This book traces and explores the evolution of taste from a design perspective: what it is, how it works and what it does. Karin Tehve examines taste primarily through its recursive relationship to media. This ongoing process changes the relationship between designers and the public, and our understanding of the relationship of individuals to their social contexts. Through an analysis of taste, design is understood to be an active constituent of social life, not as autonomous from it. (...) This book reclaims a term long dismissed from interior design and unveils taste's role as a powerful social and political agent within systems of aesthetics, affecting both its producers and consumers. Each chapter discusses a taste concept or definition, analyzes its reciprocal relationship with media, and explores its implications for interior design. Illustrated with 70 images, taste's relationship to media is viewed through a variety of different lenses, including books, photography, magazines, internet, social media and algorithms. Written for students and scholars of interior design and related design fields, this book will be a helpful resource for all those interested in the question of taste, and is an invitation to produce and consume all media critically. (shrink)

Purpose This paper reviews the origins of the Ethics Council of the Federation of Social Communication Media of Chile and looks into the historical circumstances surrounding its creation, the concept of self-regulation as understood by its founders, and the criteria that initially ruled its operation. Design/methodology/approach A qualitative survey of nine contemporary witnesses and the confrontation with the scientific literature. Findings The results reveal a significant coincidence with the academic literature both in the description of the concept of (...) self-regulation and in the origin of the ethics councils and of the system under which they operate. However, a series of nuances not usually considered in the concept of self-regulation are described. Originality/value This study will help assess the national and international possibilities of self-regulation and the significance of the Chilean ethics council. (shrink)

This article presents a model and a case study of the narrative structures that are present in the interactive media design of multimedia applications in the mass media. As basic categories for the history and structure of media, we employ the model of the modes of the physical, analog, and digital presentation/representation. In this case study of the online edition of the New York Times, we have the case of a newspaper that in the digital edition (...) employs multi-media applications. Contrasting the traditional concept of “narrativity” with the current status quo of the digital media outlets, we will examine the specific conditions of the multimedia applications in the mass media with this sample case of the New York Times. As narrative structure of interactive design in multimedia for mass communication, we analyze the types of narrative media and general narrativity in the New York Times with the background of its processes of interactivity and media convergence. (shrink)

The concept of media events continues to generate widespread debate among scholars around the globe. Studies that have challenged the concept’s functionalist foundations have undoubtedly sharpened our thinking. Conversely, approaches that have sought to expand the concept tend to confuse rather than clarify. In this paper, we argue that events that are planned, anticipated, and involve external organizations in their design demand a specific set of analytical tools. Furthermore, we draw a further distinction between one-off events and those (...) that are cyclical in nature, with the latter being theorized using insights from studies of the television format industry. This approach not only focuses much needed attention on the production side of media events but also on the struggles between different interest groups. We illustrate our arguments by drawing upon ethnographic material from the 2014 Eurovision Song Contest. (shrink)

_Evil Media_ develops a philosophy of media power that extends the concept of media beyond its tried and trusted use in the games of meaning, symbolism, and truth. It addresses the gray zones in which media exist as corporate work systems, algorithms and data structures, twenty-first century self-improvement manuals, and pharmaceutical techniques. _Evil Media _invites the reader to explore and understand the abstract infrastructure of the present day. From search engines to flirting strategies, from the value (...) of institutional stupidity to the malicious minutiae of databases, this book shows how the devil is in the details. The title takes the imperative "Don't be evil" and asks, what would be done any differently in contemporary computational and networked media were that maxim reversed. Media here are about much more and much less than symbols, stories, information, or communication: media do things. They incite and provoke, twist and bend, leak and manage. In a series of provocative stratagems designed to be used, Evil Media sets its reader an ethical challenge: either remain a transparent intermediary in the networks and chains of communicative power or become oneself an active, transformative medium. (shrink)

Designed to help readers learn to seek out and recognize bias in the news; detect ideology, slant, and spin; and recognize propaganda, this volume in the Thinker’s Guide Library empowers readers to weed through overwhelming and often subjective media. It is an ideal supplement for media courses or a companion to daily news reports.

This essay addresses the moral nature of corporate social media platforms through the lenses of Axel Honneth’s concept of justice, according to which relations of mutual recognition must be institutionalized into spheres of social freedom to claim a just society. This perspective allows us to observe how platforms configure a symmetrically inverted form of ethical sphere, in which users are led to formulate non-autonomous desires that can only be realized socially. We characterize this as social unfreedom. A just platform (...) ought to be the one in which rights and self-legislation capabilities enable users to have a stake in governing how these digital spaces can be designed to foster the practical realization of users’ autonomous aims, the essay argues. (shrink)

Politicians and engineers are increasingly realizing that values are important in the development of technological artefacts. What is often overlooked is that different conceptualizations of these abstract values lead to different design-requirements. For example, designing social media platforms for deliberative democracy sets us up for technical work on completely different types of architectures and mechanisms than designing for so-called liquid or direct forms of democracy. Thinking about Democracy is not enough, we need to design for the proper (...) conceptualization of these values. As we see it, we cannot responsibly engineer and innovate and shape technology in accordance with our moral values without engaging in systematic and continuous conceptual engineering: This is not only an academic, or theoretical issue, it is also not simply an issue for public policy or politics, or regulators, it has become a central problem for engineering and the world of technology. In this paper, we present a framework for doing the necessary conceptual work in the context of requirement engineering. We draw on the literature on conceptual engineering to lay out a methodology to (1) assess different conceptions and (2) to develop new conceptions. Moreover, we integrate this methodology with extant approaches in the philosophy of technology which aim at designing technological artefacts ethically. In the final section we apply this integrated framework to freedom in the context of social media networks. (shrink)

Plant cell culture systems have become an attractive and sustainable approach to produce high‐value and commercially significant metabolites under controlled conditions. Strategies involving elicitor supplementation into plant cell culture media are employed to mimic natural conditions for increasing the metabolite yield. Studies on nanoparticles (NPs) that have investigated elicitation of specialized metabolism have shown the potential of NPs to be a substitute for biotic elicitors such as phytohormones and microbial extracts. Customizable physicochemical characteristics allow the design of monodispersed‐, (...) stimulus‐responsive‐, and hormone‐carrying‐NPs of precise geometries to enhance their elicitation capabilities based on target metabolite/plant cell culture type. We contextualize advances in NP‐mediated elicitation, especially stimulation of specialized metabolic pathways, the underlying mechanisms, impacts on gene regulation, and NP‐associated cytotoxicity. The novelty of the concept lies in unleashing the potential of designer NPs to enhance yield, harness metabolites, and transform nanoelicitation from exploratory investigations to a commercially viable strategy. (shrink)

In the few years since the advent of ‘Big Data’ research, social media analytics has begun to accumulate studies drawing on social media as a resource and tool for research work. Yet, there has been relatively little attention paid to the development of methodologies for handling this kind of data. The few works that exist in this area often reflect upon the implications of ‘grand’ social science methodological concepts for new social media research. By contrast, we (...) advance an abductively oriented methodological suite designed to explore the construction of phenomena played out through social media. To do this, we use a software tool – Chorus – to illustrate a visual analytic approach to data. Informed by visual analytic principles, we posit a two-by-two methodological model of social media analytics, combining two data collection strategies with two analytic modes. We go on to demonstrate each of these four approaches ‘in action’, to help clarify how and why they might be used to address various research questions. (shrink)

Concepts and Cases in Nursing Ethics is an introduction to contemporary ethical issues in health care, designed especially for Canadian audiences. The book is organized around six key concepts: beneficence, autonomy, truth-telling, confidentiality, justice, and integrity. Each of these concepts is explained and discussed with reference to professional and legal norms. The discussion is then supplemented by case studies that exemplify the relevant concepts and show how each applies in health care and nursing practice. This new (...) fourth edition includes an added chapter on end-of-life issues, and it is revised throughout to reflect the latest developments on topics such as global health ethics, cultural competence, social media, and palliative sedation. (shrink)

This article offers an analysis of marketing as an ideological set of practices that makes cultural interventions designed to infuse social relations with biopolitical injunctions. We examine a contemporary site of heightened attention within marketing: the rise of online communities and the attendant profession of social media marketing managers. We argue that social media marketers disavow a core problem; namely, that the object at stake, the customer community, barely exists. The community therefore functions ideologically. We describe the ideological (...) gymnastics necessary for maintaining momentum behind a practice that barely exists and we ponder why such ideologies are necessary, and what they allow the marketer to do. Working with such concepts as ‘the wild’, ‘communicative capitalism’, and ‘biopolitical marketing’, we explore a genre of popular business literature that proselytizes for online customer communities and we reflect on the broader implications. (shrink)

continent. 1.1 (2011): 22-25. The Author gratefully acknowledges the financial support of CAPES (Coordenação de Aperfeiçoamento do Ensino Superior), Brazil. From the multifarious subdivisions of semiotics, be they naturalistic or culturalistic, the realm of semiotics of value is a ?eld that is getting more and more attention these days. Our entire political and economic systems are based upon structures of symbolic representation that many times seem not only to embody monetary value but also to determine it. The connection between monetary (...) and linguistic exchanges is self-evident: the former requires the latter and develops in direct relation to it. Creative experimentation and design of digital systems of value exchange are blossoming on the web. Dr. Gilson Schwartz, an economist turned media theorist and professor at the University of São Paulo, adopted the concept of Iconomics, originally created by Michael Kaplan, an author concerned with the linguistics of economic value. Empowering local communities and unlocking new levels of value creation and representation via digital technologies are the main goals of Dr. Schwartz’s projects, aiming at the re-designing of our relationship to the economic value of imagination and the social control of property. Schwartz is Assistant Professor at the School of Communication and Arts of the University of São Paulo, a former Chief Economist at BankBoston, Brazil and Advisor to the President of the National Social and Economic Development Bank (BNDES). FURTHER READING: Kaplan, Michael. “Iconomics: The Rhetoric of Speculation.” Public Culture . 15.3 (2003): 477-493. Renata Lemos-Morais: You have recently produced and directed a short documentary about Creative Currencies in Latin America. Could you tell us a bit about its process and its findings? Gilson Schwartz: The “Creative Currencies” project is a work-in-progress platform which unfolds as an action research agenda connected both to the production of audiovisual content and the development of social currency software. The initiative dates back to 2003 when I led an experimental project supported by the Presidency of Brazil. At that time, we issued paper currency in a small, touristic village in the Northeast Region which stimulated local cultural projects. But it was only in 2009 that the Central Bank of Brazil acknowledged “social currencies” as a legitimate economic agenda, calling for more debate at the I Financial Inclusion Forum. This year, the monetary authorities organized a second forum that also opened the room to discussions on mobile payment systems and new perspectives on poverty alleviation via State subsidies. The Ministry of Culture funded the “Creative Currencies” project in 2009-2010 and our next stage in this discovery process is to be supported by the National Social and Economic Development Bank (BNDES). In short, there is genuine interest among public officials in different areas and public funding for social currencies is on the rise in Brazil. However, after all these years we are still at a very early stage of research and practice. Some of the most successful initiatives (such as Banco Palmas) actually evolved out of local monetary creation to become correspondent banking operations for commercial banks and other financial groups. After eight years of price stability and social inclusion, Brazil stands out as a major opportunity for social experimentation, even the Grameen Bank is now entering the Brazilian market and many NGOs are geared towards different forms of entrepreneurialism in the base of the pyramid, riding solidarity economic models, microfinance and microcredit for local development. It is yet to be seen, however, whether these developments are just one more stage of “bankarization”, that is to say, an extension of regular banking services or actually a new form of social and symbolic self-determination at the local level. So far, the Central Bank of Brazil is open to new forms of credit and local finance as long as they are strictly territorial and very close to barter among the poor. In other words, whether the process of monetary creation could be made to fit an open source paradigm is yet to be seen. Community banking and social currencies might as well end up as just another channel for access to and use of banking services. The “Creative Currencies” project aims at promoting the discussion of more fundamental issues, such as the limits of central banking, the prospects for local financial development and the possibility of creating and managing financial icons as cultural assets. The purpose of this project is to produce short documentaries that will bear testimony to this evolving regulatory framework while inducing more discussion about the fundamental iconomic issues concealed in the process of money and wealth creation. RLM: What new potential is there in applying digital technologies to currency creation? GS: Globalization is a result of the virtualization of money, that is, the overcoming of illusions such as the “gold standard”. Money is an icon created by institutions, not on supposedly natural or material foundations but out of political and financial interests. The “dollar standard” is an outstanding evidence of this phenomenon and Kaplan´s paper, the first to use the expression “iconomics”, insists on the rhetoric and semiotic effects associated to a supposedly scientific model of money creation and management. This is a fundamental change that was perceived and discussed much before the digitalization of the world by unorthodox economists such as John Maynard Keynes since the early 20th century. The digitalization of global financial flows accelerated this immateriality and the creation of the Euro was yet another evidence of the political foundations of currencies. The banking establishment, however, is keen on the idea that scientific formulae hold the key to sound money creation. Keynesianism has been repeatedly associated to “inflationism” while the supposedly sound monetary policies of the Orthodoxy serve well the political and financial interests of a technocratic elite. Corporate media also serve this fictitious depiction of the monetary process despite the cyclical bust of monetary rules and financial regulations. The internet, however, has created numerous opportunities for the disintermediation in industries such as film, music and commodities. There is no reason to doubt that the financial industry can also be transformed by Peer-to-Peer (P2P) infrastructures. Money is media as well. Credit is but confidence. Once people realize that the distributed computing power of networks can also be the platform to weave new monetary and credit operations, there is room for grassroots emancipation out of the established owners of monetary institutions. So far, however, there has been a privatization of monetary management and there is not a clear path or model for the emergent (P2P) property democratization that is inherent to the internet. Digital assets, however, clearly have an inherent potential to escape central control and proprietary regulatory frameworks. RLM: How are social networks transforming the ways in which we exchange value? Do you believe that online influence and reputation might be translated into a new kind of currency? GS: The foundation for social currencies as envisaged by solidarity economics is the territory. Authorities are willing to concede local monetary creation as long as it is restricted to poor neighborhoods, as a proxy to barter. In this relevant but limited context, reputation, personal knowledge and informal ties form the matrix of local or “proximity” finance which are expected to keep credit and leverage to a sustainable level. Anything beyond that should and would lead to an integration of local finance into the established banking system. However, inasmuch as the internet promotes virtual territories and reputation is now subject to all sorts of digital manipulation and stardom becomes an everyday cultural process among teenagers and elders alike, the territorial “foundation” is substituted for more complex patterns of solidarity, cooperation and exchange that reach beyond the physical territory and even the “human.” Digital assets embody knowledge, technology, cultural and educational values that are exchanged at a global scale beyond the control of democratic States (Chinese-like intervention is the exception, not the rule). Hacktivism is unstoppable and so is monetary hacktivism. Especially in the Third World, mobile communications fast became conveyors of money transfers and other appropriation strategies. Banking and telecom sectors already battle for the control of these emerging markets and, as a matter of fact, have so far contributed to the containment of these processes. Governments serve these moguls and have usually adopted a wait-and-see attitude. If open source hardware and grassroots social movements combine to challenge these proprietary battles, then social networks may evolve into new forms of social capital and thus form the ground on which to design and implement social currencies. The global financial crisis, as well as the dollar demise, are an event of such a proportion that social networks may open the path for emancipator subjects to seize the opportunity. RLM: What are some of the social experiments that you think are revolutionizing the way in which value is exchanged? GS: There is a broad evolution of economic systems towards the valuation of intangible assets such as knowledge, reputation and sustainability. There are many examples of local as well as global events that call the traditional systems of exchange into question, from carbon credits to educational bonuses, digital barter frameworks and locally based solidarity and fair trade networks. These emerging examples, no matter how different in nature or scale, represent a challenge to the traditional value creation schemes and theories which are based on use and exchange value, supply and demand. This is not to say that utility and labour or scarcity are to be totally dismissed, but there is now an emerging perception that value is also a function of behavioral codes, symbolic patterns and the energy of institutional frameworks. The plasticity of digital platforms is relevant insofar as intellectual property becomes the central source of value creation. But when you discuss the property rights of public goods such as the environment or basic social rights (of minorities or localities), then a new paradigm seems to emerge. RLM: Are gaming and online storytelling digital practices that might have an impact on the way new currencies are created and developed? GS: “Play money” has been one of the early and most intriguing phenomena associated to the diffusion of virtual worlds. These virtual currencies have also been prone to “boom and bust” dynamics, speculation and pure theft (Second Life scams were common and led to “intervention” by the owners of the game). Storytelling is a major source of value, that is, the value of attention and the markets for audience. There are plenty of private monies created and managed by corporate entertainment groups, telecom operators (via mobile virtual network operators) and marketing frameworks. The casino economy, as already depicted by Keynes and other unorthodox economists, is always storytelling about future states of the world, confidence building and leverage of animal spirits. The novelty of current events is not the fictitious nature of any form of capital, but the potential for digital democratization of controls over the imaginary nature of value creation. But this is just a potential, a possibility, a figment that more often than not is appropriated by centralized and opaque private powers. The game industry is a testbed for new connections between storytelling and money creation. RLM: Monetary value was originally connected to the scarcity of precious metals, such as gold. Our entire monetary system seems therefore to function according to a logic of scarcity. Do you believe it is possible to reverse this logic into a logic of abundance? GS: The gold standard was a fiction itself, the “scarcity” is always produced by institutions that regulate confidence and access to credit. The key issue is not to fabricate abundance, but to question the institutions which produce scarcity out of any standard, gold or whatever. Central banks are at the service of private banks in the creation and management of scarcity. RLM: The promise that nanotechnology holds for our future is one of radical abundance (or so say transhumanists). The possibility of creating any kind of material substance through nanoengineering seems each day more feasible. What would this possibility entail in terms of systems of value exchange? GS: Nanotechnology, environmental concerns and grassroots appropriation of distributed knowledge are the frontiers of a new horizon of energy creation and management. Social groups in charge of managing scarcity for the sake of wealth and power concentration must be held accountable for the destruction of our future. Once this key political conundrum is accounted for, new systems of value exchange and even a non-mercantile society will come into existence. Revolutionary theorists such as Marx envisaged transformation via the extreme clash of contradictions between capital and labour. This approach has never led to a change in the systemic logic of scarcity for the sake of social control. We are once again facing the threshold of large scale societal change, but the outcome of the current crisis should come from our imagination, not from yet another paradox of abundance and scarcity. As long as we remain attached to the materiality of value, the illusion of freedom will but reinforce the massive manipulation of necessity. RLM: What do you think is the role of crowdfunding in this context? GS: Crowdsourcing as well as crowdfunding are examples of the peer to peer opportunities that come along with distributed computer power. However, the power structure behind wealth and scarcity creation may or may not be changed by crowd management. But it should not be taken at face value, so to speak. The stock market of course is an early form of crowdfunding without calling into question the proprietary framework of the companies offering their investment projects to the market. Any market is a form of crowdsourcing, that is to say, of distributed forms of supply and demand matchmaking. The wealth of networks, however, depends on the contractual ecosystem, the institutional framework, the channeling of social imagination, not on the purely quantitative distribution of bids and offers. I see economics as supply, demand and code. Once you have access to the code, once openness becomes part of the game, then there is a chance of crowd behavior becoming collective intelligence and sustainable imagination. RLM: Is the development of digital currencies headed towards a pluralistic ecology in which many micro currency systems co-exist, or is it penetrating the mainstream monetary system? If it is affecting the mainstream financial system, what would be its effect in the long-term? GS: The same issue is at stake both at local and global levels. The global system is, as a matter of fact, an unstable ecosystem of “micro currencies” whereas the dollar has so far exerted an overwhelming influence. Local currencies and private monies coexist with national currencies only to the extent that the Central Bank admits, for instance, that grassroots monetary emissions remain territorial and strictly connected to poverty. However, the question of how new developments in digital technologies and nanotechnologies might alter not only our current monetary systems but also our understanding of value in itself, is still an open question. (shrink)

We respond to Morgan and Feeley’s critique on our article “Mass Media in Organ Donation: Managing Conflicting Messages and Interests.” We noted that Morgan and Feeley agree with the position that the primary aims of media campaigns are: “to educate the general public about organ donation process” and “help individuals make informed decisions” about organ donation. For those reasons, the educational messages in media campaigns should not be restricted to “information from pilot work or focus groups” but (...) should include evidence-based facts resulting from a comprehensive literature research. We consider the controversial aspects about organ donation to be relevant, if not necessary, educational materials that must be disclosed in media campaigns to comply with the legal and moral requirements of informed consent. With that perspective in mind, we address the validity of Morgan and Feeley’s claim that media campaigns have no need for informing the public about the controversial nature of death determination in organ donation. Scientific evidence has proven that the criteria for death determination are inconsistent with the Uniform Determination of Death Act and therefore potentially harmful to donors. The decision by campaign designers to use the statutory definition of death without disclosing the current controversies surrounding that definition does not contribute to improved informed decision making. We argue that if Morgan and Feeley accept the important role of media campaigns to enhance informed decision making, then critical controversies should be disclosed. In support of that premise, we will outline: (1) the wide-spread scientific challenges to brain death as a concept of death; (2) the influence of the donor registry and team-huddling on the medical care of potential donors; (3) the use of authorization rather than informed consent for donor registration; (4) the contemporary religious controversy; and (5) the effects of training desk clerks as organ requestors at the Department of Motor Vehicles offices. We conclude that organ donation is a medical procedure subject to all the ethical obligations that the medical profession must uphold including that of transparency and truthfulness. (shrink)

This article investigates how communities experiencing poverty can exercise their deliberative agency in a media-saturated society. While empirical research on deliberative democracy tends to focus on the role of mini-publics in giving low-income households the opportunity in small-scale, carefully designed forums to characterise, justify, and reflect on their views, such conception of deliberative agency gets lost in the picture once deliberative theory begins thinking in systemic terms. This article proposes a remedy to this theoretical and analytical gap by characterising (...) the hypermediated character of the deliberative system and identifying possibilities for communities experiencing poverty to maximise the affordances of digital media for them to make an appearance in the public sphere, speak in their own voice, and carry the embodied and storied character of their arguments. I present two illustrative cases drawing on the experiences of families with low income directly affected by the bloody war on drugs in the Philippines who utilise photojournalism and online music streaming to break in the public sphere and engage in systemic deliberations about the drug war. These examples demonstrate how communities experiencing poverty express their deliberative agency amidst fear, trauma and deprivation and democratise a media-saturated deliberative system under an increasingly authoritarian regime. Overall, this article hopes to strengthen the link between normative media studies and democratic theory and offering possibilities for reforming the public sphere that recognises the poor’s deliberative agency. (shrink)

This paper explores the economic factors that influence news coverage and discusses the difficulties of determining the impact of news content on political outcomes. Evidence from the United States clearly shows how supply and demand concepts can be used to predict content in newspapers, television, and the Internet. To demonstrate how the concept of market-driven news extends beyond the US, I trace out hypotheses about how media content in many countries should vary depending on three factors in news (...) markets: the motivations of media outlet owners, the technologies of information dissemination available, and the property rights that govern how information is created and conveyed. I offer three different types of analyses to show how these ideas about competition influencing content could be tested across countries. The paper briefly discusses the degree to which market competition affects content in three Asian countries (China, Thailand, and Japan) and concludes with a section on the difficulties of designing policies to improve the operation of media markets. (shrink)

Goffman’s (1959) dramaturgical identity theory requires modification when theorising about presentations of self on social media. This chapter contributes to these efforts, refining a conception of digital identities by differentiating them from ‘corporatised identities’. Armed with this new distinction, I ultimately argue that social media platforms’ production of corporatised identities undermines their users’ autonomy and digital well-being. This follows from the disentanglement of several commonly conflated concepts. Firstly, I distinguish two kinds of presentation of self that I (...) collectively refer to as ‘expressions of digital identity’. These digital performances (boyd 2007) and digital artefacts (Hogan 2010) are distinct, but often confused. Secondly, I contend this confusion results in the subsequent conflation of corporatised identities – poor approximations of actual digital identities, inferred and extrapolated by algorithms from individuals’ expressions of digital identity – with digital identities proper. Finally, and to demonstrate the normative implications of these clarifications, I utilise MacKenzie’s (2014, 2019) interpretation of relational autonomy to propose that designing social media sites around the production of corporatised identities, at the expense of encouraging genuine performances of digital identities, has undermined multiple dimensions of this vital liberal value. In particular, the pluralistic range of authentic preferences that should structure flourishing human lives are being flattened and replaced by commercial, consumerist preferences. For these reasons, amongst others, I contend that digital identities should once again come to drive individuals’ actions on social media sites. Only upon doing so can individuals’ autonomy, and control over their digital identities, be rendered compatible with social media. (shrink)

_A portion of the revenue from this book’s sales will be donated to Doctors Without Borders to assist the humanitarian work of nurses, doctors, and other health care providers in the fight against COVID-19 and beyond._ _Concepts and Cases in Nursing Ethics_ is an introduction to contemporary ethical issues in health care, designed especially for Canadian audiences. The book is organized around six key concepts: beneficence, autonomy, truth-telling, confidentiality, justice, and integrity. Each of these concepts is explained and (...) discussed with reference to professional and legal norms. The discussion is then supplemented by case studies that exemplify the relevant concepts and show how each applies in health care and nursing practice. This new fourth edition includes an added chapter on end-of-life issues, and it is revised throughout to reflect the latest developments on topics such as global health ethics, cultural competence, social media, and palliative sedation, as well as ethical issues relating to COVID-19. (shrink)

It has been argued that the Internet and social media increase the number of available viewpoints, perspectives, ideas and opinions available, leading to a very diverse pool of information. However, critics have argued that algorithms used by search engines, social networking platforms and other large online intermediaries actually decrease information diversity by forming so-called “filter bubbles”. This may form a serious threat to our democracies. In response to this threat others have developed algorithms and digital tools to combat filter (...) bubbles. This paper first provides examples of different software designs that try to break filter bubbles. Secondly, we show how norms required by two democracy models dominate the tools that are developed to fight the filter bubbles, while norms of other models are completely missing in the tools. The paper in conclusion argues that democracy itself is a contested concept and points to a variety of norms. Designers of diversity enhancing tools must thus be exposed to diverse conceptions of democracy. (shrink)

This Volume is designed to introduce the reader to a few selected topics reflecting on aspects of Nigerian media and culture, where traditional forms of communication meet with the technical possibilities and globalized vision of the 21st century. It is a very important part of the concept of this book and our clear intention as Editors to provide an international platform for Nigerian future academics to address selected key issues and demonstrate interesting aspects of tradition and modernity from their (...) very own perspective. Next to an introductory contribution by the Editors highlighting the considerable influence of Nigerian music and culture on those of the Black diaspora in the USA and vice-versa, the book includes detailed case-studies of various Nigerian media outlets. (shrink)

Artificial Intelligence in the form of different machine learning models is applied to Big Data as a way to turn data into valuable knowledge. The rhetoric is that ensuing predictions work well—with a high degree of autonomy and automation. We argue that we need to analyze the process of applying machine learning in depth and highlight at what point human knowledge production takes place in seemingly autonomous work. This article reintroduces classification theory as an important framework for understanding such seemingly (...) invisible knowledge production in the machine learning development and design processes. We suggest a framework for studying such classification closely tied to different steps in the work process and exemplify the framework on two experiments with machine learning applied to Facebook data from one of our labs. By doing so we demonstrate ways in which classification and potential discrimination take place in even seemingly unsupervised and autonomous models. Moving away from concepts of non-supervision and autonomy enable us to understand the underlying classificatory dispositifs in the work process and that this form of analysis constitutes a first step towards governance of artificial intelligence. (shrink)

Open peer commentary on the article “Developing a Dialogical Platform for Disseminating Research through Design” by Abigail C. Durrant, John Vines, Jayne Wallace & Joyce Yee. Upshot: The question of more appropriate dissemination formats for research through design is important, but secondary. Artefacts are just media in the knowledge-generating process. RTD is a much more powerful concept than presented here.

Concepts of interaction theory play a central role in media research that deals with the relationship between media offerings and media reception. They cover the diverse activities of media users as well as the adaptation strategies utilized of mass communication. The first part of this article briefly describes where these broad and poorly defined concepts of interaction can be found in different areas of media research. One of the problems is deciding in which (...) cases media communication can be analyzed using interaction models. Another problem is the lack of differentiation between how people deal with media offerings and how media offerings refer to their users. The second part of the article develops a new perspective in media research, which allows the aspects mentioned above to be assigned to processes of media socialization on the one hand, or to the inclusion by mass communication on the other hand. On this basis new research projects can be designed that represent a necessary addition to the established analysis of media reception and media socialization. This research focuses on processes of inclusion as they can be observed in mass communications, mainly in television. This new component of a sociological media theory demonstrates how mass communication itself is able to create an image of its addressees and, in this way, adapt to an anonymous public. (shrink)

The article investigates how the use of extended reality technologies and interactive digital interfaces have affected the design of exhibition spaces. Its main objective is to shed light on how these technologies have influenced the ways in which immersive art installations are conceived and experienced. Particular emphasis is placed on the impact of interactive technologies on how visitors experience exhibition spaces. The article examines an ensemble of immersive art cases, paying special attention to the distinction between immersion and interactivity. (...) Two concepts that are pivotal for understanding the transformations concerning the subjectivity of the exhibition visitor those of the “imagineer” and the “ultra-technologist”, which are analysed in the article. The intention is to render explicit how extended reality technologies have contributed to the design of immersive experiences, significantly influencing the interrelations between the technical, aesthetic and institutional aspects concerning exhibition design and the methods of dissemination of art. (shrink)

In contemporary society, childhood is characterized as mediatized and commercialized. Media consumption worlds (MCWs) are a phenomenon that mirrors both aspects. They are narratives that are presented through various media platforms, games, and merchandising products. In this paper, the concept of children’s MCWs is developed theoretically and investigated empirically using the case of primary school children’s appropriation of MCWs as well as parental mediation and attitude in Austria and Germany. A mixed-methods design was applied, starting with qualitative (...) interviews with children and their parents and followed by an online survey for parents (N=327). The study revealed that children find individual ways to deal with MCWs, some of which foster creativity and self-expression but also consumerism. The parents’ attitude is ambivalent. They view MCWs as beneficial in terms of creativity, positive values, and as peer group experience. However, parents observe critically that MCWs lure children to the media and to consumption. (shrink)

Based on the concept of data physicalization, we developed Vital + Morph, an interactive surface for remote connection and awareness of clinical data. It enables users located in remote places to monitor and feel the vital signs measured from a hospitalized person through shape-change. We propose shape-changing interfaces as a way of making data physicalization a richer, intriguing and memorable experience that communicates complex information and insights about data. To demonstrate and validate our proposed concept, we developed an exploratory study (...) about the design and its implications. For evaluating the social impact of shape-changing interfaces in the context of remote monitoring, we presented Vital + Morph in several Media Art festivals. We collected and analyzed the feedback from the visitors during the exhibitions, and discussed the possibilities of the proposed system. A preliminary evaluation shows how shape-changing displays are perceived by users, which establishes not only the potential benefits but also highlights the concerns that several users have raised. Through this study, we aim to contribute to the design of remote monitoring systems by providing a novel approach for displaying clinical data that consider the richness of the physical world. In today’s information-driven society, we should not just focus on how abstract data are collected and analyzed, but also on how it can be presented and incorporated into our daily lives. (shrink)

PurposeThere are a lot of discussions about privacy in relation to contemporary communication systems (such as Facebook and other “social media” platforms), but discussions about privacy on the internet in most cases misses a profound understanding of the notion of privacy and where this notion is coming from. The purpose of this paper is to challenge the liberal notion of privacy and explore foundations of an alternative privacy conception.Design/methodology/approachA typology of privacy definitions is elaborated based on Giddens' theory (...) of structuration. The concept of privacy fetishism that is based on critical political economy is introduced. Limits of the liberal concept of privacy are discussed. This discussion is connected to the theories of Marx, Arendt and Habermas. Some foundations of an alternative privacy concept are outlined.FindingsThe notion of privacy fetishism is introduced for criticizing naturalistic accounts of privacy. Marx and Engels have advanced four elements of the critique of the liberal privacy concept that were partly taken up by Arendt and Habermas: privacy as atomism that advances; possessive individualism that harms the public good; legitimizes and reproduces the capitalist class structure; and capitalist patriarchy.Research limitations/implicationsGiven the criticisms advanced in this paper, the need for an alternative, socialist privacy concept is ascertained and it is argued that privacy rights should be differentiated according to the position individuals occupy in the power structure, so that surveillance makes transparent wealth and income gaps and company's profits and privacy protects workers and consumers from capitalist domination.Originality/valueThe paper contributes to the establishment of a concept of privacy that is grounded in critical political economy. Owing to the liberal bias of the privacy concept, the theorization of privacy has thus far been largely ignored in critical political economy. The paper contributes to illuminating this blind spot. (shrink)

While Vilém Flusser’s writings on (media) philosophy and communication have found a wide readership across the globe, another ‘Flusser’ has been present all along, interwoven perhaps, namely that of the ‘obsessive futurologist’. Flusser, the futurologist, does not only imagine or predict media-technological universes unfolding with, among, and for us, but he, in his insistence that ‘communication is anthropology’, also imagines scenarios of possible worlds to come. In his little-known book Angenommen: Eine Szenenfolge (1989), available in English translation as (...) What If? Twenty-Two Scenarios in Search of Images (2023), he designs sketches of an Anthropocene fraught with nightmares and wonders. What If? offers insight into the radical futures of a slipstream Anthropocene that have to do with speculative design, with Flusser’s concept of design as ‘crafty’ or slippery, and with art and the immense creative potential of failure versus reasonable, ‘good’ computing or calculability. (shrink)

Without knowing the rules of the game in a specific area qualified ethical decisions within are simply not possible. Therefore, a fundamental understanding of the phenomenon 'media' is a prerequisite for the ‘usablity’ of any media ethics. This understanding of the very basis of media is introduced by the notion of space: media is the space where the presentation of something is possible – formally that space fulfils the criteria of a Hilbert space; more common is (...) this concept in the notion of cyberspace e.g.. As presentations do not exist separated from each other but are connected, are linked, thus acting in the media can be understood as moving in the space of communication, following the links. This understanding leads to fundamentally new ethical categories: media ethic is the challenge of ethically designing the communicative space. The appropriate ethical approach for this task can be found in Wittgenstein's notion of 'use'. That overcomes the 'blind' application of ethical norms to categorical distinctive descriptions, which is very common through the term 'applied ethics' though it can be easily proved as aporetic. The investigation in what the ethical 'ought' basically could mean shows that there is no normative meaning without a descriptive context: 'to ought' always means 'to ought' in a certain situation, be it more common or more specific. Ethically right then means: one can decide on the basis of good reasons to do the right in this or that situation. And ethics finally is the quest to categorize, structure and systemize these right decisions by the means of creating a comprehensive theory. These are the limits and the dignity of ethics as a scientific scholarship and media ethics in particular. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Exploring Visual Culture: Definitions, Concept, ContextsPaul DuncumExploring Visual Culture: Definitions, Concept, Contexts, edited by Matthew Rampley. Edinburgh: Edinburgh University Press, 2005, 257 pp., $32.00 paper.I review this new introductory text in light of its competition as a textbook for undergraduates and as an introduction for graduate students. Other such texts include Barnard, Elkins, Mirzeoff, Walker and Chaplin, and Sturken and Cartwright,1 which appears to be the most widely (...) used. Rampley's anthology stands up well among these competitors, especially for those who wish to transition from art to contemporary popular visual culture rather more gently than other texts that, for many students, might come as too abrupt a disjuncture from mainstream practice in schools of art and design. As Matthew Rampley states in his excellent introduction, if the book has an original contribution to make, it is to situate an acknowledgment of traditional practices and issues into the makeup of visual culture studies. Unlike other texts, mentioned above, which tend to stress screen and print media, Rampley's agenda is to remind readers of the historical origins of many recent developments as well as the contribution of cultural forms other than two-dimensional ones. Thus, chapters are included that trace the history and continuing contribution of traditional media; art, design, craft, and architecture each receive individual chapters. MacDonald, for example, describes the complex meanings of craft and its relationship to fine art and design from classical times to today, as well as summarizes the characteristics and politics of craft today. Furthermore, the influence of technology is charted principally through conventional art, and the chapters on photography, film, and fashion are likewise cast largely in terms of historical accounts of whether these forms should be considered to be art.The historical bias is equally evident in the pictures used to illustrate the text. While, for example, there are contemporary popular images, such [End Page 118] as a cover of the Sun newspaper and a photograph of Punks, there are as many crossover images—postcards of famous art portraits and a Michelangelo on a T shirt—as well as many conventional artworks. Delacroix, Corbert, Rauschenberg, David, Fuseli, and Van Goyen are each featured. Some of the popular images are also historical, such as George Mêlées 1902 classic film Voyage to Moon and advertisements from the1930s.Sometimes the historical material takes up much of the space, with recent developments given only cursory treatment, and sometimes the material is dealt with in ways that seem rather old-fashioned to this reader. For example, Glyn Davis's chapter on photography and film is primarily a potted historical account of the relationships between these two cultural forms and art. Further, Davis does not just describe the arguments for and against their inclusion as art but is clearly engaged with these issues himself, an engagement that many proponents of visual culture would find rather quaint—that is, rather less interesting than the particular contribution that these forms make to contemporary life and for whom the question, "Is it art?" is no longer of any particular interest. This art orientation also colors Davis's view of Hollywood films. Clearly preferring "art" films, he completely ignores the role of popular film in exploring the fears, anxieties, beliefs, and so on of the wider public. By contrast, Richard Williams argues against architecture as a form of art, with its limited concerns with aesthetics, style, and canonical buildings, in favor of architecture as discourse and spatial experience. He is more interested in the reception of architecture than its production—first with architecture as signs, as meanings that are mutable, contingent, and arbitrary; and, secondly, as ordinary urban lived experience, with how architecture is but one element within the experience of urban environments.Typical of the avoidance of technical terms in the book as a whole, Williams beautifully describes the difference between structuralism and poststructuralism without once mentioning either of these terms, and in a chapter on architecture he manages to use the term "postmodern" only once. Similarly, in Neil Mulholland's chapter on representation and realism, cultural border crossing and indigenization are both described, albeit briefly, though without recourse to these terms... (shrink)

Research design is fundamentally central to all scientific endeavors, at all levels and in all institutional settings. This book is a practical, short, simple, and authoritative examination of the concepts and issues in interpretive research design, looking across this approach's methods of generating and analyzing data. It is meant to set the stage for the more "how-to" volumes that will come later in the Routledge Series on Interpretive Methods, which will look at specific methods and the designs (...) that they require. It will, however, engage some very practical issues, such as ethical considerations and the structure of research proposals. Interpretive research design requires a high degree of flexibility, where the researcher is more likely to think of "hunches" to follow than formal hypotheses to test. Yanow and Schwartz-Shea address what research design is and why it is important, what interpretive research is and how it differs from quantitative and qualitative research in the positivist traditions, how to design interpretive research, and the sections of a research proposal and report. (shrink)

This collection, gathering over thirty articles from the Teaching Philosophy journal, describes novel ways to teach philosophical ideas. Ideas range from simple games for teaching abstract concepts to ambitious course designs featuring various media.

In this chapter we argue that emotions are mediated in an incomplete way in online social media because of the heavy reliance on textual messages which fosters a rationalistic bias and an inclination towards less nuanced emotional expressions. This incompleteness can happen either by obscuring emotions, showing less than the original intensity, misinterpreting emotions, or eliciting emotions without feedback and context. Online interactions and deliberations tend to contribute rather than overcome stalemates and informational bubbles, partially due to prevalence of (...) anti-social emotions. It is tempting to see emotions as being the cause of the problem of online verbal aggression and bullying. However, we argue that social media are actually designed in a predominantly rationalistic way, because of the reliance on text-based communication, thereby filtering out social emotions and leaving space for easily expressed antisocial emotions. Based on research on emotions that sees these as key ingredients to moral interaction and deliberation, as well as on research on text-based versus non-verbal communication, we propose a richer understanding of emotions, requiring different designs of online deliberation platforms. We propose that such designs should move from text-centred designs and should find ways to incorporate the complete expression of the full range of human emotions so that these can play a constructive role in online deliberations. (shrink)

We propose an AI-assisted design concept exploration tool, the “Character Space Construction”. Concept designers explore and articulate the target product aesthetics and semantics in language, which is expressed using “Design Concept Phrases”, that is, compound adjective phrases, and contrasting terms that convey what are not their target design concepts. Designers often utilize this dichotomy technique to communicate the nature of their aesthetic and semantic design concepts with stakeholders, especially in an early design development (...) phase. The CSC assists this designers' cognitive activity by constructing a “Character Space”, which is a semantic quadrant system, in a structured manner. A CS created by designers with the assistance of the CSC enables them to discern and explain their design concepts in contrast with opposing terms. These terms in a CS are retrieved and combined in the CSC by using a knowledge graph. The CSC presents terms and phrases as lists of candidates to users from which users will choose in order to define the target design concept, which is then visualized in a CS. The participants in our experiment, who were in the “arts and design” profession, were given two conditions under which to create DCPs and explain them. One group created and explained the DCPs with the assistance of the proposed CSC, and the other did the same task without this assistance, given the freedom to use any publicly available web search tools instead. The result showed that the group assisted by the CSC indicated their tasks were supported significantly better, especially in exploration, as measured by the Creativity Support Index. (shrink)

Built in between the end of the nineteenth century and the beginning of the twentieth century in a mountainous region in Romania, the Peleş Castle and its gardens were conceived according to the mid sixteenth and early seventeenth centuries landscape design principles. Thus, the surrounding landscape, the park and gardens at the royal residence in Sinaia make up an overall image of a Mannerist landscape in which the Villa or, in this case, the castle, is integrated in a complex (...) allegorical, alchemical and political programme. To explore this chronologically incongruent design and to explore gardening principles perhaps invisible in plain sight for modern eyes, the following study aims to emphasize the presence of early modern Western European gardens in the design of the park and gardens at Peleş. This analysis will also reveal the various ways in which, by manipulating nature according to Late Renaissance and Mannerism principles, nature was staged to achieve political goals. (shrink)

In light of the fact that social dynamics and unexpected uses of technology can inspire innovation, this book proposes a research model of design for emergence, ...

Large-scale social media services have been challenged due to their lack of ethical principles, which has resulted in allegations of user manipulation such as propagation of fake news related to COVID-19 vaccination and biased algorithmic curations that lead to social polarization. We studied current social media community guidelines and conducted a systematic literature review to identify the core values needed for the establishment of guidelines for responsible social media services. Through expert interviews, a framework and guidelines are (...) proposed for each of three areas: protecting privacy, raising awareness, and controlling abuse. We present each set of guidelines with executable principles and relevant design interventions that practitioners can use to offer responsible social media services. Our expert interviews surfaced tensions between the three areas that need to be addressed in developing responsible social media, such as privacy vs. sharing information, pseudonymity vs. safety, and spreading information vs. safety. (shrink)

The paper proposes a way for adherents of Fregean, structured propositions to designate propositions and other complex senses/concepts using a special kind of functor. I consider some formulations from Peacocke's works and highlight certain problems that arise as we try to quantify over propositional constituents while referring to propositions using "that"-clauses. With the functor notation, by contrast, we can quantify over senses/concepts with objectual, first-order quantifiers and speak without further ado about their involvement in propositions. The functor notation (...) also turns out to come with an important kind of expressive strengthening, and is shown to be neutral on several controversial issues. (shrink)

When we reframe design through a discourse, designing on a meta level, we are actually designing design, as we are giving design a different meaning, changing frame to include or exclude what we do or don't consider as a part of the field. Therefore we need to frame at first what we understand in speaking about design. And it is far more complex to speak about media design, since it triggers the idea of designing (...) media. Marshall McLuhan's thoughts on media will help to explore what a media designer actually does; what he designs. However, if the digital media comes into place, the new medium, the digital medium, suddenly is the major carrier of all of society's messages. How does it change the designer's work, and does it require a different designer. (shrink)

Can you think of a meme that made you laugh or a political post that made you angry? These examples illustrate how social media use (SMU) impacts how people feel. Similarly, how people feel when they initiate SMU may impact the emotional effects of SMU. Someone feeling happy may feel more positively during SMU, whereas someone feeling sad may feel more negatively. Using an experimental design, we examined whether following SMU, those in a happy mood would experience increases (...) in positive affect (PA) and those in a sad mood would experience increases in negative affect (NA). A large sample of college students (N = 703) were randomly assigned to a happy, sad, or neutral mood induction before SMU. PA and NA were assessed at baseline, post-mood induction, and after SMU. Contrary to hypotheses, after SMU, people in happy moods experienced decreases in PA, and those in sad moods experienced decreases in NA, reflecting SMU having a dampening effect on emotions. PA and NA were significantly lower after SMU compared to baseline and did not vary by condition. How young adults feel when they log onto SMU matters in understanding how SMU impacts PA and NA, but on average, emotional experiences are dampened. (shrink)

Robin Barrow; The Concept of Curriculum Design, Journal of Philosophy of Education, Volume 20, Issue 1, 30 May 2006, Pages 73–80, https://doi.org/10.1111/j.1467.

Brand design is an important part for enterprises to improve brand awareness and attract consumers. If a company wants to develop for a long time, it must have a good brand image. Good brand design can make a deep impression on consumers, thereby promoting purchase intention. With the advancement of technology and the development of the times, traditional brand design can no longer meet the needs of consumers, and the design of brand experience has gradually become (...) a trend. Incorporating emotional experience into brand design can influence consumers’ brand decisions, and can also make consumers resonate with the brand, which in turn generates purchase behavior. New media is a media state produced within the framework of new technologies and technological development systems. In the context of the 5g new media era, this paper studies and analyzes brand design and its impact on consumers’ emotional experience, aiming to change the traditional brand design method and provide new ideas for brand design. In addition, combined with new media technology and mathematical relational model, the brand design method based on consumer emotion is discussed. The results show that the brand design method proposed in this paper can increase the emotional experience of consumers and improve the brand praise by 7.3%. (shrink)

The concept of media accountability is widely used but remains inadequately defined in the literature and often is restricted to a 1-dimensional interpretation. This study explores perceptions of accountability as manifestations of claims to responsibility, based on philosophical conceptions of the 2 terms, and suggests media accountability be more broadly understood as a dynamic of interaction between a given medium and the value sets of individuals or groups receiving media messages. The shape-shifting nature of the concept contributes (...) to the volatility of debate surrounding conflicting notions of press freedom and responsibility. (shrink)

Conceptual spaces have become an increasingly popular modeling tool in cognitive psychology. The core idea of the conceptual spaces approach is that concepts can be represented as regions in similarity spaces. While it is generally acknowledged that not every region in such a space represents a natural concept, it is still an open question what distinguishes those regions that represent natural concepts from those that do not. The central claim of this paper is that natural concepts are (...) represented by the cells of an optimally designed similarity space. (shrink)

In the current social media environment, emotional branding communication has become a common marketing tool for brand owners, and therefore it has become particularly important and urgent to study it. Based on the perspective of brand equity theory, combined with the new characteristics of marketing communication in the social media environment, this paper constructed an emotional branding communication model in the social media environment. The system dynamics method was used to simulate and analyze the new product marketing (...) system to assess whether it could stir the emotional needs of the consumers and resonate within their hearts. This paper discusses the asymmetric communication of different brands regarding the same commodity to determine the impact of this exchange mechanism, that is, only the weak brands in the market initially adopt marketing methods, while the strong brands do not participate in social marketing activities. It was found that the influence of marketing frequency and marketing intensity on symmetric and asymmetric communications was different. In the face of different types of competitors, the marketing strategy of weak brands needs emphasis. Through unit consistency test, structure verification test, effectiveness, and rationality test, it was proven that the emotional branding communication model and new product sales interaction simulation model established in this paper were reasonable and effective. (shrink)