1,720,991 research outputs found
Recensioni - Whitney Phillips (2015), This is Why We Can’t Have Nice Things: Mapping the Relationships Between Online Trolling and Mainstream Culture, MIT Press, Cambridge.
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Intimate Bridges: Towards A Participatory Model for Intercultural Dialogue Through Performing Arts - Monitoring the Project
No full textCan theatre and art be tools for well-being and social develop - ment? Can they help us somehow to better see the problems and minorities of European and non-European society from a different perspective? What role can they play in the com - plex relationship that has developed in recent years between local citizens and migrants and refugees 1 ? How can they make it better, more sensitive, more comfortable on both sides, over - coming often harmful western logics? Can they somehow an - ticipate this relationship in a more comfortable space, that of a participatory theatre workshop? More precisely, can partici - patory theatre offer an alternative language to that of bureau - cracy, political slogans and cultural stereotypes? Can it offer a glimpse of an alternative way of life that can subsequently modify that political and cultural language? These are just some of the questions the Creative Europe pro - ject Intimate Bridges aimed to answer
Youtube Freakshow: fama e derisione nei pubblici connessi
Full text linkThis research aims to contribute to the study of the networked lives of individuals by investigating relationships between fame and derision in the contemporary digital culture. More specifically, it explores the ways in which affectivities and attitudes such as irony, hostility, ridicule and disgust can be involved in the circulation of online content and in the accumulation of individuals’ attention capital. The ridiculing of others is an inseparable part of human social behaviour. It is caught in the tension between the “sociopositive” function of group aggregation among those who ridicule and the “socionegative” function of exclusion for the subject being ridiculed. In the current media environment, however, we find that the subject being ridiculed may acquire a peculiar social centrality, in which it becomes one of the most frequent points of convergence of networked publics’ attention: currently, the laughing stock and the star find numerous occasions of overlap. Therefore, the research question asked is: “how do networked publics reconfigure the social space of ridicule, when the mocking act online increases the ridiculed subject's media visibility?”. The research begins thus, by considering the figure of the laughing stock within the mass media, in order to observe how this figure change in accordance to new forms of visibility and circulation typical of digital platforms, particularly of YouTube. The case study used to observe such dynamics is YouTube Italia's “Trash Stars”, ordinary people who got famous by becoming objects of mockery within networked publics. The empirical analysis draws on a digital ethnography framework to trace the uses that the publics make of these characters. To this end, the research has carried out 1) a multi-site observation, 2) a content analysis of YouTube comments, and 3) interviews with users of such contents. The purpose of this empirical intervention was to investigate three main dimensions: the construction aspect – “how do networked publics represent the ridiculed subject?” - the fruition aspect – “what kind of pleasure do they derive from scorned subjects?” - and the relationship aspect – “what kind of relationships are established around the object of ridicule?”. In conclusion, it will be argued that the cases studied show the prominence of a "centrality of the marginal" dynamic in networked society, i.e. the tendency of the digital collectives to build a common ground around objects that have little relevance for the individuals
Live/ Life Sharing. The Use of Social Media by Contemporary Theatre Companies in Italy
Full text linkLa liveness in prospettiva transdisciplinare. Un approccio integrativo al "dal vivo" tra arti performative e media
Full text linkIl saggio introduce il tema della liveness in prospettiva transdisciplinare tra arti performative e media. In particolare avanza una proposta concettuale che integra le teorie e le analisi sul dal vivo che si concentrano sull'esperienza del "dal vivo" e sulle qualità dipendenti della continuità spazio-temporale con l'evento con la concezione della liveness come "discorso" in prospettiva costruttivista
Promozione, aura, performance: l'uso dei social media da parte delle compagnie di teatro contemporaneo in Italia
No full textIl lavoro dello spettatore dal vivo: capitale culturale ed esperienza. Il caso del pubblico del Rossini Opera Festival
No full textDespite the increasing attention given to the knowledge and development of
cultural audiences, the research on performing arts audiences in Italy is still lacking,
particularly in the field of opera. This article aims to contribute to this relatively
under-researched area, through the case study of the Rossini Opera Festival. After
presenting the specificities of live opera audiences and the relationship between
cultural capital, taste, participation and the “work of the spectator”, we focus on the
Festival attendees. The analysis of the survey conducted on 570 attendees of the
2017 edition reveals a melomaniac, voracious and philologist spectator. Finally,
the article illustrates how sociological research can provide valuable insights to audience
development and engagement programs, showing possible directions for the
quali-quantitative inquiry on the experience of the performing arts spectator
BOUNDARIES OF TRUST AND TRANSGRESSION: STUDYING THE CIRCULATION OF OBSCENE CONTENTS WITHIN ITALIAN PRIVATE GROUP CHATS
No full textBelow the Radar: Private Groups, Locked Platforms, and Ephemeral Content—Introduction to the Special Issue
Full text linkThis special issue of Social Media + Society originates from the first AoIR Flashpoint Symposium, entitled “Below the Radar: Private Groups, Locked Platforms and Ephemeral Content.” The aim of this conference was to investigate platform-driven changes and emerging practices of everyday-life content production occurring “below the radar” of internet research, or outside of previous standards of data visibility and accessibility on which most internet studies have been based over the last decade. In the current context, online spaces seem to be heading toward more circumscribed and unsteady forms of publicness, which contrast with the platform affordances upon which the theorization of networked publics has been built. Private groups, locked platforms, and ephemeral contents are some of the challenges that require the development of new perspectives and research tools capable of adapting to this shifting environment. In this introduction, we will illustrate how the theme of “below the radar” has evolved since the initial call thanks to the confrontation with the researchers who participated in the conference, and this special issue, and we will introduce the nine articles that make up the collection. These articles, which combine different research disciplines and techniques, provide a map of some of the most urgent theoretical, ethical, and methodological issues concerning the current transformations of the visibility regimes of online social action
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