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Qualitative research for education: An introduction to theories and methods

From the Publisher: 
A Question of Identity 
Life on the Screen is a fascinating and wide-ranging investigation of the impact of computers and networking on society, peoples' perceptions of themselves, and the individual's relationship to machines. Sherry Turkle, a Professor of the Sociology of Science at MIT and a licensed psychologist, uses Internet MUDs (multi-user domains, or in older gaming parlance multi-user dungeons) as a launching pad for explorations of software design, user interfaces, simulation, artificial intelligence, artificial life, agents, "bots," virtual reality, and "the on-line way of life." 
Turkle's discussion of postmodernism is particularly enlightening. She shows how postmodern concepts in art, architecture, and ethics are related to concrete topics much closer to home, for example AI research (Minsky's "Society of Mind") and even MUDs (exemplified by students with X-window terminals who are doing homework in one window and simultaneously playing out several different roles in the same MUD in other windows). Those of you who have (like me) been turned off by the shallow, pretentious, meaningless paintings and sculptures that litter our museums of modern art may have a different perspective after hearing what Turkle has to say. 
This is a psychoanalytical book, not a technical one. However, software developers and engineers will find it highly accessible because of the depth of the author's technical understanding and credibility. Unlike most other authors in this genre, Turkle does not constantly jar the technically-literate reader with blatant errors or bogus assertions about how things work. Although I personally don't have time or patience for MUDs,view most of AI as snake-oil, and abhor postmodern architecture, I thought the time spent reading this book was an extremely good investment.

스크린 위의 삶 = Life on the screen : identity in the age of the internet

Death is the new sex, last great taboo in Western society and Western medicine, as Richard Smith discusses in his editorial (p 129). In the trinity of births, marriages, and deaths, only death does not have glossy magazines devoted to stylish consumption at the attendant ceremonies. On the web, of course, …

Death and dying

Nationality: American Education: Ph.D. in Sociology and Personality... Alone Together: Why We Expect More from Technology â€¦ https://www.goodreads.com/book/show/8694125-alone-together Start by marking â€œAlone Together: Why We Expect More from Technology and Less from Each Otherâ€ as Want to Read: ... Unfortunately I am no closer to telling you why we expect more from technology & less from each other than I was before I read this book. One of the main things that bothered me about this book was that, even though I was really interested in these â€¦

Alone Together: Why We Expect More from Technology and Less from Each Other

: Textual Poachers: Television Fans and Participatory Culture . Henry Jenkins.

Fan studies literature has frequently been pervaded by the prevailing assumptions of what constitutes “fans” and their associated activities: fan art or fantext, cosplay, conjecture, activism – the things that fans supposedly do by definition –are those to which scholarly attention has most been paid. Yet the assumption that fandom can be defined by such explicit practices can be dangerous because of the subjective nature of respective fan cultures. Presenting a fan culture that questions the “assumed” nature of fandom and fan practices, this thesis is an examination of the fans of filmmaker and comedian Kevin Smith, investigating the ways in which community members negotiate and categorise their fandom and relationships with both each other and a communicative, media-literate producer.

Since 1995, the View Askew Message Board has provided a dialogical, communicative platform for fans of Kevin Smith to define themselves as a collective group – or more frequently – a community. Through autoethnographic discussion, as well as qualitative research conducted both
online and in person, this examination of users of the Board considers the nature of audience-producer relations, the intersection between on- and offline fannish and communal practices, and the extent to which the identity of “Kevin Smith fan” can be attributed within alternate contexts of fan productivity and (non) communal practice.

Contextualised by ongoing scholar-fan debate (Hills 2002; Gray et al. 2011), this thesis interrogates notions of fan practice, community, and classification, proposing further methodological and ethical considerations of the research of both explicit and implicit “fannish” practices. Through a netnographic framework (Kozinets 2010), this thesis is able to present a participatory approach to the study of online cultures, looking at how producer and fans simultaneously inhabit and inform the same cultural sphere, and how such
practices help to inform a community’s perception of their own fan culture.

Fandom and beyond : online community, culture and Kevin Smith fandom

While there is research into consumer attitudes to copyright and downloading, and the music industry has made clear its own views in evidence to the Hargreaves Review and other forums, relatively little is known about musicians’ attitudes to copyright. This article reports on those musicians who are negotiating the new terrain created by digitization and its accompanying business models. Are their attitudes to copyright simply determined by their financial self-interest and a sense of ownership of their music, or do they see copyright as a restriction of their creative freedom? Using the results of a questionnaire and semi-structured interviews with UK musicians, we show how a variety of factors – including generic conventions, knowledge and experience, and wider social values – contribute to attitudes to copyright. Although knowledge of, and interest in, copyright can be driven by financial self-interest, other considerations are in play. These findings have, as we explain, implications both for copyright policy and for an understanding of creative practice in a digital economy. If the assumption is that copyright is designed to serve the interests and facilitate the creativity of musicians, this view is not always shared by the intended beneficiaries.

Copyright and musicians at the digital margins

Alien Audiences: Remembering and Evaluating a Classic Movie

In September 2009 I began an AHRC-funded audience study of online fan communities, investigating the ways in which participants negotiate and categorise their fandom and online relationships, using Kevin Smith fans as a case study. Admitting to my scholar- fandom of Smith, my methodology required entree into the field of study, with the resultant communication between myself and Smith fans adding to my own conceptualisation of the fan "community". Initially, my virtual conceptualisation of Smith fandom placed an emphasis on fan cultural capital (Fiske, 1992: 33). However, this view was challenged during a research trip to Red Bank, New Jersey in August 2010. Based on interviews with fans taken prior and during this trip, this article will explore the way in which the communal experience of meeting fellow enthusiasts can strengthen fandom, and how collective experience can add to the self-defined notion of the fans as a family. The paper will examine how fans who attend "meet-ups" categorise themselves in relation to those who do not, as well as those not "active" online, and the extent to which Kevin Smith fandom becomes secondary to the group's family dynamic. Following the lead of Matt Hills' suggestion that the concept of fan social capital 'must ... be closely investigated in future *fan studies+ analyses' (2002: 57), this paper will take into account the way in which the Smith fan audience considers their network of fan friends as a large part of the appeal of Smith fandom, and how cultural capital regarding Smith's films is no longer necessary.

https://ueaeprints.uea.ac.uk/41055/1/3i_Phillips.pdf

When Film Fans Become Fan Family: Kevin Smith Fandom and Communal Experience

In the contemporary games sector, independent developers feel there is an inadequate level of protection for their intellectual property, particularly with regards to game clones. There is also a sense that neither players nor policy-makers completely understand the specificities of how IP may be creatively, if not legally infringed. As a result, there has increasingly been a shift towards the construction of a culture of self-regulation for indie developers, attempting to publicly shame cloners via social media, directly impacting infringers' reputation and sales and bypassing formal regulation.This article uses interviews and workshop discussions with developers to examine the manner in which this informal culture of regulation has been perpetuated in relation to current videogame copyright legislation, and suggests how the interrelation between producers and policy-makers may help to inform the direction of future policy decisions. Examining the way appropriate practice is informally managed in indepen...

https://www.tandfonline.com/doi/pdf/10.1080/09548963.2015.1031480

Tom Phillips

Papers

Fandom and beyond : online community, culture and Kevin Smith fandom

Copyright and musicians at the digital margins

Alien Audiences: Remembering and Evaluating a Classic Movie

When Film Fans Become Fan Family: Kevin Smith Fandom and Communal Experience

“Don't clone my indie game, bro”: Informal cultures of videogame regulation in the independent sector