Internet Culture

The denpa girl receiving electromagnetic signals in her carefully curated room is the direct heir to the central crisis of early German Romanticism: the subject who refuses the world's claim to totality. This essay argues that contemporary microaesthetics-dollcore, denpa, the hikikomori's carefully curated interior-represent not nostalgic revival but genuine continuation of Romantic Symphilosophie, where consciousness forms itself infinitely and singularly against all demands to normalize or dissolve into collective mind.

La Sociedad General de Autores y Editores (SGAE), consciente de que la irrupción de la inteligencia artificial (IA) representa un punto de inflexión en creación musical y artística, ha impulsado un informe estadístico para examinar su impacto económico y social en el sector musical español. El estudio El impacto económico y social de la inteligencia artificial en la creación musical y sus efectos en otros ámbitos de la cultura, desarrollado por la consultora Know Media en colaboración con la Universidad Carlos III, examina las actitudes, usos y proyecciones de los autores y autoras musicales en relación con la IA, así como los posibles escenarios de sustitución de la actividad creativa humana por procesos automatizados.
El estudio ha sido realizado a partir de encuestas a una muestra diversa de 1.257 creadores y creadoras musicales en España, de una variedad de estilos y con diferentes niveles de ingresos.

Why has the digitisation of Italian Conservatory libraries not really got off the ground and, with a few exceptions, is still stagnating? This case study attempts to answer these questions. We are faced with two different but related issues: on the one hand, the creation of repositories of digitised music collections (a means desired and supported by everyone, even by those who do not have or do not want to get used to electronic devices, such as musicians who prefer and use exclusively or almost exclusively paper) and, on the other hand, the use of electronic devices as a means of studying and performing music. As far as Italian Conservatory libraries are concerned, the use of commercial digital library services is spreading. In addition, there is currently a lack of digitisation projects for early, rare, or notable music collections: with the exception of the digital collections of a few Conservatories, such as those of Naples and Milan, Brescia, Florence and some others, there are no particular innovations in the digitisation of historical music Conservatory libraries.

Każda epoka w historii komunikacji zapośredniczonej komputerowo wytwarza charakterystyczne formy przekazywania niełatwych do zwerbalizowania emocji. W pierwszych latach umasowienia internetu w tej roli występowały emotikony oparte na znakach interpunkcyjnych. Następnie pojawiły się ograniczone zestawy reakcji i emoji proponowane przez portale społecznościowe. Najbardziej jak dotąd efektywne w tej roli okazały się jednak memy i GIF-y reakcyjne, których popularność wzrastała stopniowo wraz z przepustowością Sieci. Dzięki wykorzystaniu efektu identyfikacji użytkownicy starają się za ich pomocą wyrazić – niejednokrotnie bardzo złożone i wewnętrznie sprzeczne – reakcje emocjonalne. Opierają się przy tym na powszechnej w danej kulturze wiedzy na temat komunikacyjnych wskazówek o charakterze pozajęzykowym, wykorzystując wizualne szablony czerpane z kultury popularnej. Szczególnie GIF-y sprawdzają się dobrze w roli nośników takiego przekazu, gdyż – dzieląc pewne cechy z projektowanymi w tym celu przez platformy emotikonami i emoji – są od nich bardziej ekspresyjne, elastyczne i pojemne znaczeniowo. Artykuł analizuje ich rolę w komunikacji zapośredniczonej komputerowo, koncentrując się na tym, w jaki sposób polisemiczność GIF-ów wiąże się z ich skrótowością.

The purpose of this research is to examine the fashion industry's use of CGI influencers and models, as well as their potential to displace physical models. The usage of computer-generated imagery (CGI) models and influencers has been quickly embraced by the fashion industry as a means of producing distinctive and aesthetically spectacular content without the necessity for real-life models or photoshoots. The study will look at how CGI models and influencers are currently used in the fashion industry, as well as the advantages and disadvantages of using them. Benefits include cost savings for brands and the ability to produce content that is highly engaging, while disadvantages include criticism for upholding unrealistic beauty standards. Additionally, the study will investigate how CGI mannequins and influencers are altering consumer behavior, including their capacity to sway consumer choices and potential repercussions of their expanding use in the fashion sector. The study will examine the future of CGI models and influencers in the fashion industry, as well as the possibilities of virtual fashion shows and other interactive experiences using CGI models and influencers, through a review of current trends and the most recent technology advancements. The study will also go through the ethical issues and ramifications of the fashion industry's growing reliance on CGI influencers and models. The use of CGI models and influencers, in particular, will be scrutinized for authenticity and responsibility. The study's main purpose is to give a detailed knowledge of how influencers and CGI models are employed in the fashion industry, as well as their inherent capacity to replace human models and the impact this has on buyer behavior. It will also look at the ethical challenges highlighted by the expanding use of CGI models and influencers in the fashion industry, as well as the need for honest and ethical use.

Once overshadowed in a tightly controlled media environment, alternative voices in contemporary Singapore found new avenues through the emerging cyberspace from the 1990s. As irreverent satire, critical commentaries, community networks and knowledge repositories blogs, websites and forums, they came to reflect the digital presence and extension of a nascent, autonomous and enduring digital public culture. Extending the discussion of democratic enclaves within authoritarian political cultures, this article positions such sites as democratic enclaves within alternative digital histories, once alluded by Singapore's Prime Minister Lee Hsien Loong as "cowboy towns. " Amidst the creeping trends of "flawed democracies" as historical precedence, these sites are reminder to the precarious democratic foundations, possibilities and networks pioneered over the early years of the internet.

This article investigates the cultural and artistic significance of emojis within the evolving framework of digital communication. Tracing their origin from Japanese mobile technology in the late 1990s to their global integration through Unicode standardization, the study explores how emojis have revolutionized emotional expression, identity construction, and symbolic interaction across digital platforms. It highlights their transition from emotive shorthand to influential components in contemporary visual art, literature, cinema, fashion, and meme culture. The research draws from documented historical milestones and contemporary examples to examine how emojis function not only as tools of expression but also as cultural artefacts. While acknowledging the limitations of emojis in terms of grammar, nuance, and formal acceptability, the article argues for their growing legitimacy as a visual language in global media and communication. Through this interdisciplinary analysis, the paper contributes to understanding emojis as powerful agents in shaping modern symbolic communication and artistic practice.

In the age of algorithmic throttling, shadowbanning, and identity-based moderation, a bizarre anomaly has emerged: certain newly created social media accounts are able to post content and instantly bypass the throttling mechanisms that silence normal users. These accounts frequently achieve viral reach from their first post-a phenomenon inconsistent with the known behavior of social media filtering systems. This paper identifies the structural patterns of these accounts and outlines methods for recognizing state-run, corporate-sponsored, or bot-enhanced propaganda accounts in the wild.

Material de enseñanza correspondiente a la asignatura Pop
Culture in Hispanic Countries (2233321), elaborado por el Dr.
Anderson Lopes da Silva (Profesor de las Secciones de Español y
Portugués, y Vice-Director del Centro de Estudios
Latinoamericanos, Facultad de Letras, Chulalongkorn University)

Tom Brady, Cristiano Ronaldo, Lionel Messi, and others are household names, while Lee Faker Sang-Hyeok is less well-known. Although Kim Doinb Tae-sang and Luka Perkz Perkovi are still well known, they are also rising to the status of world-renowned athletes. The most popular computer video game in the world, League of Legends, has professional players like Faker Perks and Toinb. The League is one of the many ambitious and well-liked sporting events that make up the fast-growing esports category. Administrators operate in what is referred to as a global gray area. Esports is a lucrative corporate sponsorship option for athletes because of its enormous popularity (some events regularly draw tens of thousands of viewers), but it is also fluid and lacks defined standards. This article describes the global phenomenon of esports; provides an overview of the role and practice of esports; highlights why esports is considered an integral part of the evolving internet culture and introduces t...

This dissertation argues that creepypasta constitute the new
media space of horror for Generation Z, assuming a general function
in their relationship to the occult in the digital age. These fictional legends
told in the first person mythologise childhood objects –video games, TV
shows– while revisiting ancient practices such as spiritualism and oral
tradition. Based on media archaeology, this research examines how
creepypasta metamorphose digital platforms into haunted places, fusing
nostalgia with collective terror. These stories reflect contemporary
technological anxieties, highlighting a conflicting relationship between
enthusiasm and fear of technological evolution. These familiar objects
are transformed into vectors of fear to frighten Generation Z.

Text messaging has long been a popular activity, and today smartphone apps enable users to choose from a plethora of mobile messaging applications. While we know a lot about SMS practices, we know less about practices of messaging applications. In this paper, we take a first step to explore one ubiquitous aspect of mobile messaging -messaging history. We designed, built, and trialled a mobile messaging application without history-named forget-me-not. The two-week trial showed that history-less messaging no longer supports chit-chat as seen in e.g. WhatsApp, but is still considered conversational and more 'engaging'. Participants expressed being lenient and relaxed about what they wrote. Removing the history allowed us to gain insights into what uses history has in other mobile messaging applications, such as planning events, allowing for distractions, and maintaining multiple conversation threads.

The Generational Trend Cycle Theory (GTCT) provides a new sociocultural framework from which to examine the generational continuum of digital trends and how they are created, unfold, and then dissipate through the cohort generations of Gen Alpha, Gen Z, and Millennials. GTCT proposes a four-phase trend lifecycle—Origin, Surge, Saturation, and Decline—to demonstrate how generational behaviors impact the pace, reach, and duration of trends on platforms like TikTok, Instagram, and YouTube.

GTCT includes qualitative analysis and quantitative modelling with our original metrics: Trend Value Momentum (TVM), Peak-to-Retention Metric (PTRM), Cross-Temporal Saturation Penetration Metric (CTSPM), and Gen Z Trend Adoption Multiplier (GZ-TAM). These metrics permit measurements of a trend's lifecycle trajectories and intergenerational cultural diffusion.

GTCT is relevant to digital sociology, media studies, marketing, and youth studies to better describe behaviors that will inform educators, platform developers, trend forecasters, and content creators. Ultimately, GTCT has the potential to merge academic inquiry with model-based interpretations of digital culture in real-time.

This article analyzes two previously unstudied blogs by the poet, prose writer, and digital creator Tomasz Pułka. Treating the blog as an autobiographical genre, the article asks how the blog challenges the generic stability of entries which may be classified as literary texts. Digital philology and genetic criticism are employed to analyze Pułka’s works. Two models of blogging that were practiced by Pułka from 2008 to 2009 are discussed: the first is the notebook mode and the second is the intermedial model. The undertaken analysis gives rise to a tentative history of Pułka’s creative process and highlights the connections between the poetics of the blog, conditioned by the possibilities and limitations of Blogger.com, and the poetics of poetic texts acknowledged by literary criticism.

I analyze graphic posts by Tomasz Pułka (posted by the author on the Cichy Nabiau blog) which also contain Pułka’s poems published in printed poetry collections. I examine two medialities of Pułka’s poetry, concentrating on the screenshot, a digital artistic practice used by Pułka to introduce his poetry (i.e. metaphorical texts) into the spaces of various interfaces (which are also metaphorical in their design).

Questo contributo esplora la distinzione tra autorialità e autorevolezza nel
contesto dei meme, prodotti pervasivi della sfera digitale contemporanea e
attori chiave della convergence culture. Analizzare i meme è cruciale per
comprendere la cultura digitale odierna e il loro ruolo come vettori identitari
per gruppi sociali. Sebbene creati per intrattenimento, i meme possono
influenzare dibattiti socio-politici, riflettendo o contestando discorsi dominanti
e offrendo una nuova prospettiva per ripensare l’autorialità in chiave collettiva,
imponendosi come strumenti di partecipazione civica e costruzione di
autorevolezza condivisa.

This paper explores the distinction between authorship and authority in the
context of memes, pervasive products of the contemporary digital sphere
and key actors in convergence culture. Analyzing memes is essential to
understanding today’s digital culture and their role as identity vectors for social
groups. Though created for entertainment, memes can influence socio-political
debates by reflecting or challenging dominant discourses and offering a new
perspective to rethink authorship in a collective way, establishing themselves
as tools for civic participation and the construction of shared authority.

https://romatrepress.uniroma3.it/libro/difetti-dautore-forme-e-significati-dellautorialita/

The volume contains 7 chapters, divided into subchapters minutely entitled depending on the studied material, followed by the conclusions, the appendices (with examples of sub-corpora in English, Spanish, French, Romanian, Catalan), and a bibliography including the volumes, articles and web references reviewed by the author herself. Besides, at the beginning, the key-words of her volume are listed, among which we enumerate: linguistics, discourse analysis, web genres, knowledge communication, professional web forums, knowledge transmission, conversation analysis, genre description, explanatory sequence, text linguistics, corpus analysis, and comparable corpora. By means of this paper, Cristina Varga presents to the readers the outcome of her daily experience, accumulated for more than twenty years now, period during which she has been studying the teaching-learning process in relation to the internet. Thus, she aims to provide the reader with

Seguro que alguna vez has oído hablar del audio "Lossless" o del "Hi-Res Audio". Suenan a cosas muy técnicas o a palabras que solo usan los audiófilos empedernidos, ¿verdad? Pero, en realidad, son conceptos que pueden tener sentido para cualquiera que disfrute de la música y quiera entender un poco mejor cómo suena lo que escucha.
Hoy quiero contarte de forma sencilla qué significan estos términos, en qué se diferencian y, sobre todo, si de verdad merece la pena prestarles atención. Porque a veces se nos llena la cabeza de siglas y números… y lo que de verdad importa es cómo suena la música en tus oídos.

La revolución digital ha calado hondo en nuestra actualidad. El vasto contenido musical parece no tener fin y la migración digital ya es un hecho. ¿Qué puede ser lo positivo y negativo de esto? ¿Demasiado control sobre nuestras preferencias o la facilitación del surgimiento de ideas frescas e innovadoras?

In recent years, many cities worldwide have witnessed a dynamic shift in their urban and economic landscapes, driven by the rapid rise of digital platforms that increasingly intersect with urban governance. A range of cases across the so-called “informal sector” (e.g., mobile money, motorcycle taxis and domestic work) evidence the growing popularity of the intersection of digital platforms and informality. However, existing literature provides little empirical material that sketches out concrete landscapes of how we can understand the expansion of digital platforms in specific real-life contexts of informality in a particular country. In response, this working paper presents a novel methodological approach to contextualise digital platforms in the informal sector, aiming to paint a broad picture of this emerging urban landscape. Specifically, it aims to convey the policy context and local atmosphere where digital platforms meet urban informality, sketching out the evolving regulatory dynamics and everyday use of digital platforms among local residents that are set in the context of informality.

From policy and regulation, via platform landscape (market and technology) to the context of informality, this working paper offers a useful methodological approach to understanding the intersection of digital platforms and urban informality alongside a lively local context, drawing mainly on document analysis and field observations undertaken in Jakarta, Indonesia. It finds that governments or policymakers are not so “inactive” in responding to the growing digital economy – both in terms of seizing the opportunity as well as addressing the challenges. It then provides a glimpse of how the policy gap is being (potentially) filled with the advent of digital platforms. The vignette of real-life experiences from the informal sector presented in the final section of the paper then gives us a hint as to what areas need attention in relation to platform policies.

Tom Brady, Cristiano Ronaldo, Lionel Messi, and others are household names, while Lee Faker Sang-Hyeok is less well-known. Although Kim Doinb Tae-sang and Luka Perkz Perkovi are still well known, they are also rising to the status of world-renowned athletes. The most popular computer video game in the world, League of Legends, has professional players like Faker Perks and Toinb. The League is one of the many ambitious and well-liked sporting events that make up the fast-growing esports category. Administrators operate in what is referred to as a global gray area. Esports is a lucrative corporate sponsorship option for athletes because of its enormous popularity (some events regularly draw tens of thousands of viewers), but it is also fluid and lacks defined standards. This article describes the global phenomenon of esports; provides an overview of the role and practice of esports; highlights why esports is considered an integral part of the evolving internet culture and introduces t...

It is known that environmental factors, as well as hereditary characteristics, play a role in identity and self-formation processes. The individual, who is a social being, is affected by the family, the social environment and the society in the process of socialization and is restructured in the process. At the development process of the individual, it is possible to say that learning is a process that takes place in the social context, also through interaction, observation and imitation. In the study, the awareness of individuals about "looking glass self", which is put forward by symbolic interactionism that is the theoretical approach that argues that society is created by individuals through repetitive meaningful interactions and that human behaviour can be explained by focusing on these interactions, has been studied. In line with the purpose of the study, a 22-item scale measuring awareness about "looking glass self" was developed and applied to 623 Turkish Cypriots as a sample. The scale was delivered to the participants online with the snowball sampling method and the population of the study was formed. The main research question of the study is structured on the awareness of the respondents about the influence of "others (looking-glass self) during the process of the construction of self.

Tom Brady, Cristiano Ronaldo, Lionel Messi, and others are household names, while Lee Faker Sang-Hyeok is less well-known. Although Kim Doinb Tae-sang and Luka Perkz Perkovi are still well known, they are also rising to the status of world-renowned athletes. The most popular computer video game in the world, League of Legends, has professional players like Faker Perks and Toinb. The League is one of the many ambitious and well-liked sporting events that make up the fast-growing esports category. Administrators operate in what is referred to as a global gray area. Esports is a lucrative corporate sponsorship option for athletes because of its enormous popularity (some events regularly draw tens of thousands of viewers), but it is also fluid and lacks defined standards. This article describes the global phenomenon of esports; provides an overview of the role and practice of esports; highlights why esports is considered an integral part of the evolving internet culture and introduces t...

La evolución de las formas de ejecución, transmisión y recepción de la música durante este siglo ha estado ligada no sólo a la construcción de nuevos instrumentos musicales, sino también a la invención de artefactos electrónicos de reproducción musical y de nuevos ...

Source : Emmanuel Guez, conférence du 1er avril 2011, à l'occasion du vernissage de l'exposition dans l'espace virtuel du Jeu de Paume "Side effects -Identités précaires", article publié sur le site de l'auteur. ///////// « The internet gives me hope that in the future everyone will wear Halloween costumes 365 days a year » (L'internet me permet d'espérer que dans le futur, chacun sera déguisé 365 jours par an comme pendant la fête d'Halloween) Douglas Coupland, "Transience is now permanence" dans Is The Internet changing the way you think ? -The net's impact on our minds and future -textes réunis par John Brockman . En 2004, vingt après la catastrophe de Bhopal qui a fait des milliers de victimes, Jude Finisterra annonce que Dow Chemical met en vente sa filiale Union Carbide, principal actionnaire de l'usine responsable de la catastrophe de Bhopal, et cela pour soigner les victimes et nettoyer le site. Immédiatement, l'information se propage comme une traînée de poudre dans les médias, ce qui fait chuter le cours de l'action. Jude Finisterra était en réalité Andy Bilchbaum des Yesmen. En 1997, la Kunsthalle de Hambourg annonce un concours d'art numérique. A cette occasion elle reçoit beaucoup candidatures féminines. Vraiment beaucoup. Plus de trois cents, dont 127 sont des net.artistes. Pourtant elle attribue les prix à des hommes. Parmi toutes les candidatures féminines, 288 étaient des « fausses » artistes, créées par Cornelia Sollfrank. En 1999, un nouveau label de musique, Dick Head Man Records, voit le jour. Il regroupe à ce jour plusieurs centaines de groupes répartis dans quelques dizaines de pays. Ces groupes, répérés sur le Net ou via le site myspace, se font inviter par les programmateurs. En réalité, nul ne sait qui sont les musiciens qui forment ces multiples groupes. Quand nous écoutons les YesMen piéger Dow Chemical, quand nous voyons les Dick Head Man Records produire un label de musique fictif mais effectif, quand nous découvrons la Female extension de Cornelia Sollfrank, nous rions. Il reste à savoir de quel rire il s'agit. En art, et surtout dans l'art contemporain, on pourrait en distinguer trois sortes. Le cynisme, la dérision, la mystification. C'est ce dernier rire qu'affectionne tout particulièrement l'art du réseau. Nous rions parce que nous nous savons pris au piège ou parce que nous savons que l'autre a été, est ou sera pris au piège. Nous rions de notre savoir. Il s'agit là d'une vieille ficelle de la représentation théâtrale. Notre rire nous en apprend sur nous-mêmes et sur les modes de fonctionnement de notre société et des activités qui la définissent. L'art de l'Internet n'a rien inventé. L'histoire de la littérature et de l'art est remplie de mystifications, de canulars, de supercheries, de chausse-trappes, de pièges. Evoquons seulement ici l'affaire Emile Ajar. Emile Ajar est le pseudonyme de Romain Gary. Pour l'instant, rien de très neuf pour un écrivain et encore moins pour Romain

Media Under Dystopia 1.0 explores the paradoxes of our hyper-connected digital society, where the promises of democratic access and representation are increasingly undermined by issues such as data commodification, surveillance, and uneven connectivity. Presented as a laboratory of ideas, the exhibition features projects at various stages—ranging from research and documentation to immersive, process-based works—by artists engaging with digital infrastructures and the politics of the Internet. Highlighted works include Vladan Joler’s critical cartographies of Facebook’s data systems, Rodolfo Peraza’s community-based WiFi intervention and VR installation, and Ernesto Oroza’s poetic disruption of Cuba’s underground SNET network. Other contributions by Vuk Ćosić and Filio Gálvez further examine the aesthetics, memory, and accessibility of digital content in global and localized contexts. Together, these works challenge viewers to consider the social, political, and environmental implications of digital technologies, particularly in underrepresented or surveilled communities. With special relevance to Miami—a city of both hyper-connectivity and diaspora—the exhibition addresses the need for algorithmic transparency, responsible design, and digital equity in today’s rapidly evolving media landscape.

When we think of participatory media, it is tempting to see it as an “ultimately myopic extension of the traditional cultural industries into the realm of users” (Schafer, 2011). However, there are some arguments to be made about the democratic even if divisive cultural conversation that memetic media facilitates. While we cannot, of course, state that it challenges all hegemonic marginalisation and institutional influence (Milner, 2016), it is safe to say they have the power to blend multiple perspectives to shade broad conversations, even as frictions and factions emerge. (Milner, 2016)

This book is a comprehensive compilation that aims to offer a
multidimensional perspective on the current issues in clinical psychology. The
studies cover a broad spectrum of topics, ranging from the role of metacognitions
in couple relationships, to personality traits known as the dark tetrad, and to
innovative uses of artificial intelligence technologies in clinical psychology
practices, as well as the assessment of personality disorders. The chapters
presented here are drawn from various research areas and are intended not only
to provide theoretical knowledge but also to offer concrete contributions to
clinical practice.

This chapter critically analyzes Japanese social media reactions to the May 2020 COVID-19 outbreak in South Korea’s Itaewon gay district. It compares discourse across platforms such as NewsPicks, YouTube, 2channel, and Twitter, exposing how homophobia, xenophobia, and anti-Korean sentiment were expressed—often anonymously and with impunity. While mainstream media in Japan avoided referring to the incident as involving a “gay cluster,” social media users filled that narrative gap, frequently resorting to harmful stereotypes, hate speech, and misinformation. The chapter documents the complex interplay between nationalism, heteronormativity, and digital culture in shaping public discourse, while drawing attention to the broader implications for LGBTQ+ rights, privacy, and representation in online and offline Japan. The study highlights the urgent need for greater awareness of human rights and the dangers of normalized digital hate in Japanese society.

Tom Brady, Cristiano Ronaldo, Lionel Messi, and others are household names, while Lee Faker Sang-Hyeok is less well-known. Although Kim Doinb Tae-sang and Luka Perkz Perkovi are still well known, they are also rising to the status of world-renowned athletes. The most popular computer video game in the world, League of Legends, has professional players like Faker Perks and Toinb. The League is one of the many ambitious and well-liked sporting events that make up the fast-growing esports category. Administrators operate in what is referred to as a global gray area. Esports is a lucrative corporate sponsorship option for athletes because of its enormous popularity (some events regularly draw tens of thousands of viewers), but it is also fluid and lacks defined standards. This article describes the global phenomenon of esports; provides an overview of the role and practice of esports; highlights why esports is considered an integral part of the evolving internet culture and introduces t...

The rapid proliferation of platform business models has fundamentally reshaped global economies, with network effects and institutional legitimacy emerging as cornerstones of sustainable platform dominance. This study explores how these two forces interact to influence platform scalability, regulatory acceptance, and long-term market entrenchment, using Malaysia's platform economywith a particular focus on Grab-as a case study. Through a multi-theoretical approach, integrating institutional theory, platform economics, and behavioral economics, this research applies a PESTLE framework to dissect the socio-political, economic, and technological forces shaping platform sustainability. Empirical analysis of regulatory policies, market reports, and consumer behavior data illustrates how Grab's strategic regulatory engagement, cultural adaptation, and gig labor policies contributed to its dominance, while Uber's inability to navigate Malaysia's socio-political landscape led to its exit. The study underscores the synergistic relationship between network externalities and regulatory legitimacy, arguing that sustainable platform leadership necessitates not only technological innovation but also deep-rooted institutional agility and cultural intelligence.

Introduction. The relevance of this research is based on the well-known fact that the challenges created by the
digital revolution sharpened many problems within the humanities education. The object of our research is the
process of integration of digital approaches into the traditional teaching of humanities as one of the most important
challenges faced by contemporary higher education. Digital technologies have already changed and continue to
change not only teaching methods and approaches but also the very concept of humanities as a specialized field of
knowledge. Within this process, we face innovations that quickly transform into an everyday practice and become
embedded into the pre-existing academic and educational processes (access to digital information sources, ease of
information production, demonstration and presentation etc.).
The aim of this paper is to analyze the process of integration of digital approaches in teaching humanities as one of
the most important educational challenges faced by contemporary university.
Materials and methods. Since this paper is interdisciplinary in character, its methodological research base relies
on integrative conceptual approach allowing us to bring together general theoretical methods (analysis, synthesis,
generalization) with cultural, historical, contextual and competence-based research methods. Such an approach
provides ample opportunities to introduce existing theoretical and methodological toolkit developed by the
humanities in order to understand problems and specific features of digital society and digital culture. Both in
this methodology and in content, the concept of digital culture as a research object does not contradict practices
established within humanities, but rather can be interpreted as a new area of study.
Results. The results of our research demonstrate that digitalization of society led to the emergence of new
themes in the humanities and within the education system: criticism of the “black box” character of contemporary
digital infrastructure; issues of inequality and discrimination created or supported by digital tools; social effects
of digitalization (including its impact on children and young adults); data-related problems: who, how and under
what conditions creates, distributes and uses data in contemporary culture and society; anthropological approach
that studies interactions between humans and digital technologies; cultural representations of digital technologies:
images and narratives that circulate in society and are used to visualize and describe digital phenomena in film,
literature, internet, social media etc.
Conclusions. The authors conclude that the situation surrounding digitalization of humanities presents a field both
of new problems and new opportunities. However, despite the existing issues, humanities research and education
constantly produce new models and methods of interaction with the digital reality, which can and should be
confidently introduced in education constantly experimenting with the new approaches.

In this article, drawing on reflections of my ethnographic research on TikToks musicking, I will briefly review the ethnographic model introduced by Alan P. Merriam (1964), in order to introduce to this model the concept of E3 Internet by Christine Hine (2015) looking to understand the internet and its (musical) practices as a daily, highly embedded, and embodied experience. Understanding musicking as a multimedia practice that different actors create and experience in everyday synchronous and asynchronous, physical and digital situations. I will propose a path to an interdisciplinary musical ethnographic model for the study of multimedia and multilocal music practices.

This research examines the concept of "disconnective action" during crises, positing it as a necessary counterpart to "connective action" (Bennett & Segerberg, 2012). While digital media is typically lauded for fostering connectivity during socio-political controversies, it also presents affordances for disconnectivity, such as unfriending, unfollowing, and banning. This project aims to understand the dynamics and implications of digital disconnection, particularly during crises that serve as catalysts for revealing divergent opinions among social network users (Sibona, 2014; John & Dvir-Gvirsman, 2015; John & Gal, 2018). The theoretical backdrop of this study involves "disconnective power" (Light & Cassidy, 2014), which refers to the ability of dominant actors to employ digital media as tools for political, cultural, and social fragmentation. The research proposes that this form of power is particularly evident in the strategic use of digital technologies to isolate political systems and promote societal disintegration. Accordingly, the new forms of propaganda utilize disconnective affordances to undermine cross-conflict horizontal networks. By framing disconnection as a performative "speech act" (Austin,1962; Butler, 1990) and examining the role of social media as both a unifying and divisive force, this study contributes to a nuanced understanding of digital interaction in times of socio-political unrest. Over five years, data on public unfriending announcements were collected, particularly from Russian-speaking Facebook users during the Covid-19 pandemic and the Russia-Ukraine war. The research reveals the dominant logics behind publicized disconnective actions and the influence of individual users in initiating broader disconnective trends.

There is obvious joviality in the blocky, comical figures
populating Heroes. In part, they resemble nostalgic
children’s cartoons of the 90s and early 2000s. These
styles developed in tandem with modern art; just think
of the reduced anatomy of humanoid beings populating
avant-garde canvases. Both were exercises in testing the
austere limits of visual economy. Morrissey plays upon
this tension, too.

The paper addresses the cultural paradigm of metamodernism as conceived by Timotheus Vermeulen and Robin van den Akker (2010). Ontologically, metamodernism is perceived as oscillating between the modern and the postmodern, whereby the tools of postmodernism (such as irony, sarcasm, parataxis, deconstruction, scepticism and nihilism) are employed to counter (but not obliterate) modernist naivety, aspiration and enthusiasm. This oscillation results in what the above authors have termed “informed naivety,” a phrase denoting a state of wilful pragmatic idealism that allows for the imagining of impossible possibilities. Vermeulen and van den Akker’s two key observations about the shift from postmodernism to metamodernism in contemporary art are discussed in this paper, namely the (re)appearance of sensibilities corresponding to those of Romanticism and the (re)emergence of utopian desires, in an attempt at a metamodernist analysis of the Netflix adaptation of the Bridgerton book series, ...

ion faite du pourcentage exact de couverture des naissances (nous estimons qu'il se situe au 90 percentile), le fait que l'état civil dispose d'un nombre aussi élevé de bureaux (un bureau pour 15 000 individus, en moyenne) signifie que le système offre une excellente accessibilité aux individus. Les enregistrements ayant lieu avant l’expiration du délai légal de 30 jours sont gratuits. En outre, rien ne porte à croire en l’existence d’obstacles particuliers à l'encontre des groupes minoritaires. La loi régissant l’état civil prévoit des mécanismes d’inclusion de la population adulte qui n’a pas pu accéder à l’enregistrement au moment de la naissance et ce grâce à des mécanismes des jugements déclaratifs. Compte tenu de tous ces facteurs, il est possible d'avancer que le registre d’état civil jouit d'une inclusion considérable (un bon score d'accessibilité), ce qui lui confère un caractère presque universel en matière de déclaration de naissances, même si,...

This study is born from the communicative relationship established between 21st century society and memes, however, it will be also drawn an evolutionary path from its earliest apparitions and analyzing the cultural model that orbits around these through the network, as well as its impact and incorporation into plural areas. Starting from a reflection resulting from a subjective experience within the means of analysis, it is proposed a contextual and anthropological factual study where the main objective is to generate a deliberation about the viral content at the very moment it develops and to cause an awareness of the existence of it as well. This is essentially sought through the distinction of memes as a graphic element, addressing its communicative virtue and raising a relation between entertainment and communication, among several other issues. The result is a theoretical project in which we tackle the communicative and sociocultural ignored tangents which are established in relation to memes and that invites to reflection and immersion in a visual language that grows and is increasing frenzied.

The interest in the Dark Triad (DT) constellation -machiavellianism (Mach), psychopathy (Psy), and narcissism (Narc)has significantly increased during last years. The Dirty Dozen Scale (DD) [1] and the Short Dark Triad Questionnaire (SD3) [2] are promising short measures of these constructs that have been adapted and validated to different languages and cultures. More recently, it has been proposed that sadism could be a fourth dark personality trait; however, the evidence up to now is inconclusive and more data is needed. The Varieties of Sadistic Tendencies Scale (VAST), was specifically developed for the assessment of this construct [3]. The study of “dark” personality traits could be useful to predict aggressive and antisocial behaviour in different kinds of populations and contexts.

Niniejszy artykuł stanowi refleksję nad napięciem powstającym między efemerycznością nowych lapidarności, zwłaszcza memów internetowych, a potrzebą pamięci o nich, którą odczuwają użytkownicy współczesnych mediów społecznościowych. W pierwszej części autor analizuje i wskazuje przyczyny owej efemeryczności: algorytmiczne porządkowanie treści w mediach społecznościowych, ogromną ilość twórców i ich (wy)tworów oraz dynamikę ponowoczesnej codzienności, którą za pomocą nowych lapidarności na bieżąco starają się komentować użytkownicy. W drugiej części artykułu opisane zostają zaś praktyki oporu przed biernym zapominaniem, powodowanym tego typu ulotnością treści. Ulotność lapidarnych form medialnych oddziałuje bowiem na użytkowników, ale nie pozostaje też bez ich odpowiedzi. Autor poddaje analizie facebookową grupę „Klasykawka”, poświęconą pielęgnacji pamięci o najważniejszych dla użytkowników internetowych artefaktach i zjawiskach. Zajmuje ona, w przekonaniu autora, wyjątkowe miejsce w pejzażu praktyk pamięciotwórczych o artefaktach cyberkultury. Jest bowiem tworzona kolektywnie, oddolnie, a ponadto ulokowana w miejscu, które ową ulotność współkonstruuje.

This article reflects on the tension arising between the ephemerality of new concise media forms, particularly memes, and users’ need to remember them in contemporary social media. In the first part, the author examines the causes of this ephemerality and identifies the following as the primary factors: the algorithmic ordering of content in social media, the vast number of creators and their creations and the dynamic nature of postmodern life, which users continuously comment on through these concise media forms. The second part of the article explores practices that are to resist the passive forgetting due to content transience. The fleeting nature of concise media forms not only impacts users but also prompts their response. The author analyses the Facebook group Klasykawka, dedicated to preserving the memory of significant artifacts and phenomena for internet users. The group, in the author’s view, occupies a unique position in the landscape of memory-forming practices related to cyberculture artifacts. Created collectively as a bottom-up initiative, the group itself belongs to a place that contributes to the transient nature of cyberculture artifacts.

Recenzowane dzieło jest częścią serii "The Basics" wydawnictwa Routledge. Ta seria ma za zadanie w sposób przystępny wprowadzać czytelników w podstawowe zrozumienie badanych obszarów, za pomocą języka uproszczonego i nieprzesyconego naukowymi terminus technicus. Celem serii jest również zachęcenie do pogłębienia znajomości tematu oraz dalszego odkrywania złożoności i współczesnych problemów dziedziny. Dokładnie takie zadanie spełnia nieduża książka Josepha P. Laycocka New Religious Movements. Autor zaprezentował wprowadzenie w teorię i metodę akademickich badań "nowych ruchów religijnych". Należy zaznaczać, że J.P. Laycock od ponad 15 lat analizuje i publikuje badania na temat szerokiego spektrum współczesnych ruchów religijno-społecznomedialnych: od treści gnostyckich przez fascynacje demonologią, wampirami, satanizmem aż po kontestowanie tradycyjnych religii. Dzięki temu można przyznać, że autor posiada kompetencje do opisywania nowych kultów i podjęcia metarefleksji na temat badaczy tego zagadnienia i ich spostrzeżeń. Książka New Religious Movements (w skrócie: NRM) została podzielona na siedem rozdziałów oraz trzy dodatkowe teksty na końcu (w tym "Glossary" i "Index"). Całkiem słusznie w pierwszym rozdziale ("What Are New Religious Movements?") autor rozpoczął od określenia definicji. Bez nich nie da się spójnie opisywać nowych ruchów religijnych, które generalnie są niełatwe do kategoryzowania. Laycock wskazał na potrzebę poszukiwania neutralnej terminologii, która unika używania emocjonalnie wartościujących terminów, jak choćby angielskie "cult" czy polski termin "sekta". W drugim rozdziale ("How To Research NRMs") autor zaprezentował swoje refleksje na temat etyki badań nowych ruchów religijnych i wskazywania granic obiektywizmu takich badań. W kolejnych pięciu rozdziałach J.P. Laycock przeprowadził analizę poszczególnych zagadnień, które można umieścić w dziedzinie socjologii religii a które bezpośrednio łączą się z metodologią badań nowych ruchów religijnych. Rozdziały od 5 do 7 są zbudowane według przewidywalnego schematu. Najpierw autor wskazywał na tło -dlaczego zagadnienie pojawiło się w badaniach pierwszych badaczy nowych religii, a następnie przedstawiał badania bliższe współczesnym akademikom, którzy rozwijali wcześniejsze wyniki i wchodzili z nimi w polemikę.