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- Boyko, Kateryna, et al.
(författare)
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A Medium Is Born : Participatory Media and the Rise of Clubhouse in Russia and Ukraine During the Covid-19 Pandemic
- 2022
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Ingår i: Baltic Screen Media Review. - : Tallinn University. - 2346-5522. ; 10:1, s. 8-28
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Tidskriftsartikel (refereegranskat)abstract
- Clubhouse is a social network allowing only real-time oral communication. While its 2020 worldwide launch went largely unnoticed in Eastern Europe, it took countries such as Ukraine and Russia by storm in February 2021. Users were enticed by the platform’s exclusivity (invita-tion only and limited to IOS users), unusual format, and compatibility with post-covid social life. For some time, Clubhouse was the dominant theme of discussions on other social media, mainstream news media organizations started launching daily talk shows in the app, and early adopters engaged in a plethora of participatory activities ranging from propagandist broadcasts to 24/7 rooms where bots would recite Russian classical poetry, from fervently seek-ing ways to monetise their participation to creating the somewhat unexpected genre of audial fakes. In this article we intend to analyse the turbulent arrival of the new app in Russia and Ukraine from the perspec-tives of media ecology and media archaeology. Focusing on the app’s mediality and remediation, the social media discourse about it and particular content in some of the notable rooms, we highlight the conjunction of social envi-ronment, the already existing and novel technological affordances, as well as users’ perceptions and expectations in the emergence of a new niche in the ecology of participa-tory media. Based on this, we will also try to outline some possible scenarios for the new platform in Eastern Europe’s dense mediascapes. We argue that the prompt rise of Club-house’s popularity was not thanks to its special authenticity, as some suggest, but rather because of the normalization of group long-distance conversations (e.g., via Zoom), coupled with the intentional monomedia poverty of affordances and clearly delimited boundary between the roles of broadcast-ers and listeners, which was perceived as liberating in a produsage-saturated environment. This actually limits the participatory media potential of content creators and influ-encers, increasing their power and reviving monological models of communication that suggest a passive audience.
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- Lundälv, Jörgen, et al.
(författare)
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Covid-19 Pandemic Coping Strategies in a Complex Landscape of Crisis Communication : A Participatory Study with Disability Organisations in Sweden
- 2022
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Ingår i: Baltic Screen Media Review. - : Sciendo. - 2346-5522. ; 10:1, s. 140-161
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Tidskriftsartikel (refereegranskat)abstract
- The article challenges the notion that crisis communication is a matter of outreach of a single message communicated as “one voice” from official channels speaking to the public about how to prepare for and manage crisis situations. The Covid-19 pandemic has made it evident that the general public is accessing multiple channels for crisis information while the crisis situation, the rules and knowledge are constantly changing. An array of different voices, facts, (fake) news and recommendations are channeled via public service, social media, national and international media. Most of this content is accessed and shared via digital channels, but also via communities, workplaces, and between friends and families living in the same country or abroad. This article presents insights gained from a qualitative study addressing disabled people whose everyday lives have always been characterized by extraordinary circumstances, and continuously so also during the Covid-19 pandemic. The aim was to create an understanding of disabled people’s crisis-specific media practices and their ways of coping with situations caused by the pandemic. Through a national online survey study and workshops, it explores how disabled people experience the pandemic, and how crisis information flows affect trust between authorities and the disability movements. The study should be read in the light of the Swedish Covid-19 strategy, which put a strong emphasis on the individual’s responsibility and that every citizen is expected to follow the recommendations and take precautionary measures to limit the spread of the virus. This approach requires that both public agencies and citizens are capable of navigating the emerging complex crisis communication landscape and requires them to make responsible decisions and taking relevant measures.
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4. |
- Taher, Hassan, et al.
(författare)
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Reuse and Appropriation: : Remediating Digital Museum Collections and Digital Tools for a Participatory Culture in Transition
- 2022
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Ingår i: Baltic Screen Media Review. - : Walter de Gruyter. - 2346-5522. ; 10:1, s. 122-138
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Tidskriftsartikel (refereegranskat)abstract
- Museums have always used different media to communicate, widen perspectives and bring new knowledge, but in the era of digital media, their various offerings are increasingly part of the media ecosystem. Our research interventions explored the possibility of reusing existing digitised material in a participatory setting. The aim was to explore the object-centred audience participatory method in digital settings. We held a series of digital and in-person workshops that invited the participants to “imagine” narratives about the provenance of the museum’s objects and journeys to Sweden in a playful and creative exploration. We could observe how the virtual workshop setting supported focused discussions, and allowed zooming, drawing and remixing of digital photographs to facilitate conversation. The workshop participants on-site worked with the museum objects on display to remediate them through photos, drawings, clay modelling, and writing down thoughts and questions about the objects on discussion postcards. The participants’ contributions were included in the virtual collection database (Carlotta), under the same collection as the other museum objects, making the remediation process circular. We argue that object-centred methods enable audience participation in digital media ecosystems both in museums and with other media makers. The audience’s expectations and experiences from using other media bring them to the digital museum platforms with a willingness to explore, remix and integrate.
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