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reconstruction of the virtual library – the books we know Beckett had read, based on information in notebooks and letters, but which are no longer extant. The aim of such a digital CWE is to respect the complexity of Beckett's oeuvre, without abandoning readers in the chaos of manuscripts. Digital media provide us with the means to design the tools that enable readers to explore this complexity, characterised by its dialectic of completion and incompletion. Within digital humanities, both genetic criticism and textual scholarship are exceptional in that
Reorienting the narrative of digital media studies to incorporate the medieval, Participatory reading in late-medieval England traces affinities between digital and medieval media to explore how participation defined reading practices and shaped relations between writers and readers in England’s literary culture from the late-fourteenth to early sixteenth centuries. Traditionally, print operates as the comparative touchstone of both medieval and digital media, but Participatory reading argues that the latter share more in common with each other than either does with print. Working on the borders of digital humanities, medieval cultural studies, and the history of the book, Participatory reading draws on well-known and little-studied works ranging from Chaucer to banqueting poems and wall-texts to demonstrate how medieval writers and readers engaged with practices familiar in digital media today, from crowd-sourced editing to nonlinear apprehension to mobility, temporality, and forensic materiality illuminate. Writers turned to these practices in order to both elicit and control readers’ engagement with their works in ways that would benefit the writers’ reputations along with the transmission and interpretation of their texts, while readers pursued their own agendas—which could conflict with or set aside writers’ attempts to frame readers’ work. The interactions that gather around participatory reading practices reflect concerns about authority, literacy, and media formats, before and after the introduction of print. Participatory reading is of interest to students and scholars of medieval literature, book, and reading history, in addition to those interested in the long history of media studies.
The recent uses of digital technology in war films have sparked a wave of discussions about new visual aesthetics in the genre. Drawing on the approach of film discourse analysis, this article critically examines recent claims about new visual grammar in the war film and investigates to what extent the insertion of different media channels has affected the persuasive function of the genre. Through a detailed analysis of Redacted (2007), which constitutes an extreme case of a fiction filmmaking use of a variety of digital channels, this article demonstrates that the multimedia format works within systems of classical film discourse while also generating new patterns of persuasion tied to new visual technology.
digital media, her team finds that Twitter lends itself better to infographics illustrating tips, Instagram to longer texts, TikTok to more spontaneous and less polished images. Website and social media, in general, call for more infographics in order to communicate complex information. The communications personnel of humanitarian agencies has changed accordingly: the CRC national communications team now includes a graphic designer; WUSC also employs a graphic designer, as well as a new ‘digital engagement officer’; MCoS actively supports current workers to develop
In our time of increasing reliance on digital media the history of the book has a special role to play in studying the codex form and the persistence of old media alongside the growth of new ones. As a contribution to recent work on the continued use of manuscript in the handpress era, I focus on some examples of manuscripts copied from printed books in the Rylands Library and discuss the motivations for making them. Some of these manuscripts were luxury items signalling wealth and prestige, others were made for practical reasons – to own a copy of a book that was hard to buy, or a copy that could be customized in the process of copying. The act of copying itself was also considered to have devotional and/or pedagogical value.
but has a wider mission that has grown over time. SK: Let us talk about the specific visual mediality of the museum. How can museums compete with television documentaries or the newest history short film put out on YouTube? RS: I think one of the strongpoints of a museum is that it allows a direct, aesthetic encounter with the visual material object itself. That’s something that digital media, photography, or television cannot make up for. When I see on display an original letter written and sent by Henry Dunant, then I know that this concrete material letter
disinformation and help users navigate the digital media environment’ ( European Commission, 2018 ). More broadly, we need to focus curricula on critical thinking and reasoning. Recent interventions have shown this can be massively beneficial to students’ ability to discern opinion and anecdote from scientific evidence. In 2016, researchers ran a huge trial involving 10,000 schoolchildren in 120 primary schools in Kampala, Uganda. The results, recently published in The Lancet ( Semakula et al ., 2017 ), show that children who were taught
of digital media, in the current offerings of the NFB, and within the later practice of the photographers involved. The Purpose of CIDA Development Education in Schools From its creation in 1968, CIDA engaged the public in multiple ways: by offering financial support to Churches and NGOS who sent young volunteers abroad or visited community associations and schools, by sponsoring the preparation of materials on the developing world for adult education, and by designing partnerships from its ‘NGO program’ especially to create learning centers across the
Introduction When looking at the history of visual humanitarianism, one surprisingly realizes that film history has only scarcely been covered, while scholarly interest has increased in humanitarian campaigns on digital media ( Cottle and Cooper, 2015 ). Yet, debates that emerged in the 1980s about the paradigm of distant suffering, immersion and chronotopic engagement by means of communication technologies, such as virtual reality, remain to be examined through historical patterns. In the age of mass communication, aid agencies turned very early to motion
impact of digital media on toys and toy industries? The rapid rise of the digital gaming industry has paralleled the growing pervasiveness of digital media. Worldwide digital game sales and revenues rival – if not now surpass – those of movies (though these numbers commonly include the digital accessories and hardware, joysticks and consoles and the like, that are required for gameplay). Of course, not all digitally transformed games have been equally successful. The initial popularity of arcade games, for instance, has waned in favor of games played on