Web Video Case Studies

In the age of algorithm-driven content, Instagram Reels have emerged as a dominant force in shaping digital consumption patterns, particularly among younger generations. This paper delves into the semiotic and media studies perspectives to understand the allure of short-form videos and the phenomenon of doomscrolling. Employing a theoretical approach, it examines how visual semiotics and media structures contribute to users' immersion in endless scrolling loops. The study explores the psychological and cultural factors that make ephemeral content more appealing than real-life interactions, highlighting the role of visual signs, narrative structures, and algorithmic curation in creating a compelling yet potentially escapist digital environment. By analyzing the interplay between media technologies and user behaviors, this research aims to shed light on the complexities of digital culture and the challenges it poses to authentic human experiences.

Since the interactive web has existed, a dynamic relationship seems to have been formed between graphic signs and images that is capable of attracting into its orbit many other expressive elements as well, from sound to gesture to writing. Thus arose a syncretic mode of communication that is very manageable and rich in potential that web users have learned to use, developing a specific skill that is taking on the nature of a second literacy. The phenomenon is there for all to see, but there are still few studies that have examined it. This book presents an initial survey of what may turn out to be a true "syncretic turn":

Video is recognized in learning sciences as a valuable medium for motivating and supporting practices of 'noticing' key events in complex interactions. Various approaches to support development of noticing have included in-person group discussions and threaded text linked to time segments in a given video. This paper reports on an initial effort to use aggregate representation of time-stamped text annotations across users as a way of supporting university teaching activities. The imagined use cases are courses where there are a dozen or more students who can identify and annotate specific moments they notice in video. The aggregated representation can then provide feedback for the entire class about where everyone is noticing key events and can help anchor discussion around the video and the content that video is helping students to explore.

Simone Regazzoni has been agitating for years the Italian debate that surrounds the many contaminations of pop philosophy and he is always on the front line when it comes to accept the challenges posed toward and against the academic world. The following interview is the synthesis of many public lectures given during Popsophia Festival's various editions. *** Simone Regazzoni anima da anni il dibattito italiano sulla contaminazione tra la filosofia e la cultura di massa sperimentando in prima persona nuove sfide contro l'accademismo. Dai saggi popfilosofici come La filosofia di Dr. House e Pornosofia, al suo primo romanzo, Abyss, un action-thriller sulle dottrine non scritte di Platone, fino al soggetto per una serie tv sul Segreto di Michelangelo. L'intervista che segue è la sintesi di numerosi incontri pubblici avvenuti in occasione degli appuntamenti di Popsophia, festival del contemporaneo. La parola "popsophia" è entrata di diritto nel dibattito contempora...

This research explores the meaning of Digital Video Sharing (DVS) from apedagogical point of view. What does DVS mean for teachers? Which kindof knowledge and relationship is expressed by online sharing practices?How can DVS be involved in learning processes? The research uses an approachthat tackles the issue from different perspectives: with the help ofmedia studies, semiotics, aesthetics, media literacy, epistemology andethnography, DVS can be thoroughly analysed in search of its learning value.The article presents a general view over the very first results of suchanalysis.

This survey paper uses a framework derived from Herman and Winters (1994) to analyze seven selected research studies for evidence of electronic portfolios' technical quality, implementation effects, fairness, feasibility, and tool effects. Analysis sought to determine what methodologies and instruments for data collection yielded useful information about electronic portfolios, and what the findings and methods suggest about directions for future e-portfolio research. The author's recommendations are placed in the context of an educational technology research agenda proposed by leaders in the field. Concerns and Questions about Electronic Portfolios Despite their increasing popularity, a host of questions and concerns have been raised about electronic portfolios. Maddux and Cummings (2004) have suggested that electronic portfolios might be one of the current hot topics susceptible to being caught up in what they refer to as the pendulum syndrome. This term refers to the tendency for many a new educational practice or technology to be greeted with overly optimistic claims; then when the innovation fails to live up to unrealistic expectations, it is abandoned-often before it has even been fully or appropriately implemented. Efforts to validate the innovation through research are often still at preliminary stages when its wave of popularity ends and the practice is discarded. We might ask ourselves: In the absence of research to guide their use, will electronic portfolios be an educational fad destined to go the way of Papert's Logo turtles? Developments in software also prompt new questions and concerns. Although most electronic portfolios were initially constructed with

Multimedia artifacts, capable of simultaneously s howing and telling a story, provide a unique opportunity to make thinking and r easoning visible. As students, educators, and researchers engage with these rich artifacts, t hey navigate multiple technologies. Our studies explored pre-service and in-service teacher s' use of a large video repository to create multimedia artifacts that integrate text editing an d video technologies. Exploring the problem solving that occurred throughout the design and imp lementation of two studies of students collaboratively creating multimedia artifacts, we c onsider in this proposal how to organize multiple forms of technology as seamlessly as possi ble. In our description of the technical and pedagogical design challenges we faced and the solu tions we devised, we work to offer suggestions for researchers working in similar lear ning environments.

Wolfgang Frindte, Nicole Haußecker (Hg.): Inszenierter Terrorismus. Mediale Konstruktionen und individuelle Interpretationen<br>Susanne Kirchhoff: Krieg mit Metaphern. Mediendiskurse über 9/11 und den "War on Terror"<br><br>

Analisi semiotica della funzione di Instagram Stories, dalle strutture degli enunciati alle modalità di fruizione, interpretazione e alle pratiche socioculturali connesse. Un forte accento è posto sull'aspetto performativo dell'enunciato audiovisivo, sull'enunciazione e sulle mediazioni, spesso trasparenti, che precedono e determinano l'enunciato. I case studies affrontati principalmente sono gli account Instagram di Fedez e di Luis, interessanti anche per le differenze che presentano tra loro.

The National Science Education Standards (NSES) have established scientific literacy as a goal for all students. The goals advocate scientific inquiry as an instructional strategy to be used in the classroom, and standards of inquiry have even been established. At the same time, co-teaching has become prevalent in classroom as regular education teachers work with special education teachers. The classrooms

THOMAS NACHREINER Im Spiegellabyrinth. Webvideo als Form des Verschwörungsdenkens Re: Fwd: Conspiracy Wenn man sich am 10. September 2011 in Manhattan aufhielt, konnte man sie wieder sehen: eine kleine Gruppe von Menschen, ausgestattet mit Schildern, auf denen Slogans zu lesen waren wie »9-11 was an inside job«, »Indict Cheney for 9/11« oder »Bush Liar Murderer Terrorist« (Abb. 1). Die bloße Zahl an Teilnehmern dieser Demonstration des sogenannten 9/11 Truth Movement schien für einen gewissen »Zerfall der Truther-Bewegung« 1 zu sprechen, wie ihn Christian Wernicke einige Wochen vor dem 10. Jahrestag der Terroranschläge des 11. Septembers diagnostiziert hatte. Einen völlig anderen Eindruck erhielt man hingegen tags darauf beim Symposium How the World Changed After 9/11 in der Walker Stage in Manhattan, wo mehrere hundert Menschenstreckenweise mit frenetischer Begeisterung-der »in-depth analysis of the alternative research on 9/11« 2 folgten. An dieser Erfahrung zeigt sich die grundlegende Schwierigkeit bei der Einschätzung dessen, was landläufig unter dem Begriff der ›Verschwörungstheorie‹ subsumiert wird 3 : Ihre Thesen werden in aller Regel von sämtlichen staatlichen wie wissenschaftlichen Institutionen zurückgewiesen, während ihr Milieu kaum eine Öffentlichkeit in den traditionellen medialen Kanälen erfährt. Begibt man sich jedoch in dieses Milieu, sei es in Form einer Konferenzteilnahme oder der Rezeption seiner

The purpose of this article is to suggest a research-based systemic plan for educational researchers, practitioners, and policymakers involved in the change process to implement successful technology integration in the context of teacher education. This article provides a background about reform efforts in science education in the United States in recent years. This article also addresses technology tools that are responsive to reform efforts in the elementary science education and indicates the challenges of modifying elementary preservice teacher education to meet technology reform needs. The technology integration change process takes time and efforts; not all change can be sustained. Thus, a systemic plan that considers three major components, including people, process activities, and systems, to ensure successful technology integration is suggested.

The paper deals with some linguistic aspects of the spread of fake news in social media communication, an issue which is connected to the sociological concept of post truth and to its impact, among other things, on political propaganda. Following the observation of some major trends in texts published on social media platforms in Italy and in the use of a selected group of lexical items, a possible connection between specific linguistic instruments and the general tendency to post truth is then highlighted and briefly described.

Parte prima. di Beatrice Tavecchio 20 dicembre 2020. Terzo pesante lockdown in gran parte del Paese per l'impennata dei casi Covid dovuti alle nuove mutazioni del virus. I teatri che si stavano preparando al breve respiro dalle restrizioni per il periodo natalizio promesso dal governo, hanno dovuto abbassare il sipario ancora una volta, cancellando la stagione festiva delle pantomime. Cosa fare allora per mantenere in vita il teatro dopo mesi di chiusura e come preservare la sua specificità di diretto contatto col pubblico? In questo periodo si è assistito, se non alla nascita, alla crescita di un'altro fenomeno. Infatti è diventata sempre più evidente la necessità di utilizzare la rete digitale per comunicare, e via via si è sviluppata l'idea che anche gli spettacoli dal vivo potessero diventare così facilmente accessibili come il programma televisivo preferito. Per i teatri questa evoluzione si è svolta per fasi dettate sia dalla risposta del pubblico che dall'iniziativa dei teatri stessi. Durante il primo lockdown del marzo 2020 le registrazioni digitali degli spettacoli teatrali e operistici, dei balletti e dei concerti erano state offerte

In the last twenty years, technological change has been characterized by radical processes of social transformation. In this unprecedented mediascape, digital communication generates new and specific forms of expression such as, among others, the meme. Is it possible to look at the meme as the cultural artifact that best represents, synecdochically, today's participatory culture, since it is intrinsically based on an endless cycle of appropriation and mixability? Over the years, the meme has proved to be a form of "vernacular" creativity somewhere between innovation and familiarity, individual and collective. The rage comics (very short stories that are usually characterized by a final explosion of anger on the part of their protagonists) show a simplified linguistic structure, being presented as a single image, or-in their most complex form-being arranged in a grid of a few drawings. These memes produce snapshots of everyday stressful situations in which readers can easily identify themselves, contributing to a reformulation of the processes of the social construction of reality that-following the founding vision of Berger and Luckmann, while pushing it towards the paradigmatic leap of the net-assumes more and more participatory and dynamic traits.

After years of euphemistic use of the term, virality returns forcefully to disrupt our lives, traumatically bringing us back from the virtual, which we referred to long ago, to the most tragic real that escapes us and we cannot manage. Since the viral has been transformed from an adjective to a noun (the video, the content, the meme), we have forgotten the anxiety, anguish and panic that can cause true virality, or rather biological virality, then increased from media and social virality. In the so-called "new normal" of this neo-viral age, imposed by the problematic coexistence with Covid-19, and in post-pandemic society, unprecedented political cleavages and new fractures arise in the already extremely jagged field of public opinion. It is therefore reasonable to expect that the medical-scientific sector projected into politics, living a series of divisions, between center-right and center-left and between majority and opposition and, perhaps, also the genesis of further original categories and oppositions (for example, that between a "populism" and an epidemiological "reformism"). In the "Covid era", the immune and epidemiological paradigm has become a fundamental element of public life, and provides an important key for interpreting a collective mentality undergoing profound transformation, which seems to have found first and foremost behavioral models of reference but also to level of imagination in this umpteenth declination of the figure of the technician with specialist skills. The virologist, the infectious disease specialist and the epidemiologist (and, to a lesser extent, the pulmonologist) have in fact identified the "anchors" and the reference characters of the TV and social media of the current stage of the age of public democracy. Il virus sovranista Dopo anni di utilizzo eufemistico del termine, la viralità torna prepotentemente a sconquassare le nostre vite, riportandoci traumaticamente dal virtuale, a cui ci si riferiva tempo prima, al più tragico reale che ci sfugge e non riusciamo a gestire. Da quando il virale si è trasformato da aggettivo a sostantivo (il video, il contenuto, il meme), ci eravamo scordati dell'inquietudine, dell'angoscia e del panico che può provocare la vera viralità, o meglio la viralità biologica, poi aumentata dalla viralità mediatica e social. La crisi prepandemica o pseudopandemica, che ha bloccato una città dinamica come Milano, ha reso ancor più palese lo scenario di domesticazione dei consumi che in un saggio in uscita chiamo "isolation" (Barile, 2020). Con Amazon che associa le ricerche sull'amuchina ai

Das Editorial zum Schwerpunkt skizziert die Geschichte des Denkens in »Verschwörungen« sowie grundlegende Entwicklungen und Begrifflichkeiten in dessen wissenschaftlicher Thematisierung. Die Wirkungspotenziale des Verschwörungsdenkens in Alltagsund Populärkultur bis zu politischer Propaganda und Gewalt lassen die Autoren für eine kritisch sozialwissenschaftliche Auseinandersetzung plädieren, in der die Dimensionen der grundlegend gesellschaftlich-kulturellen Eingebundenheit des Phänomens und dessen geschichtlicher Funktionswandel reflektiert werden. Zugleich muss sich die Analyse auch auf die im Gegenstand gleichzeitig wirkenden Aspekte der kognitiven Wahrnehmung und Deutung sowie der praktischen Aneignung von Verschwörungstheorien richten.

Abstract:
This editorial outlines the history of conspiracy thinking as well as fundamental developments and theories in the scientific assessment thereof. Conspiracy thinking affects many aspects of everyday life and popular culture, including political propaganda and people’s readiness for violence. We thus advocate a critical social scientific inquiry that is cognizant of the social and cultural embeddedness of conspiracy thinking and socio-historical change in the functions of conspiracy thinking. At the same time, the inquiry should also focus on cognitive aspects, for example, how people perceive and interpret social phenomena as well as why and how they adopt conspiracy theories.

Wieso bringt gerade die vom Corona Virus ausgelöste Krise Verschwörungstheorien wieder in den Fokus der Öffentlichkeit? Warum ermöglicht diese Krisensituation den Wiedereintritt von vormals stigmatisiertem Wissen in den Diskurs in den Sozialen Medien? Und was sagen diese Verschwörungstheorien über unsere Gesellschaft aus? Diesen Fragen gehe ich in diesem Beitrag auf dem makingcrisesvisible.com Blog nach.

Die vorliegende Arbeit beschreibt den Zusammenhang zwischen den digitalen Erinnerungskulturen von ‚9/11‘ und der Mediengeschichte des World Wide Web im Zeitraum von 2001 bis 2016. Die darin angelegte Problemstellung behandelt das rekursive Verhältnis von Medialität und Historizität und lässt sich als Kombination von zwei Fragestellungen fassen: Welchen Einfluss hat der digitale Medienwandel – insbesondere in Form des World Wide Web – auf die Verarbeitung des Medienereignisses ‚9/11‘ in verschiedenen Erinnerungskulturen? Und welche Rolle spielen im Gegenzug das Medienereignis und die Erinnerungskultur von ‚9/11‘ für die Beobachtbarkeit des Web als historischer Medienkonstellation und für die Bedingungen der Internet- und Webhistoriographie? Bislang gibt es zu beiden Fragen lediglich punktuelle kulturwissenschaftliche Untersuchungen, die zwar einzelne Anwendungen oder bestimmte Zeitpunkte thematisieren, jedoch die strukturelle Koevolution von Medialität und Historizität nur unzureichend berücksichtigen. Die vorliegende Arbeit ist die erste medienhistoriographische Studie, die nicht nur einzelne webbasierte Erscheinungsformen des Erinnerungsortes ‚9/11‘ betrachtet, sondern ihre heterogenen Entwicklungslinien und transmedialen Verflechtungen genealogisch wie systematisch untersucht. Im Umkehrschluss besteht das Novum der Arbeit in der Ausarbeitung und Anwendung einer reflexiven Perspektive, die den Status von ‚9/11‘ als Element von webbasierten Gedächtnisformen und als Erkenntnisobjekt der Webgeschichte diskutiert.

La sociologia ha a che fare con le modalità con cui gli esseri umani partecipano ai fenomeni collettivi. La web-society rappresenta un fenomeno collettivo che ha invaso le vite delle persone di praticamente tutte le fasce di età, seppur con maggiore incidenza per quelle comprese fra i dodici anni circa e i settanta, e per queste ultime - sessanta/settantenni - ha anche rappresentato un'occasione di apprendimento di competenze nell'uso dei programmi e di applicazioni messe a disposizione gratuitamente, con conseguente condivisione di originalità espressive e comunicative. La portata su vasta scala di questo fenomeno è ancora lungi dall'essere valutata in modo oggettivo in tutte le sue ripercussioni sociali, ma intanto non ci si può esimere dallo studiare quanto più analiticamente possibile tale processo capillare di acquisizione, al contempo individuale e collettiva, di conoscenze e competenze tecniche. La principale manifestazione con cui si declina la web-society dal punto di vista sociologico è considerata da alcuni (Cipolla, 2013) l'eclettismo che questa ha generato, moltiplicando e diffondendo il fenomeno della partecipazione comunicativa ad ogni genere di dibattito, anche da parte di non esperti, nei vari campi specialistici del sapere. Prima attraverso i forum e le chat, poi grazie a siti come Wikipedia ed infine mediante la costruzione di blog e siti internet personali, sono sempre più numerosi gli utenti della rete che partecipano attivamente e dicono la loro in ogni campo specialistico, dando così il proprio contributo personale e spesso originale ad un dibattito che altrimenti rimarrebbe appannaggio di pochi addetti ai lavori. La caratteristica stessa della rete è infatti tale da escludere la possibilità di ricevere solo passivamente un messaggio, ma è piuttosto atta ad innescare la risposta dei suoi utenti i cui feedback ormai rappresentano la vera polpa della web-society. Questa infatti è andata crescendo nel tempo e di pari passo sia intorno al suo scheletro tecnologico-rappresentato dalle risorse hardware e software che ne hanno permesso la nascita ed il potenziamento-sia attraverso i contenuti prodotti dai suoi milioni di utenti, che ne hanno promosso la diffusione capillare. E' quindi importante approfondire la conoscenza delle modalità di partecipazione attiva degli utenti alla comunicazione in rete, prendendo in considerazione le varie fasi di l'acquisizione delle competenze che caratterizzano il passaggio da utente inesperto a utente esperto di strumenti informatici hardware e software.

La fotografia ed il cinema come la intendiamo nei nostri giorni hanno delle date di nascita ufficiali: nel primo caso il 9 luglio 1839, quando a Louis Jacque Mandè Daguerre scenografo e creatore di diorami, venne concesso il brevetto dall'Accademia delle Scienze di Parigi per il suo progetto fotografico; nel secondo caso qualche decennio più tardi, ovvero: il 28 dicembre del 1895, quando i fratelli Lumière proiettano per la prima volta al pubblico un loro cortometraggio con un'unica inquadratura. Quello su cui ci concentreremo, però, non saranno la storia della fotografia e del cinema, né delle varie tecniche che, nel corso degli anni, sono state scoperte. Il centro del discorso che faremo sarà incentrato su quanto questi due mezzi abbiano influenzato e cambiato la visione del mondo negli anni. Poteva uno strumento tecnico esprimere la sensazione artistica che dava già la pittura? Negli '20, il teorico dell'arte Balàzs e l'artista della Bauhaus Moholy-Nagy cominciarono ad interrogarsi sull'impatto che la fotografia ed il cinema potessero e che già stavano avendo sulla cultura contemporanea, in quanto media ottici, sono capaci di ridefinire il rapporto tra immagini e parole ed esperienza visiva e sapere concettuale. Laszlo Moholy-Nagy usa nei scuoi scritti le espressioni cultura ottica o della visione per parlare del modo in cui fotografia e cinema, stavano trasformando le coordinate del visibile, portando alla luce fenomeni prima inaccessibili all'occhio umano.

Oggetto di analisi è il libro di Hogre "Subvertising - The Piracy of Outdoor Advertising", messo in relazione con lo spazio urbano e le esperienze mediali generate.
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[esame di Semiotica dei Media, facoltà di Scienze della Comunicazione dell'Università di Modena e Reggio Emilia, anno accademico 2017/2018]

Nello scenario predigitale, quando i media classici erano l’unico orizzonte di ogni comunicazione di massa, la contrapposizione era ritenuta una delle vie maestre per ottenere spazio mediatico. Occorre oggi domandarsi se questa modalità sia veramente l’unica percorribile e se apporti ancora un contributo per la vita reale dei partecipanti alla conversazione, o piuttosto aggravi alcuni fenomeni come il disagio per l’overload di informazioni, la sensazione di inattendibilità diffusa e l’autoreferenzialità dei gruppi di opinioni omogenee impermeabili al confronto.

Il pianeta Terra e il punto di non ritorno pag. 5 LUIGI VITAGLIANO La ricerca in Italia e il Premio Nobel: un connubio difficile pag. 10 ENRICO ACQUARO Cartagine, Kerkouane, Mozia: the day after pag. 11 ROBERTO FIESCHI Ernest Rutherford, il padre della fisica nucleare pag. 15 FRANCESCO MANFREDI E MICHELE SAVIANO Cinema e spettatore. Per un'interpretazione critica dei processi fruitivi nella dimensione filmica pag. 19 CLAUDIO PALUMBO Individual, organizational and social psychological wellbeing pag. 31 FRANCESCO ORZI, ALESSANDRO ZOCCHI Ragionare con la pancia. Neurobiologia delle interazioni cervello-intestino pag. 35 DARIA DE DONNO "Contro la guerra e la fame". Il non interventismo dei giovani socialisti in provincia di Bari pag. 41 FRANCESCO CIARDIELLO, MARTA BIANCARDI New Approaches in Coalition Stability pag. 48 RICERCHE ALESSANDRA PELAGALLI La salvaguardia delle specie ittiche di allevamento attraverso la conoscenza del loro benessere pag. 63 n. 14 (1° ottobre 2015) 5 5 19 35 63 4

In this article, the authors explore how the pervasive availability of technology allows for new social arrangements in teacher education by connecting preservice teachers, school-based personnel , university faculty, and others in deep and engaging ways. The authors illustrate this perspective and then propose four implications for teacher education institutions that build on this view. Specifically, the authors recommend that technology be used in teacher education to (a) create technically literate education professionals, (b) strengthen the practice–theory connection, (c) provide more practice-centered training, and (d) reflect deeply into the scholarship and practice of teaching. The authors discuss each of the four implications in turn and provide examples of institutional practices aligned with these goals.

Although metaphors derived from the semantic field of epidemiology such as “virality”, “infection”, “contagiousness” are commonly used to describe the massive circulation of content on the social web, their relevance is largely controversial from a theoretical point of view. In this paper we will focus on the contribution that semiotic theory can make to the definition of the so-called “viral” marketing communication campaigns.
In recent years the e-WOM phenomenon has been frequently approached by digital marketing, often by using concepts and terms borrowed from semiotic theories, such as the term storytelling. Starting with a reflection on the role of the narrative dimension in planning and spreading “viral” contents, this paper will deal with another metaphor often used in marketing lexicon: that of the Trojan horse. Our aim is to examine its relevance in this context and to contribute to a better understanding of it.
Is the Trojan horse an unfounded metaphor or a military term useful to illustrate complex operations by means of which the enunciatee is effectively manipulated within the social web?

Zusammenfassung – Wenn sie sich mit Verschwörungstheoretikern unterhalten, bringen Verschwö-rungstheorie-Skeptiker oft ein Argument gegen die Möglichkeit einer jeden Verschwörung vor, das ich das " Leakage-Problem-Argument " nenne. Es behauptet, dass Verschwörungstheorien a priori falsch seien, da früher oder später einer der Verschwörer die Verschwörung auffliegen und der Öffentlichkeit alles über die geheimen Pläne mitteilen werde. In meinem Artikel werde ich die Schwachstellen dieses Arguments kritisch prüfen und zeigen, dass, obwohl Verschwörungstheorien auf vielerlei Art falsch sein mögen, das Leakage-Problem-Argument nicht geeignet ist, um sie zurückzuweisen.

Abstract – When debating conspiracy theorists, conspiracy theory sceptics often put forward an argument against the possibility of any genuine conspiracy. This argument I call the " leakage problem argument ". It claims that conspiracy theories are wrong a priori because sooner or later, one of the conspirators would blow the whistle on the conspiracy and tell everything about the secret plans to the public. In my article, I will critically examine the weak spots of this argument and show that, although conspiracy theories may be wrong in many ways, the leakage problem argument is not valid for rejection.

The goal of the paper is to examine the concept of archival image in the era of par-ticipatory culture. The text discusses two different definitions of archival image: a) The archival image is a record stored by an institution; b) The archival image is the result of an elaborative process of appropriation and relocation – which usually takes place within the artistic or cinematographic fields – that produces an effect on the viewer, who will recognize the image as such). Moving from these two possible definitions, the paper comes to identify the technical and aesthetic specificities of the archival image in the contemporary media configuration. In the final part two works of the american artist Natalie Bookchin are presented and examined, as examples of a form of elaboration of archival images based on the contemporary media practices.

In the majority of both the German and English academic literature concerning the phenomenon of conspiracy, the consideration of the concept of conspiracy theory is of outstanding importance. This is paralleled by the fact that conspiracy practice, and especially its subjective facet, cannot be grasped in an adequate way. One reason for this is to be found in (as I call it) the multiple hiddenness of conspiracy practice, which was not treated with sufficient sophistication in the academic discourse. Starting with the phenomenon of conspiracy practice, it will be shown that and how three modes of conspiracy thinking can be distinguished: conspiracy practice, conspiracy theory, and conspiracy. On the basis of this distinction, I will attempt to establish a systematic epistemological connection between the mentioned terms while trying to deconstruct some basic biases and myths of a mere theoretical conspiracy thinking. Besides the focus on the theoretical and practical sense, the function of knowledge and unknowing is important here. Primarily, the heuristic outline given in this article is to show, how the praxis of conspiracy thinking is not merely an individual pathology, but rather a social process of knowledge-production. Within this process deception („Täuschung“) and disappointment („Ent-Täuschung“) are not just negative elements,but likewise productive means of a dialectical realisation and appropriation of social knowledge.

Abstract: In an era of increased standardization and accountability in education, the social aspect of teaching and learning to teach is often forgotten as teachers are evaluated and professional development initiatives are implemented in an effort to increase student achievement. By ...

This paper presents an approach to preservice science teacher education coupling video analysis with dialogue as tools for fostering teachers‟ ability to notice and reflexively interpret events captured during teaching practicum with the intent of transforming classroom practice. In this approach, video becomes a tool with which teachers connect theory and practice, and through dialogue, develop an appreciation for how one can inform the other. Specifically, we explore the role of cogenerative dialogue in structuring individual reflection and ongoing dialogue that help facilitate reflexivity. In doing so, we elaborate on the construct of reflexivity as a potential foundation for changing practices in the science classroom and we illustrate the ways in which reflexivity and action emerged from dialogic encounters around video analysis. We draw implications about the need for innovative teaching strategies, research initiatives, and changes in science teacher education.

... Lucy Avraamidou Mary Severs Tom Dana Department of Curriculum & Instruction, The Pennsylvania State University, University Park, Pennsylvania 16802, USA What does it mean to teach science for understanding? How does one engage children in doing science? ...

Portfolios have been used in teacher education in different formats, in a variety of ways and for different purposes. Portfolios can be used as evaluation tools, to illustrate good teaching, to demonstrate progress, to integrate collection of work, to share work, and to support reflection and ...

Il ‪Visual Storytelling‬ è un linguaggio, e come tutti i linguaggi esso serve a ‪‎comunicare‬.
Sappiamo che esso può essere utilizzato nei processi di comunicazione sia interna che esterna, in ambito corporate, come pure, per creare un coinvolgimento con il pubblico “astante”, in ambito artistico.
Ma cosa significa esattamente comunicare?

194 Rezensionen zu haben. Besonders die "Zufälle" und die daraus resultierenden Interpretationen der Autorin sind für jeden, der sich für die klinische Parapsychologie interessiert, ein praktisches Beispiel dafür, wie manche Menschen an solche Erfahrungen herangehen und wie sie diese interpretieren. Alles in allem eine nette Geschichte, die auf eine ganz persönliche Art deutlich macht, wie Menschen mit solchen Erfahrungen umgehen. Wie bereits erwähnt, hätte es allerdings genügt, diese Erlebnisse auf wenigen Seiten wiederzugeben, um den Inhalt erfassen zu können. Weiter ist der Schreibstil generell leger und sehr emotional. Viele Passagen scheinen den Leser unbedingt in die Geschichte einspannen zu wollen. Zudem gibt es einige Schreib-und Grammatikfehler, die erkennen lassen, dass das Buch nicht gründlich Korrektur gelesen wurde. Auch deshalb ist dieses Buch wirklich nur bedingt zu empfehlen. Für parapsychologisch unvorbelastete Leser könnte das Buch durchaus seinen Reiz haben, auch Menschen, die sich an leichter Kost erfreuen, werden nicht enttäuscht werden. Erfahrenen Parapsychologen und anderen wissenschaftlich Interessierten, zu denen die Leser der Zeitschrift für Anomalistik in der Regel zählen, kann man dieses Büchlein allerdings nicht empfehlen, da es keinen wissenschaftlichen Beitrag leistet und es zu keinerlei eigenem Nachdenken anregt. Es gibt bessere Möglichkeiten, sich die Zeit zu vertreiben.

and requisite knowledge. Results were based on an instructional approach emphasizing the exploration of preservice teachers' own planning and teaching as they edited their own video accounts. These findings contrast typical video usage in teacher preparation in which teachers reflect upon the practice of others. Implications for teacher education programs and future research are discussed.