# data[].attributes.headline
Just some background Japanese disco music! Enjoy

# data[].attributes.subject
Just some background Japanese disco music! Enjoy

# data[].attributes.attachment_link.title
【Ado】オールナイトレディオ

# data[].attributes.body
According to Scolari (2013), novel digitalisation tools and web expansion have transformed some consumers into “prosumers” (p.21). Now, they also produce content by appropriating characters and expanding narrative worlds. They manifest their interests by participating in the media system (Jenkins, 2016).

P.S: I loved your daughter’s drawing!

References:

Jenkins, H., Ito, M. & Boyd, D. (2016). Participatory Culture in a Networked Era: A Conversation on Youth, Learning, Commerce, and Politics. New Jersey: Blackwell Publishing.

Scolari, C. A. (2013). Narrativas transmedia. Cuando todos los medios cuentan. Barcelona: Deusto.

Regards,

María Eugenia Cascarino

# data[].attributes.body
According to Miller (2020) it is an active and performative construction occurring at the intersection between the subject and technological platforms. Digital identity is crucial because it is not simple reflection of real identity but a social practice with material effects. It shapes how people present themselves to others, how they are read algorithmically and what opportunities or restrictions they face in the digital environment.

References

Miller, V. (2020). Understanding Digital culture. Chapter 7 "Digital identities".

# data[].attributes.body
I would like to mention the term coined by Mariana Ferrarelli (2021): augmented literacies. It describes the broad set of knowledge, skills, attitudes, and sensibilities that people need to participate meaningfully in today's highly digital and hybrid world. In order words, having a particular set of skills or knowledge on how to use digital devices is no longer enough. Today's digital environments require people to: interpret information critically, collaborate with others, create digital content, communicate across different media, among others. Ferrarelli argues that these different literacies are not separate skills, but interconnected competencies that people use simultaneously when interacting in digital culture.

References

Ferrarelli, M. (2021). Alfabetismos aumentados: producir, expresarse y colaborar en la cultura digital. Austral Comunicación, 10 (2)

P.S: I asked ChatGPT to create a picture to illustrate the concept, and that is what it came up with.

Regards,

Juliana

# data[].attributes.body
As Carlos Scolari argues, contemporary digital culture is characterized by what he calls snack culture, in which media is consumed in short, fragmented moments rather than through sustained engagement. He explains that “El ocio se consume en pequeñas píldoras de fruición, brevedades que pueden disfrutarse en los microespacios que dejan las actividades laborales o en los fragmentos de dedicación ociosa” (Scolari, 2020, p. 16). This concept highlights how digital media is increasingly designed for immediacy, personalization, and emotional impact, prioritizing brief experiences over prolonged attention. In this context, cultural products become fragmented into "snacks" that fit seamlessly into the accelerated rhythms of everyday life, reflecting broader transformations in how audiences engage with information and entertainment.

Scolari, C (2020). Cultura Snack. Buenos Aires: La Marca.

# data[].attributes.body
According to Albarello, the ecosystem of screens is made up of all the screens available to readers, which include phones, computers, tablets, and television. In an ecosystem of screens, transmedia reading occurs when a reader moves through the different screens in search of meaning from narratives spread out over multiple supports, making reading a fluid, non-linear, and multiplatform activity, unlike traditional reading, which is bound to a single medium. Each platform contributes a different layer of meaning, allowing the reader to navigate continuously and construct an expanded narrative.

Albarello, F. (2019). Lectura transmedia. Leer, escribir, conversar en el ecosistema de pantallas. Buenos Aires: Ampersand. Ch. 1.

# data[].attributes.wish_content.attachment_props.alternative_text
a person searching in several screens computers tablets phones

# data[].attributes.body
As a mother, an adult and as a teacher I had my own assumptions about teenagers who spend most of their time playing online games. However, after reading about social management skills, I could spread my ideas about it. As Scolari, Pires and Masanet (2021) explain on their analysis, coordinating a game session effectively within a team, the communication of a team, managing resources, exercising leadership, regulating frustration and negative feelings when teenagers play are key aspects to take into account.  The ability to accept defeat and learn from failure is another significant aspect worth considering. These findings invite us to rethink common stereotypes about gaming, as society often tends to reject what it does not fully understand instead of exploring its potential benefits and learning how to make the most of them.

Scolari, C. A., Pires, F., & Masanet, M.-J. (2021). Gamers never play alone: An interface-centred analysis of online video gaming.

# data[].attributes.body
According to Scolari (2013,chapter 1), and building on the ideas of Henry Jenkins and Jeff Gomez, transmedia storytelling is a narrative form defined by two key elements: media expansion and active audience participation. Rather than being a simple adaptation from one medium to another, stories are strategically expanded across multiple platforms—such as film, comics, and video games, among others. Consequently, consumers transform into "prosumers," playing an active role in enriching and broadening the narrative universe (Scolari, 2013, Chapter 1)

Scolari, C. A. (2013). Narrativas transmedia: Cuando todos los medios cuentan. Deusto.

BTW, Beautiful drawing! It reminds me of some of my students who love drawing these Japanese characters and they have covered the library walls with their creations!

Regards!

# data[].attributes.body
A concept I would like to explore is Narrative Gaps (or strategic gaps, or narrative lagoons) mentioned in Scolari's (2013) work, as I found this one of the most interesting features of transmedia narratives.These gaps are intentional omissions or unanswered questions designed to be filled through narrative extensions or fan-created content, allowing the story world to be explored and expanded across multiple media platforms such as comics, films, video games, webisodes and other formats. In this way, by creating opportunities for interpretation and participation, audiences are transformed from passive consumers into active collaborators who engage and contribute to the continuous growth of the storytelling.

References

Scolari, C. A. (2013). Narrativas transmedia. Cuando todos los medios cuentan. Deusto.

# data[].attributes.body
The notion of “collective intelligence” coined by Pierre Lévy (2001) has particularly caught my attention. It refers to a type of intelligence which is universally distributed and performed in real time. In this line, Pierre asserts that the most relevant project of this century will be to “imagine, build and enhance an interactive and ever-changing cyberspace” (p. 258).  As he has explained in an interview with OEI (Organización de Estados Iberoamericanos), by “working collaboratively”, people can create a “commonwealth of knowledge” and this is precisely what is happening regarding the Web.

REFERENCES

Lévy, P. (1997). Introduction: Collective Intelligence. En Trend, D. (ed.) Reading Digital Culture. (2001) Malden, Mass: Blackwell.

Organización de Estados Iberoamericanos. (2015, 16 de junio). Entrevista a Pierre Lévy: Veinte años de inteligencia colectiva [Video]. YouTube. https://www.youtube.com/watch?v=zt-qlA36LzQ [1, 2, 3]

# data[].attributes.body
Andrew Darley explains that digital technology has changed the way we experience films by giving more importance to visual effects and spectacle than to traditional storytelling (rise of spectacle). Instead of focusing only on the narrative, many contemporary films attract audiences through impressive digital images and immersive visual experiences. Surface Play:

According to Darley, digital media encourage audiences to appreciate images for their visual impact instead of focusing only on symbolic meaning.As Darley states, there is now “the prevalence of technique and image over content and meaning” (Darley, 2000, p. 102). This shift is important because it has transformed the film industry, changing not only how movies are made but also what spectators want when they go to the cinema.

Reference

Darley, A. (2000). Visual Digital Culture: Surface Play and Spectacle in New Media Genres. Routledge.

Araceli Lacore

# data[].attributes.body
Amazon is becoming a powerful actor in education not just through products, but through the infrastructure that supports digital learning and administration. The authors describe this as a “connective architecture” that links schools, universities, edtech firms, and data systems through cloud services, platforms, and automated tools.

Amazon embeds its commercial logic into education, trains users to depend on its systems, creates technical interfaces that connect institutions to its ecosystem, hosts third-party education services on its cloud, and strengthens control over key digital infrastructures.

In my opinion, the most important point is that the article helps us see how power in education is no longer only held by governments or schools, but also by major technology companies that control the systems behind them. That makes the text especially relevant, because it warns that efficiency and convenience can come with more dependence on private platforms and less institutional autonomy.

Williamson, B., Gulson, K., Perrotta, C. y Witzenberger, K. (2022). Amazon and the New Global Connective Architectures of Education Governance. Harvard Educational Review. 92(2), 231-256.

Student: Paul Emanuel Bonasola.

# data[].attributes.body
Remediation is a concept developed by Bolter and Grusin (2000; as cited in Miller, 2020), defined as the process through which a newer medium represents, incorporates or transforms an older one in order to improve upon it. This process creates a mix of tradition and innovation which allows new media to gain cultural significance and legitimacy by adapting established forms while simultaneously offering an enhanced experience.

An example of this remediation can be found in Argentina’s current streaming platforms, represented by Youtube and Twitch channels like LuzuTV or OLGA. These channels represent a hybrid form between the audiovisual language of television and the interactivity of digital platforms. They reproduce many characteristics of television such as their programme schedules, recurring groups, and live broadcasts. However, they transform the viewing experience by incorporating features which are unique to digital platforms, such as live chat interactions, audience participation through voice and video calls, and the possibility to revisit previous content through on-demand archives. These social media platforms do not aim at imitating television, but rather reform it by maintaining TV’s familiar structure while expanding its flexibility, interactivity and viewer participation.

References:

Miller, V. (2020). Understanding digital culture (4th ed.). SAGE Publications.

Student: Zabala Kromm Gastón

# data[].attributes.body
Embodied is one of the three dimensions of Memory and it refers to neurological and cognitive processes as explained in Van Dijck, 2007, p. 52.

Within this dimension we can find:

-The Symphony Metaphor: Memory is not a static library or archive but a momentary "performance" Different brain systems work together like an orchestra.

-Re-consolidation: Every time we remember, the brain re-forges the memory in a new associative context; we create a "mental map" of the past through the lens of the present(mindware).

-Specialized Systems: The hippocampus handles long-term recall while the amygdala manages emotional learning.

Paula Cardozo

# data[].attributes.headline
NARRATIVE TRANSMEDIA CONSUPTION & FANDOMS

# data[].attributes.subject
NARRATIVE TRANSMEDIA CONSUPTION & FANDOMS

# data[].attributes.body
According to Carlos Scolari (2013), there is a new way narrative transmedia is consumed. Consumers are no longer passive viewers; they have become prosumers because they consume and produce new content at the same time. Fandoms organize in communities to decode and explore transmedia narratives and to produce new cultural artifacts collectively to be distributed horizontally. Scolari affirms it is impossible to produce content without paying attention to fandoms. Nowadays, narrative worlds remain semiotically and commercially alive thanks to fandoms.

Reference

Scolari, C (2013). Narrativas transmedia. Cuando todos los medios cuentan. Barcelona: Deusto. Capítulo 5: ¿Cómo se consumen las narrativas transmedia?

# data[].attributes.body
In Transmedia Literacy in the Media Ecology: White Paper (2018), Carlos Scolari explains this key concept as a set of abilities, values, strategies and practices we learn when we use media and participate in today’s digital world by watching videos, surfing websites, creating content, listening to podcasts or playing video games. Furthermore, he makes a distinction with another related term “Transmedia Skills”, which denotes the specific abilities which transmedia literacy comprises such as producing, editing, searching, sharing, consuming, communicating, collaborating, etc. Scolari highlights the importance to bring all this knowledge which young people have into the classroom so that they can learn to use media critically and responsibly and make the most of it.

References:

Scolari, C. (2018). Transmedia Literacy in the Media Ecology: White Paper. Transliteracy Project.

Mariela Valiño

# data[].attributes.body
Media ecology aims to explain how media, users, and social forces interact within a digital ecology. According to Albarello, the evolution of media should not be understood as a process of replacement but rather as a connected evolution in which different media and their users continuously interact. As users engage with multiple screens and digital platforms, they have developed new reading skills. Albarello coined the term transmedia reading to describe an unconventional type of reader who is able to navigate multiple digital contexts and screens simultaneously.

References:

Albarello, F. (2019). Lectura Transmedia.

Leer, Escribir, Conversar en el ecosistema de pantallas. Hacia una ecología de las pantallas. Ediciones Ampersand.

by Bruno Rios

# data[].attributes.body
Jenkins (2006) argues that media convergence is technological and producer-led, but at the same time participatory, driven by fans themselves. Audiences actively seek out and connect media content, rather than just consuming it passively. Examples like Survivor spoiler sites, Twin Peaks forums, and American Idol gossip sites show fans collaborating and critiquing shows online. Lady Gaga and Glee demonstrate how performers now encourage this engagement, building direct relationships with fans through social media, fan content, and interactive campaigns. This shifts control of media experiences from producers to consumers, individually and collectively.

Miller, V. (2020). Understanding digital culture. Sage Publications.

# data[].attributes.headline
Intimacy as spectacle (Pablo M. Vicari) 

# data[].attributes.subject
Intimacy as spectacle (Pablo M. Vicari) 

# data[].attributes.body
In the 21st century, the traditional "inner self" (deep, mysterious, and private) has been replaced by an "extimate" self that thrives on visibility. Driven by the mandates of digital culture, individuals actively participate in this "show of the self," transforming their private experiences into public data. This phenomenon is not merely an invasion of privacy, but a voluntary desire to be seen and validated. Life itself is staged and performed, turning personal existence into a brand or a product.

Sibilia, P. (2012). La intimidad como espectáculo. Fondo de Cultura Económica.

# data[].attributes.headline
Digital Memory Objects and Media Technologies:

# data[].attributes.subject
Digital Memory Objects and Media Technologies:

# data[].attributes.body
Digital memory objects are photos, videos and social media posts that are not neutral records of the past. Van Dijck (2007) explains that media technologies not only store our personal and collective memories, but they also shape how they are shared, interpreted and how we remember them. For example, a picture we uploaded to a digital platform such as Facebook may resurface years later, leading us to revisit and reinterpret its meaning.

Van Dijck, J. (2007). Mediated memories in the digital age. Stanford University Press.

# data[].attributes.body
In Darley's view, a digital artifact is a new kind of aesthetic object born of digital computation. It is defined by its:

Independence from narrative: It favors spectacle over story.

Technological transparency: It highlights its own "digital-ness" or artificiality.

Sensory focus: It is designed to maximize visual and sensory stimulation.

By focusing on these "artifacts," Darley is critiquing a broader cultural shift where the look and feel of digital media, the surface, the speed, and the spectacular technique, have begun to take precedence over the traditional, linear logic of representation that dominated 20th-century media. Darley, A. (2000). Visual Digital Culture: Surface Play and Spectacle in New Media Genres. Routledge.

# data[].attributes.headline
Digital Memory Objects and Media Technologies:

# data[].attributes.subject
Digital Memory Objects and Media Technologies:

# data[].attributes.body
Digital memory objects are photos, videos and social media posts that are not neutral records of the past. Van Dijck (2007) explains that media technologies not only store our personal and collective memories, but they also shape how they are shared, interpreted and how we remember them. For example, a picture we uploaded to a digital platform such as Facebook may resurface years later, leading us to revisit and reinterpret its meaning.

Van Dijck, J. (2007). Mediated memories in the digital age. Stanford University Press.

# data[].attributes.body
I've decided to go back to the concept of media convergence. According to Jenkins (2006), media convergence is the flow of content across multiple media platforms, driven by cooperation between media industries and the active participation of audiences. It is not only a technological process but also a cultural one, where consumers become participants who seek, share and create content across different media. This blurs the boundaries between producers and consumers while fostering more interactive, collaborative and participatory media experiences.

Reference: Jenkins, H. (2006). Convergence Culture: Where Old and New Media Collide. New York University Press.

(Sorry for the delay, I had misinterpreted the deadline)

Ángeles Castro

# data[].attributes.body
It is well-known that ChatGPT has revolutionised education thanks to its impressive ability to perform highly complex tasks. Baidoo-Anu and Owusu Ansah (2023) mention some ways in which this tool can help educators with their daily work such as tailoring explanations to individual student misconceptions or training the ChatGPT to grade students’ essays. Even though there are some drawbacks as well such as the fabrication of false information or the limitation of creativity, ChatGPT is already reshaping educational practice (exam writing, research, assessment design) whether or not institutions are ready. So how can it enhance our teaching practice? By

Creating open-ended question prompts that align with learning goals and success criteria for a unit of instruction

Generating rubrics that clearly explain what students need to accomplish at each proficiency level

Designing formative assessment prompts that provide ongoing feedback throughout the learning process, rather than only relying on summative testing or

Saving time on routine tasks (like drafting exams) to free up more time for direct student engagement

But is this enough? Of course not. The authors argue assessment practices need rethinking rather than resisting the technology. The importance of collaboration between policymakers, researchers, educators, and technologists is essential to establish safe, constructive norms for AI use in education.

By Gabriela Gonzalez

References:

Baidoo-Anu, D. and Owusu Ansah, L. (2023). Education in the Era of Generative Artificial Intelligence (AI): Understanding the Potential Benefits of ChatGPT in Promoting Teaching and Learning. Journal of AI, Volume: 7, Issue No: 1, January-December 2023, Pages: 52-62.

# data[].attributes.body
Coined by Mayer-Schönberger and Cukier (2013) and developed by Van Dijck, Poell and de Waal (2018), datafication is the capacity of networked platforms to render into data aspects of life never quantified before. Every user interaction —liking, following, searching, paying, locating— becomes a prime resource that fuels predictive, real-time analytics and targeted advertising across societal sectors.

Reference

Van Dijck, J., Poell, T., & de Waal, M. (2018). The platform society: Public values in a connective world. Oxford University Press.

Yanina Mallorquin

# data[].attributes.body
The emergence of digital culture changes everything in the way people interact, build identities, and engage with their social environment. Perhaps, one of the most significant effects is deconstruction of the idea of the self as something stable, since the freedom to transform the self online is enormous. Therefore, modern communication systems allow building decentralized and fluid identities. According to Miller (2020), the internet and other digital media create spaces where identity is not fixed in the body anymore, but becomes fluid, multiple, and fragmented. Electronic culture creates an unstable identity of an individual who reconstructs himself or herself depending on the cultural and technological context. (p. 17)

At the same time, although structural fluidity is liberating, it is also accompanied by certain anxiety about the authenticity of identities. Besides, the digital culture cannot be separated from reality. It is important to note that "the online sphere is no longer a realm separate from the offline 'real world', but is fully integrated into offline life" (Miller, 2020, p. 1). (Miller, 2020, p. 1).

References

Miller, V. (2020). Understanding digital culture (2nd ed.). SAGE Publications.

Student: Jorge Luis Suárez