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a discussion of how digital resources are being incorporated in a paper-based scholarly discourse, I shall discuss these two positions. I shall conclude that both are untenable. Instead, for evaluating the use of digitized manuscripts we need to describe their ‘digital materiality’. I introduce ten

Open Access
In: Among Digitized Manuscripts. Philology, Codicology, Paleography in a Digital World
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as facial recognition 8 – what happens to writing when it becomes embedded in digital materiality? To analyze this question, Chapter 3 analyzes the rhythm of digital writing production (2.1) and its locus (2.2). Section 3 examines the evolution of the authorial ‘I’ in digital culture. Part 4 will

Open Access
In: Ecritures digitales
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in a deeper way, such as Le fantôme dans la bibliothèque by Maurice Olender, who describes our mixed feelings regarding digitalmaterial immaterial documents”. 4 In this shifting landscape, NTTC is a lively field that has been an early adopter of the digital turn and which now faces a new kind of

Open Access
In: Ecritures digitales
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provide more digital material as schools were required to teach online. However, publishers continue to search for a proper payback model for proving the value of digital material to schools along with print books. 3 Tell us about Headword, your entrepreneurial venture in the highly competitive

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In: Logos

This essay uses the concept of "library conception" in order to define and analyze various aspects of Jewish libraries. They are defined as accessible collections of books or any other written or digital materials, often multi-lingual, that are relevant to Jewish culture

in Encyclopedia of Jewish Book Cultures Online

collection of data, a database is a cultural form that follows its own logic. The user creates her/his own archive out of the (YouTube) database - she/he can search, view, navigate, comment, create lists or add content, appropriate and remix digital material in a new compilation. Memory is constructed in

In: Navigating Landscapes of Mediated Memory

In this article we examine the introduction of digital video pedagogy into dynamic workplaces with fast-changing social and material environments, and discuss its potential to participate in producing forms of positive change. The discussion brings together two strands: we investigate workplace learning theoretically as it emerges as part of a digital material world; and we consider how we might re-think workplace learning through possibilities of digital technologies. We develop this discussion through the example of how digital video has been used to engender new ways of learning and knowing about safety in one of the most dangerous workplaces globally - the construction industry.

Open Access
In: Video Journal of Education and Pedagogy

The paper starts from the assumption that digital media offer new possibilities of preserving and representing the past, and at the same time allow for creativity and expressivity in interpretations and remixes of historical records. Focusing on the topic of remembering socialist past online, my study is interested not in the potential for automatic storage and retrieval of records, but the emerging new interpretations and narratives about the past facilitated by digital media. A typology of the representations of the socialist past online is tempted, while digital memory is compared to communicative memory in Jan Assmann’s distinction between cultural and communicative memory. The paper provides an illustration of how digital memory functions as communicative memory, based on the analysis of digital material representing the Buzludja Monument. Built in 1981 as a tribute to the founding of the organised socialist movement in Bulgaria, this imposing structure is now abandoned and in state of deterioration. From the point of view of ‘real’ cultural practices of remembering, it can be considered as an abandoned site of memory. Its ‘virtual’ representations in online videos and weblogs arouse animate discussions and can be seen as a form of communicative memory. The analysis distinguishes between three types of techniques used in digital memory-making: the tourist video as a neutral or factual representation; the juxtaposition of ‘before’ and ‘now’ combining contemporary footage with digitalised images dating from the times of socialism; and contemporary appropriations of the past in ‘virtual’ and ‘real’ practices.

In: Navigating Landscapes of Mediated Memory

Abstract

Through an ethnomethodological and dialogical encounter with Australian classrooms in the lived experience of two visual art (va) educators, the authors seek to learn how working between online and studio learning approaches shaped teacher perceptions of student learning during the outbreak of covid-19 in 2020 and 2021. The research has two phases. Phase 1 sees the two va educators create learning narratives. These narratives, reported in summary in the article, through both material and digital form became the baseline data. In Phase 2 these themes were reworked as conversational questions. These questions then became the stimulus for a critical reflective online video conversation between the two va educators. The resulting discussion around the borderlines looks beyond specific apps, platforms, or products that the teachers used, their successes and failures and examines the digital, non-digital, material, social relations and pedagogical realities and futures that may or may be possible in the context of the postdigital va secondary classroom. These educators have had little time to assess the shift from a strong and well researched studio-pedagogy to their virtual creative learning futures. The challenges of this shift are revealed through their personal experiences.

Open Access
In: Video Journal of Education and Pedagogy

This essay uses the concept of "library conception" in order to define and analyze various aspects of Jewish libraries. They are defined as accessible collections of books or any other written or digital materials, often multi-lingual, that are relevant to Jewish culture - either due to their