create their own digital projects. It is now relatively easy to create a website or other presence for your research on the internet, allowing researchers to become publishers of their own content, though other approaches, such as app development, may require specialist skills and interdisciplinary collaboration.
Much of the growth in digital public engagement projects comes about because it is now so much easier to create and share content on the web, using what are now commonly referred to as Web 2.0 technologies. Web 2.0, a term first coined by DiNucci in
Brands are introduced into the lives of consumers from an early age. Even before they start school, they can recognise brand names and ask for brands by name. The meaning of brands to children can vary dramatically with age. As with other aspects of consumer socialisation, children’s initial orientation towards brands occurs at a superficial level because their level of cognitive development does not allow them to understand deeper-seated symbolic meanings of brands. This book examines these processes and how they evolve over the different stages of childhood. It considers specific models of cognitive development and how they inform what we know about the way children engage with brands. It also examines the way brands have adopted new promotional platforms in the digital era and in consequence the ways in which they have taken on new forms that often disguise their true purpose. While children can begin the understand the nature and purpose of advertising from well before their teen years, when advertising is less overt and more subtle – as it often is in the promotional techniques used by brands in online social media and virtual environments – this can impede a child’s ability to recognise what is going on. This book examines these phenomena and considers their implications for the future regulation of brand promotions.
This book offers a practical introduction to digital history with a focus on working with text. It will benefit anyone who is considering carrying out research in history that has a digital or data element and will also be of interest to researchers in related fields within digital humanities, such as literary or classical studies. It offers advice on the scoping of a project, evaluation of existing digital history resources, a detailed introduction on how to work with large text resources, how to manage digital data and how to approach data visualisation. After placing digital history in its historiographical context and discussing the importance of understanding the history of the subject, this guide covers the life-cycle of a digital project from conception to digital outputs. It assumes no prior knowledge of digital techniques and shows you how much you can do without writing any code. It will give you the skills to use common formats such as plain text and XML with confidence. A key message of the book is that data preparation is a central part of most digital history projects, but that work becomes much easier and faster with a few essential tools.
Children and digital branding
The popularity of online digital media as a marketing platform has surpassed
the advance of research designed to inform our understanding of how this
medium works and how effective it can be at delivering results in the marketplace. Industry research has generated surface level market statistics that profile
internet traffic linked to brands, but what do consumers really make of this
type of marketing and how responsive are they to it? In the context of the
theme being examined here, what are the implications of brand marketing in
A multimodal reading of archived London-French blogs
performed in this technologically enabled but ontologically enacted in-between space, bridging – to a certain extent – France–London, physical–digital and private–public dichotomies (Collins, 2009 ). Rather than illustrating a cleft habitus (Bourdieu, 2004 ), I posit that the culturo-digital representations gesture towards hybridity (Hall, 1990; Huc-Hepher, 2016 ; Ponzanesi, 2019 ). Through the prism of my triadic habitat-habituation-habits conception of habitus, I argue that formal transformations common to the blogs, be they visual, textual or typographical, are
Jonathan Blaney, Sarah Milligan, Marty Steer, and Jane Winters
As we noted in the Introduction, nothing dates as quickly as predictions about the future. Consequently, we will focus here on identifying general directions of travel rather than new tools, technologies and methods. In general, we see the future of digital history as one of gradual evolution and embedding rather than of revolution and disruption. Digital methods will be more widely adopted as we gain greater access to more digital primary sources, and well-established digital tools are likely to become easier to use for a large number of researchers. This may
Jonathan Blaney, Sarah Milligan, Marty Steer, and Jane Winters
It is a difficult task, doomed in advance, to say in a few words what has really changed in our area of study, and especially how and why that change took place. 1
There are a number of strands we have to try to weave together in describing the context and development of digital history. We will start by discussing the place of digital history within the broader context of digital humanities, and then within the context of the development of technology in the post-war period. We will move on to discussing the effect of the digital on
Digital maps and anchored time:
the case for practice theory
Digital maps are increasingly embedded within everyday practices, from choosing a holiday destination to gaining directions to a bar. As hypermediate and
remediate forms (Bolter and Grusin, 2000), they are situated within a complex
array of connected technologies: web mapping services output digital cartography via popular web map engines like Google and Bing Maps which, in turn, sit
embedded on websites. Meanwhile, location-based services allow users to check
be an opportunity. Instead of producing a print edition, Beckett's bilingual works present an opportunity to conceptualise a digital CWE. Such a reconceptualisation necessitates a shift from a ‘grail’ paradigm (conditioned by the print medium) to a ‘quest’ paradigm (as enabled by the digital medium), which means seeing Beckett's oeuvre not so much as a grail, but a quest, both from the point of view of (a) the writer and from that of (b) the reader. Regarding (a), for Beckett, like for most authors, writing is a constant search for the right words and the right
Double Ariel in the Royal Shakespeare Company’s The Tempest
Anchuli Felicia King
The relatively recent accretion of this varied body of writing into the unified field of ‘puppet theory’ has a new challenge in considering how this ancient form, which for centuries has been harnessed for spectacles of the mythic, magic and supernatural, might exist in dialogue with contemporary digital technologies.
In his chapter for the 2001 anthology Puppets, Masks and Performing Objects , Steve Tillis argues that the question of what constitutes ‘live’ puppetry has been largely overshadowed by technological