutions and research institutions. The design principles of DFFS are built around inclusive design principles, concepts of interface usability based on different type of access to digital technology models, responsible innovation criteria and learning principles of farmer field school (FFS). The DFFS Enrekang design principles serve as guiding principles and shared value among the collaborating institutions to combine ambition, inspiration, and accountability in the DFFS management and development processes. This tablet based digital learning platform aims to provide an alternative for farmers to access information on sustainable agricultural and environmental practices.
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The pervasive use of media at current-day festivals thoroughly impacts how these live events are experienced, anticipated, and remembered. This empirical study examined event-goers’ live media practices – taking photos, making videos, and in-the-moment sharing of content on social media platforms – at three large cultural events in the Netherlands. Taking a practice approach (Ahva 2017; Couldry 2004), the author studied online and offline event environments through extensive ethnographic fieldwork: online and offline observations, and interviews with 379 eventgoers. Analysis of this research material shows that through their live media practices eventgoers are continuously involved in mediated memory work (Lohmeier and Pentzold 2014; Van Dijck 2007), a form of live storytelling thatrevolves around how they want to remember the event. The article focuses on the impact of mediated memory work on the live experience in the present. It distinguishes two types of mediatised experience of live events: live as future memory and the experiential live. The author argues that memory is increasingly incorporated into the live experience in the present, so much so that, for many eventgoers, mediated memory-making is crucial to having a full live event experience. The article shows how empirical research in media studies can shed new light on key questions within memory studies.
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