Media ekologiyasi - Media ecology

Media ekologiya nazariyasi ommaviy axborot vositalari, texnologiyalar va aloqa va ularning inson muhitiga qanday ta'sir qilishini o'rganishdir.[1] Nazariy tushunchalar tomonidan taklif qilingan Marshall Makluan 1964 yilda,[2] muddat esa media ekologiyasi tomonidan birinchi marta rasmiy ravishda kiritilgan Marshall Makluan 1962 yilda.[3]

Ekologiya bu kontekstda vositadan foydalaniladigan muhit - ular nima va ular jamiyatga qanday ta'sir qilishini anglatadi.[4] Nil Postmanning ta'kidlashicha, "agar biologiyada" vosita "bakteriyalar madaniyati o'sadigan narsa bo'lsa (Petri idishida bo'lgani kabi), media ekologiyada vosita" bu insoniyat madaniyati o'sadigan texnologiya "."[5] Boshqacha qilib aytganda, "Mediya ekologiyasi aloqa vositalarining inson idrokiga, tushunchasiga, hissiyotiga va qadr-qimmatiga qanday ta'sir qilishi va bizning ommaviy axborot vositalari bilan o'zaro ta'sirimiz bizning yashash imkoniyatimizni qanday osonlashtirishi yoki to'sqinlik qilishi masalasini ko'rib chiqadi. Ekologiya so'zi atrof-muhitni o'rganishni anglatadi: ularning tuzilishi, mazmuni va odamlarga ta'siri. Atrof-muhit, bu oxir-oqibat, odamlarga ba'zi fikrlash, his qilish va o'zini tutish uslublarini yuklaydigan murakkab xabar tizimidir. "[6]

Media ekologiyasi, ommaviy axborot vositalari har bir davrda inson hissiyotlarini kengaytiruvchi rol o'ynaydi va aloqa texnologiyasi ijtimoiy o'zgarishlarning asosiy sababidir.[7] McLuhan "" iborasini yaratganligi bilan mashhur.vosita - bu xabar ", bu tez-tez munozara qilinadigan ibora bo'lib, xabarni etkazish uchun tanlangan vosita xabarning o'zi kabi muhimroq (agar bo'lmasa) muhim degan ma'noni anglatadi.[2] McLuhan ommaviy axborot vositalarining jamiyat taraqqiyotiga ta'sir qilishini va shu davrda ma'lum bir texnologiyaning ko'tarilishi bilan muhim vaqt va o'sishni tasniflash mumkinligini taklif qildi.

Bundan tashqari, olimlar ommaviy axborot vositalarini jamiyat tabiati va madaniyatini media ekologiyasi bilan bog'laydigan infratuzilma tizimiga taqqosladilar.[8]

Fon

Marshall Makluan

1934 yilda Marshall Maklyuan talaba sifatida ro'yxatdan o'tgan Kembrij universiteti zamonaviy adabiyotga asos solgan maktab tanqid. Kembrijda o'qish paytida u o'zining professorlaridan biri bilan tanishdi, I.A. Richards, McLuhanning keyingi ilmiy ishlariga ilhom beradigan taniqli ingliz professori. McLuhan Richardsning ingliz tili o'zlari aloqa qilish jarayonini o'rganishdan boshqa narsa emas degan tanqidiy qarashlariga qoyil qoldi.[9] Richards "so'zlar to'xtamaydi va deyarli barcha og'zaki tuzilmalar juda noaniq" deb ishongan.[9] Richardsning aloqa nuqtai nazarining ushbu elementi McLuhan o'zining ko'plab g'oyalarini metafora va iboralar yordamida ifoda etishiga ta'sir ko'rsatdi.Global qishloq "va"O'rta - bu xabar ", uning media-ekologiya nazariyasini o'z ichiga olgan eng taniqli ikkita iborasi.

Marshall Makluan, v. 1936 yil.

McLuhan Richardsning yondashuvlaridan foydalangan, Uilyam Empson va Xarold Innis "ommaviy axborot vositalarini o'rganish uchun yozuvchi" sifatida.[9] Biroq, u o'zlarining yondashuvlarini muvaffaqiyatli bajara olmaguncha, ko'p yillar davomida ishlash kerak edi. McLuhan "agar so'zlar noaniq bo'lsa va ularning" mazmuni "jihatidan emas, balki ma'lum bir kontekstdagi ta'siri jihatidan eng yaxshi o'rganilgan bo'lsa va ta'sir ko'pincha subliminal bo'lsa, xuddi shu narsa boshqa odam artefaktlariga ham tegishli bo'lishi mumkin, g'ildirak, bosmaxona, telegraf va televizor ».[9] Bu uning media-ekologiya haqidagi g'oyalarining paydo bo'lishiga olib keldi.

O'zining ilmiy ishlaridan tashqari, McLuhan ham o'z davrining taniqli ommaviy axborot vositasi bo'lgan.[10] U televizion ko'rsatuvlarda, jurnal maqolalarida qatnashgan va hattoki filmda kichkina epizod ham bo'lgan Enni Xoll.

Valter Ong

Maktuhning ommaviy madaniyat belgisi sifatida to'g'ridan-to'g'ri amalga oshirilganligi sababli, ommaviy axborot ekologiyasi tomonidan qabul qilingan uy xo'jaliklarining tan olinishi bo'yicha bir nechta nazariyalar mavjud.[11] U ajoyib munozarachi va notiq edi,[12] ammo uning yozuvi har doim ham akademiyada o'tadigan narsaga aylanavermas edi.

Nil pochtachi

McLuhan tomonidan ilhomlangan, Nil pochtachi Media ekologiyasi dasturini tashkil etdi Nyu-York universiteti 1971 yilda McLuhan o'rnatgan nazariyani yanada rivojlantirar ekan. Postmanning so'zlariga ko'ra, media-ekologiya kommunikatsiya va texnologiyalar ishlaydigan va axborotni tarqatadigan muhitni va ularning qabul qiluvchilarga ta'sirini ta'kidlaydi.[13] "Alifbe, bosma so'z va televizion tasvirlar kabi axborot shakllari biz uchun ishlarni osonlashtiradigan oddiy vositalar emas. Ular atrof-muhit, masalan, tilning o'zi, ramziy muhit, biz kashf etadigan, modaga soladigan va insoniyatni ifoda etadigan ramziy muhitdir. "[14]

Pochtachi tarkibga emas, balki ommaviy axborot texnologiyalari, jarayoni va tuzilishiga e'tibor qaratdi va axloqiy qarorlar chiqarishni media ekologiyasining asosiy vazifasi deb bildi. "Men ommaviy axborot vositalarini o'rganishda ma'naviy yoki axloqiy nuqtai nazardan o'rganmasam, hech qanday ma'no ko'rmayapman."[15] Pochtachining media-ekologiyasi yondashuvi uchta savolni beradi: Ushbu savdoning ma'naviy oqibatlari qanday? Buning oqibatlari ko'proq gumanistikmi yoki antigumanistikmi? Jamiyat sifatida biz yutqazgandan ko'ra ko'proq narsani yutayapmizmi yoki yutgandan ko'ra ko'proq narsani yo'qotayapmizmi?[15]

Valter Ong

Valter J. Ong ingliz tilida magistr darajasiga ega bo'lgan olim bo'lib, u bir vaqtlar Sent-Luis universitetida Makluan talabasi bo'lgan.[16] Ong kompaniyasining hissalari standartlashtirilgan va akademik stipendiyalarga loyiq bo'lgan media-ekologiya sohasiga ishonch berdi.[16] Ong o'z kitobida dominant og'zaki madaniyatdan savodli madaniyatga o'tishda inson tafakkuri va ongidagi o'zgarishlarni o'rganib chiqdi. Og'zaki nutq va savodxonlik.[17]

Ong tadqiqotlari media ekologiyasi kontseptsiyasini ishlab chiqishga katta hissa qo'shdi. Ong 450 dan ortiq nashrlar yozgan, ularning aksariyati ongli xulq-atvor va ommaviy axborot vositalarining evolyutsiyasi o'rtasidagi bog'liqlikka bag'ishlangan va u Media Ekologiya Assotsiatsiyasining Valter Benjamin mukofotini "Maqola bo'yicha qadimiy va zamonaviy: yozuvning boshlanishi." va bugungi kompyuterlar "mavzusida.[18]

Shimoliy Amerika, Evropa va Evroosiyo versiyalari

Media ekologiyasi - bu bahsli atama media tadqiqotlar chunki u Evropa va Shimoliy Amerika kontekstida turlicha ma'nolarga ega. Shimoliy Amerika ta'rifi an-ni anglatadi fanlararo media-muhitni o'rganishni o'z ichiga olgan media nazariyasi va media dizayn sohasi.[19] Media ekologiyasining Evropadagi versiyasi - bu ommaviy axborot tizimlarini murakkab dinamik tizimlar sifatida materialistik tadqiq qilish.[20] Rossiyada shunga o'xshash nazariya tomonidan mustaqil ravishda ishlab chiqilgan Yuriy Rozhdestvenskiy. Beshdan ortiq monografiyalarda Rojdestvenskiy har safar yangi aloqa vositalari paydo bo'lganida jamiyatda yuz beradigan muntazam o'zgarishlarni bayon qildi va bu o'zgarishlarni siyosat, falsafa va ta'lim sohasidagi muammolar bilan bog'ladi.[21] U madaniyatning jonli ekologiyasi maktabining asoschisi.[22]

Media ekologiyasining Evropadagi versiyasi Shimoliy Amerika ekologiyasi atrof-muhit degan tushunchani rad etadi. Ushbu kontekstda ekologiya "bu tilning eng ekspresif [terminlaridan biri bo'lganligi sababli” hozirgi paytda jarayonlar va narsalar, mavjudotlar va narsalar, naqshlar va materiyaning massiv va dinamik o'zaro bog'liqligini ko'rsatishi kerakligi sababli "ishlatiladi.[23] Kabi nazariyotchilarga ergashish Feliks Gattari, Gregori Bateson va Manuel De Landa, media ekologiyasining Evropa versiyasi (kabi mualliflar tomonidan qo'llanilgan Metyu Fuller va Jussi Parikka ) taqdim etadi a post-strukturalist murakkab dinamik tizim sifatida ommaviy axborot vositalariga siyosiy nuqtai nazar.

Boshqa hissalar

McLuhan bilan birga (McLuhan 1962 yil ), Pochtachi (Pochtachi 1985 yil ) va Xarold Innis, media ekologiyasi ko'plab mualliflardan, shu jumladan ishlaridan foydalanadi Valter Ong, Lyuis Mumford, Jak Ellul, Feliks Gvatari, Erik Xeylok, Syuzan Langer, Erving Goffman, Edvard T. Xoll, Jorj Herbert Mead, Margaret Mead, Klod Levi-Strauss, Benjamin Li Vorf va Gregori Bateson.

Asosiy tushunchalar

Nazariyaning taxminlari

  • Jamiyatdagi har bir harakat va harakatga ommaviy axborot vositalari singdiriladi.[24]
  • Ommaviy axborot vositalari bizning idrokimizni to'g'irlaydi va tajribamizni tartibga soladi.
  • Ommaviy axborot vositalari dunyoni bir-biriga bog'lab turadi.

Ushbu uchta taxminni quyidagicha tushunish mumkin: ommaviy axborot vositalari har doim hamma joyda; ommaviy axborot vositalari bilganlarimizni va bilganlarimizga qanday munosabatda bo'lishimizni belgilaydi; va ommaviy axborot vositalari bizni boshqalar bilan bog'laydi. Aloqa vositalari sayyoramizdagi deyarli barcha odamlarning hayotiga kirib bordi va odamlarni o'zaro bog'liq bo'lgan inson hamjamiyatiga joylashtirdi.

Makluanning media tarixi

Marshall Maklyuan ommaviy axborot vositalarini inson tanasidan foydalanishni talab qiladigan narsa deb ta'riflagan. Ushbu ta'rifga ko'ra, kompyuterlar ham, kiyimlar ham ommaviy axborot vositasi sifatida aniqlanishi mumkin. Ommaviy axborot vositasi kiritilganda, u insonning hissiyotlariga moslashtiriladi, shunda u shaxsning kengaytiruvchisiga aylanadi va uning imkoniyatlari butun jamiyatga ta'sir qiladi va o'zgarishga olib keladi.[25] McLuhan uchta ixtiro borligini ta'kidlaydi[tushuntirish kerak ] dunyoni o'zgartirgan: the fonetik alfavit, Makluanning ta'kidlashicha, nutqni ko'rinadigan qilish qobiliyati qadimgi davrlarda ritorika intizomini va grammatika deb ham tanilgan til va poetikani o'rganishga asos bo'lgan. The bosmaxona XIX asrda va telegraf akademik izlanish sifatida ham zamonaviy gazetaga, ham jurnalistikaga olib keldi.[26] Radioeshittirishni ommaviy tirajli gazeta, jurnallar, shuningdek filmlar ortidan kuzatib borish natijasida ommaviy kommunikatsiya o'rganildi.[26] Ushbu texnologiyalar tufayli dunyo bir davrdan ikkinchi davrga o'tdi. Ramziy muhit ta'sirini tushunish uchun McLuhan tarixni to'rt davrga ajratadi:[27] qabila davri, savodxonlik davri, bosmaxona asri va Elektron asr.

McLuhan ta'kidlashicha, ommaviy axborot vositalarini samarali o'rganish uchun nafaqat tarkibni, balki ommaviy axborot vositalari rivojlanadigan butun madaniy muhitni ham o'rganish kerak.[28] Uning ta'kidlashicha, ajralib chiqqan qarashdan foydalanib, shaxs atrof-muhit sharoitida ishlayotganda butunlik hodisasini kuzatishi mumkin. Ommaviy axborot vositalarining ta'siri - nutq, yozuv, bosma nashr, fotosurat, radio yoki televidenie ushbu texnologiya ta'sir ko'rsatadigan ijtimoiy va madaniy sohalarda o'rganilishi kerak. Makluhanning ta'kidlashicha, barcha ommaviy axborot vositalari, tarkibidan qat'i nazar, hissiyotlarga ta'sir qiladi va hissiy muvozanatni shakllantiradi, uni yaratgan jamiyatni yanada shakllantiradi. Bu Nil Postman kabi olimlarning nuqtai nazaridan farq qiladi, ular jamiyat yangi ommaviy axborot vositalariga yaxshi yoki yomon bo'lishiga axloqiy nuqtai nazar bilan qarashlari kerakligini ta'kidlaydilar.[29] McLuhan yana ta'kidlashicha, o'tmishda taqdim etilgan ommaviy axborot vositalari asta-sekin o'zgarishlarga olib keldi, bu odamlar va jamiyat uchun biroz vaqt moslashishga imkon berdi.

Qabila yoshi

Tarixda McLuhan tasvirlagan birinchi davr - Qabilalar davri. Makluan uchun bu vaqt jamoat davri bo'lgan, quloq hukmronlik qiluvchi hissiyot organi bo'lgan. Hamma bir vaqtning o'zida eshitish imkoniyatiga ega bo'lgan holda, guruhdagi kimnidir birlashtiruvchi harakatni tinglash, jamoat tuyg'usini chuqurlashtirish. Ushbu tuzilishda McLuhanning ta'kidlashicha, hamma narsa tezroq, hozirroq bo'lgan va ko'proq ehtiros va o'z-o'zidan paydo bo'lgan.

Savodxonlik asri

McLuhanning ta'kidlagan ikkinchi yoshi - bu yozuvni ixtiro qilish bilan boshlangan "Savodxonlik davri". Maklyan uchun bu vaqt xususiy ajralish davri edi, ko'z esa sezgi organi edi. Ovozlarni ko'rinadigan narsalarga aylantirish ramziy muhitni tubdan o'zgartirdi. So'zlar endi tirik va darhol emas edi, ularni qayta-qayta o'qishga qodir edi. Odamlar bir xil so'zlarni o'qishlariga qaramay, o'qish akti muloqotni individual harakatga aylantirib, mustaqil fikrlashga olib keldi. Endi qabilalar ma'lumot olish uchun bir joyga to'planishning hojati yo'q edi.

Chop etish yoshi

McLuhan tavsiflaydigan uchinchi bosqich - bosmaxona ixtirosi tufayli alohida ommaviy axborot vositalari ommaviy ravishda ishlab chiqarilgan bosmaxona davri. Bu bir xil matnni qayta-qayta takrorlash imkoniyatini berdi. Bosib chiqarish bilan yangi vizual stress paydo bo'ldi: portativ kitob, bu odamlar ommaviy axborot vositalarini olib yurishlariga imkon berdi, shunda ular boshqalardan ajralib, shaxsiy hayotda o'qishlari mumkin edi. Ushbu kitoblarni saqlash uchun kutubxonalar yaratilgan, shuningdek, boshqalar va ularning atrofidan begonalashish erkinligini bergan.

Elektron asr

Va nihoyat, McLuhan elektron davrni ta'riflaydi, aks holda ostida joylashgan axborot asri, tezkor aloqa davri va bir vaqtning o'zida tovushlar va teginish bilan muhitga qaytish. U Semyuel Morzning telegraf ixtirosi bilan yaratilgan qurilmadan boshlandi va telefon, uyali telefon, televizor, internet, DVD, video o'yinlar va boshqalarni olib keldi. Bu muloqot qobiliyati odamlarni bir zumda ovoz va teginish an'analariga qaytaradi. ko'rish. Makluhanning ta'kidlashicha, dunyo bilan doimiy aloqada bo'lish imkoniyatiga ega bo'lish, har kim hammaning ishini biladigan va har kimning ishi boshqalarning ishi bo'lgan xushmuomalali avlodga aylanadi. Ushbu hodisa global qishloq.[2]

Keyinchalik olimlar o'sishni ta'rifladilar ochiq kirish va ochiq fan, yuqori darajadagi tarqatilgan va arzon narxlardagi nashr etish potentsiali bilan "professionallikni yo'qotadigan kuch" sifatida ancha katta auditoriyani qamrab oladi.[30]

Yoshlarni yangilash

Robert K. Logan professor emeritus hisoblanadi fizika da Toronto universiteti va Strategik innovatsiyalar laboratoriyasining bosh ilmiy xodimi Ontario rassomlik va dizayn kolleji. U Toronto Universitetida Marshall Makluan bilan hamkorlikda ishlagan, turli xil asarlarni hammuallif qilgan va McLuhandan ilhomlanib o'z asarlarini yaratgan. Logan ikkita yangi davrni qo'shib, aloqa davrini yangilaydi:

  1. Og'zaki bo'lmagan mimetik aloqa yoshi (arxaikaga xos) Homo sapiens )
  2. Og'zaki nutq davri
  3. Savod yozish davri
  4. Elektr ommaviy axborot vositalarining yoshi
  5. Raqamli interaktiv media yoki "yangi media" ning yoshi[31]

Bundan tashqari, media ekologiyasini o'rganish orqali ommaviy axborot vositalaridagi texnologik yutuqlar orqali ko'plab jamiyatlar "ishtirok etish madaniyati ". Tom Valkanis bunga Apple-ning iPhone-ning o'sishiga qarab osonlikcha guvoh bo'lishini ta'kidlamoqda." Agar texnologiya madaniyat o'sadigan vosita bo'lsa, ushbu texnologiyalarning interaktiv va foydalanuvchiga yo'naltirilgan xususiyati ishtirok etish va "mash" ni keltirib chiqardi. -tarkibni ishlab chiqarish va ularga kirish usullari buzilgan, yuklangan, aralashtirilgan, birlashtirilgan va onlayn platformalar vositachiligidagi kompyuterlar va smartfonlar orqali qayta tiklanadigan madaniyat; bu "ishtirok etish madaniyati" ga aylanadi ... "[32]

"O'rta - bu xabar"

"Mediya bu xabar"[2] McLuhan-dan eng mashhur tushuncha bo'lib, Shimoliy Amerika nazariyasini Evropa nazariyasidan ajratib turadigan tushunchalardan biridir. Axborot tarkibini ta'kidlash o'rniga, McLuhan tarkibga ta'sir qilishi va hatto qaror qabul qilishi mumkin bo'lgan o'rta xususiyatlarning ahamiyatini ta'kidladi. U odamlarga va jamiyatga ta'sir ko'rsatadigan va o'zgartiradigan ommaviy axborot vositalarining formatini taklif qildi.[33]

Masalan, an'anaviy ommaviy axborot vositalari inson tanasining kengaytmasi bo'lib, esa yangi ommaviy axborot vositalari inson asab tizimining kengaytmasi. Yangi ommaviy axborot vositalarining paydo bo'lishi insonning hissiy organlari o'rtasidagi muvozanatni o'zgartiradi va inson psixologiyasi va jamiyatiga ta'sir qiladi. Inson sezgilarining kengayishi bizning fikrlarimiz va xatti-harakatlarimizni va dunyoni anglash tarzimizni o'zgartiradi. Shuning uchun Makluan yangi vosita paydo bo'lganda, uning konkret tarkibini qanday bo'lishidan qat'i nazar, yangi aloqa shakli o'z-o'zidan ijtimoiy transformatsiyani keltirib chiqaradigan kuchni keltirib chiqaradi deb ishongan.[34]

Biz o'ylashga odatlanganmiz xabar dan ajralib turadi o'rta. McLuhan xabarni va vositani xuddi shu narsani anglatishini ko'rdi. Tomoshabinlar odatda tarkibga e'tibor qaratadilar va vositani e'tiborsiz qoldiradilar. Biz unutgan narsa shundaki, tarkib uning vositachiligidan tashqarida mavjud bo'lishi mumkin emas. McLuhan ommaviy axborot vositalarining ishlash muhiti biz ularga juda singib ketganligimizdan kelib chiqqanligini tushundi. "Bu biz yuboradigan yoki oladigan maxsus xabarlarni emas, balki inson ishlarida eng katta ta'sir ko'rsatadigan vosita."[35] Ommaviy axborot vositalari bizni shakllantiradi, chunki ular bizning bir qismimiz bo'lguncha ular bilan qayta-qayta qatnashamiz.

Turli xil vositalar turli xil hissiyotlarni ta'kidlaydi va turli xil odatlarni rag'batlantiradi, shuning uchun ushbu o'rtacha kun bilan shug'ullanish bizning sezgilarimizni shart qiladi.[15] Ommaviy axborot vositalarining turli shakllari ularning mazmuni va ta'siri qanday bo'lishiga ham ta'sir qiladi. Axborot vositasi va rejim shakli kimga kirish imkoniyatini, qancha ma'lumot tarqatilishini, qanchalik tez uzatilishini, qancha masofaga borishini va eng muhimi, qanday shaklda namoyish etilishini belgilaydi.[35] Jamiyat kunning hukmron vositasi atrofida shakllanayotganligi sababli, ma'lum aloqa vositasi ajoyib farq qiladi.

Metafora

Mediya ekologiyasining asosiy elementlari asosan "vositachi xabar" degan fikrni ilgari surgan Marshall Maklyuanga tegishli. Levinson McLuhanning bayonotini davom ettirib, "bizning odatdagidek qabul qilinadigan muloqot usulimiz ko'pincha nima bilan muloqot qilishimizni belgilaydi va bu erda hayotdagi va jamiyatdagi hamma narsalar haqida".[36] McLuhan tortishish markazini, keyinchalik media-ekologiyaga axloqiy kompasni berdi, keyinchalik uni Neil Postman moslashtirdi va rasmiy ravishda taqdim etdi.[36]

Ushbu nazariyaning asosi metafora asosida yangi hududni anglash uchun namuna beradi, so'z boyligini taklif qiladi va qaysi yo'nalishlarda izlanishni davom ettirish kerakligini ko'rsatadi.[37] Karlos Skolari ta'kidlaganidek, "1960-70-yillarda media-ekologiyaning konfiguratsiyasi urushdan keyingi davrda ijtimoiy va gumanitar fanlarga ekologik metaforani umumiy tatbiq etish jarayonining bir qismi bo'lgan.[37] Hali ham "vosita - xabar" iborasini kim yaratganligi to'g'risida ilmiy munozaralar davom etmoqda. Muallif Niall Stivenning ta'kidlashicha, ko'pchilik metaforani Marshal Makluanga bog'lashgan bo'lsa-da, uni "media-ekologiya" bayrog'i ostida Makluanni ommalashtirishda yordam bergan Nil Postmanga yo'naltirish yaxshiroqdir.[38]

Olim Janet Sternberg metaforani boshqacha qabul qiladi - barchasini anglash uchun o'z metaforasidan foydalanadi. Sternberg xitoycha "yin / yang" metaforasini olimlar o'rtasidagi kelishmovchilikni yaxshiroq tushunish vositasi sifatida media-ekologiyaga qo'llaydi. Uning ta'kidlashicha, bu sohada ikkita asosiy intellektual an'analarni ajratish mumkin: ommaviy axborot vositalarini atrof-muhit sifatida o'rganishning "yang" an'anasi, va shaxslararo aloqa va "yin" an'anasi atrof-muhitni ommaviy axborot vositasi sifatida o'rganib, shaxslararo muloqotga urg'u beradi.[39]

Umumiy tizimlar nazariyasiga ulanish

Esa umumiy tizimlar nazariyasi 1928 yilda tibbiyot fanlari nomzodida vujudga kelgan. tezisi Lyudvig fon Bertalanffi. Robert Logan umumiy tizimni "o'zaro ta'sir qiluvchi va o'zaro bog'liq tarkibiy qismlardan tashkil topgan tizim, masalan, uni anglash umumiy tizimni alohida komponentlar to'plami sifatida emas, balki butun holda ko'rib chiqishni o'z ichiga olishi kerak" deb qisqacha bayon qiladi.[40]

Logan, umumiy tizimlar nazariyasi, shuningdek, kibernetika, murakkablik nazariyasi va paydo bo'ladigan dinamika va media ekologiyasi "o'zaro changlanadi", "bu umumiy tizim vositadir", degan xabarlarning chiziqli bo'lmagan tomonlari va umumiy tizimlar "kvazi-deterministik" dir.[40]

Ushbu tafakkur bir paytlar shunday deb yozgan Makluanga mos keladi: "Yangi vosita hech qachon eskisiga qo'shimcha bo'lmaydi va eskisini tinch qo'ymaydi. U yangi shakllar va pozitsiyalar topmaguncha eski ommaviy axborot vositalariga zulm o'tkazishni to'xtatmaydi". ularni. "[40]

Global qishloq

Marshal Maklyuan bu iborani ishlatgan global qishloq Izolyatsiyaning tugashini tavsiflash uchun: "odamlar endi alohida yashay olmaydilar, aksincha har doim uzluksiz va bir zumda bog'lanib turadilar. elektron ommaviy axborot vositalari ".[41] McLuhan o'z kitobida global qishloq g'oyasiga murojaat qiladi Gutenberg galaktikasi "Qishloqning xarakteri shunday, yoki elektr ommaviy axborot vositalari, global qishloqning xarakteri ham shundadir. Va global o'zaro bog'liqlikning ushbu asosiy yangi o'lchovini reklama va PR hamjamiyati eng yaxshi biladi".[42]

Texnologiyalar, ayniqsa, bugungi asrdagi elektron ommaviy axborot vositalari dunyoni tobora bir-biriga bog'lab qo'ymoqda. Ijtimoiy, iqtisodiy, siyosiy, madaniy jihatdan dunyoning bir qismida sodir bo'layotgan voqealar boshqa mamlakatlarga ta'sir qiladi.

Internet bugungi kunda butun dunyo bo'ylab yangiliklarni tekshirishga imkon beradigan va ijtimoiy tarmoqlar joylashuvidan qat'i nazar, shaxslarni bir-biriga bog'laydigan sog'lom fikrdir. Biroq, Makluan davrida televizor va shaharlararo telefon qo'ng'iroqlari kabi texnologiyalar tufayli global qishloq endigina mumkin bo'ldi. Ushbu kontseptsiya media ekologiyasidan kelib chiqqan eng samarali va tushunarli g'oyalardan biriga aylandi va ko'plab sohalarda muhim izlanishlarga turtki berdi. Bu, ayniqsa, Internet, ijtimoiy tarmoqlar va boshqa yangi ommaviy axborot vositalari dunyoni kichikroq joyga aylantirgan bugungi jamiyatda dolzarbdir va bugungi kunda ko'plab tadqiqotchilar McLuhanga o'zining bashorat qilishlari uchun munosib baho berishmoqda.[31][43]

McLuhanning ta'kidlashicha, dunyo global qishloqqa aylanib, ko'proq global mas'uliyatga olib kelishi kerak. Texnologiya o'zaro bog'liq dunyoni yaratdi va shu bilan global voqealar va hodisalar o'z hamjamiyatidan tashqarida bo'lishi kerak.[1] Pochtachi ushbu kontseptsiyaga asoslanib, "Kosmik kemasi" haqida hikoya qilishni o'rgatadi, bu erda talabalarga Yer sayyorasiga g'amxo'rlik qilishning har bir inson biologik va madaniy xilma-xillikning nozik tizimi sifatida ahamiyati o'rgatiladi;[44] ammo, "Kosmik kemasi Yer" atamasini yaratgan asl odam futuristlar edi Bakminster Fuller Bir paytlar u shunday degan: "Men odamlarning:" Men kosmik kemaga chiqish qanday tuyuladi ", degan so'zlarini tez-tez eshitganman va javob juda oddiy. Qanday tuyuladi? Biz shuni boshdan kechirdik. Biz Yer deb nomlangan kichik kosmik kemadagi barcha kosmonavtlar. "[45]

Tanqidchilar, haqiqatan ham global qishloqni yaratishda, ba'zi madaniyatlar o'zlarining e'tiqodlari va odatlarini majburlaydigan katta yoki ustunroq madaniyatlar tufayli yo'q bo'lib ketishidan xavotirda.[46]

Global qishloq g'oyasi kontseptsiyalashga yordam beradi globallashuv jamiyat ichida. Maykl Pluf shunday yozadi: "[Qishloq] bu globallashgan muhit haqidagi texnologik o'zgarishlar va inson tasavvurlari natijasida hosil bo'lgan muhitdir".[47]

Bundan tashqari, media-kommunikatsiya texnologiyalarining o'sishi butun dunyo bo'ylab odamlarning axborotni qayta ishlash uslubini birlashtirdi. Plyushning aytishicha, "Makluhanning so'zlariga ko'ra, savodli jamiyatlar dunyoning chiziqli va ketma-ket tartibini ta'kidlab," ko'zni quloqqa "almashtirganda, elektron texnologiyalar atrof-muhit haqidagi umumiy xabardorlikni og'zaki madaniyatga xos bo'lib, kengaytirilgan yoki" global 'darajasida. "[47]

Issiq va salqin media

McLuhan issiq va sovuq media deb nomlangan g'oyani ishlab chiqdi.[48] Issiq media tomoshabinlardan ozgina ishtirok etishni talab qiladigan va bir vaqtning o'zida bitta hissiy organga diqqatni jamlaydigan yuqori aniqlikdagi aloqa. Ushbu turdagi axborot vositalari izohlashni talab qilmaydi, chunki tushunish uchun zarur bo'lgan barcha ma'lumotlarni beradi. Issiq ommaviy axborot vositalarining ayrim misollariga radio, kitoblar va ma'ruzalar kiradi. Ajoyib ommaviy axborot vositalari auditoriyadan faol ishtirok etishni talab qiladigan, auditoriyadan faol bo'lishni va aqliy ishtirok etish orqali ma'lumot berishni talab qiladigan ommaviy axborot vositasidir. Bu ko'p sensorli ishtirok. Televizor, seminarlar va multfilmlarning ajoyib namunalari.[49]

"McLuhan tez-tez Toronto Universitetida o'zining seminar xonasida osilgan jadvalga murojaat qildi. Bu issiq va salqin ommaviy axborot vositalari o'rtasidagi farqni tushunish uchun stsenariyning bir turi bo'lib, ularning ko'zga yoki quloqqa urg'u berishlari bilan ajralib turardi."[50]

  • Ko'z: chap yarim shar (issiq) tananing o'ng tomonini boshqaradi; ingl; nutq; og'zaki; tahliliy; matematik; chiziqli; batafsil; ketma-ket; boshqariladigan; intellektual; dominant dunyoviy; miqdoriy; faol; ketma-ket buyurtma berish
  • Quloq: o'ng yarim shar (salqin) tananing chap tomonini boshqaradi; mekansal; musiqiy; akustik; yaxlit; badiiy; ramziy; bir vaqtda; hissiy; ijodiy; voyaga etmagan; ma'naviy; sifatli; qabul qiluvchi; sintetik; gestalt; yuzni aniqlash; bir vaqtning o'zida tushunish; mavhum naqshlarni idrok etish

Ommaviy axborot vositalarining qonunlari

Media ekologiyasining yana bir jihati - bu ommaviy axborot vositalari qonunlari, Maklyuan o'g'li bilan birga bayon qilgan Erik Makluan texnologiyaning jamiyatga ta'sirini yanada tushuntirish.[51] Media nazariyasi qonunlari tetradada tasvirlangan bo'lib, u turli xil ommaviy axborot vositalariga oid savollarni tug'diradi, bu esa xalqning tanqidiy fikrlash qobiliyatini rivojlantirish va odamlarni har qanday texnologik taraqqiyot yoki rivojlanish bilan birga bo'lgan "ijtimoiy va jismoniy betartiblik" ga tayyorlashni maqsad qilib qo'ygan. Ommaviy axborot vositalarining qonunlarida aniq bir tartib yo'q, chunki effektlar bir vaqtning o'zida yuzaga keladi va teskari aloqa tizimini hosil qiladi: texnologiya jamiyatga ta'sir qiladi, keyinchalik texnologiyaning rivojlanishiga ta'sir qiladi.

Media Tetrad tasviri

Da tasvirlangan to'rt effekt media effektlarining tetradi ular:[51]

  • Kuchaytirish: Vositasi nimani yaxshilaydi? OAV turli xil ijtimoiy aloqalarni kuchaytirishi mumkin, masalan, telefon, bu yuzma-yuz muloqotga bo'lgan ehtiyojni kamaytiradi.
  • Eskirganlik: O'rtacha eskirgan narsa nima? Texnologik yutuqlar televizor radio uchun bo'lgani kabi eski ommaviy axborot vositalarini eskirishi mumkin. Bu eski vositaning butunlay yo'q qilinganligini anglatmaydi, ammo radio bugungi kunda ham qo'llanilmoqda.
  • Qabul qilish: O'rtacha nimani oladi? Yangi ommaviy axborot vositalari eski shakllarini tiklashga turtki berishi mumkin, bu yangi shakllar o'zlarining yangi texnologiyalariga kiritolmasligi mumkin. Masalan, Internet televizor orqali yo'qolgan bo'lishi mumkin bo'lgan ijtimoiy suhbatlarning yangi shakllarini ilgari surdi.
  • Orqaga qaytarish: Vositasi nimani o'zgartiradi? O'zining tabiati tufayli vositani bosib, "o'z potentsiali chegarasiga surib qo'yilganda"[51] u funktsional yordam dasturiga ega bo'lishni to'xtatadi va eski ommaviy axborot vositalarining o'zgarishiga olib kelishi mumkin.

Tanqid

Texnologik determinizm

Ushbu nazariyani muhim tanqid qilish uning deterministik yondashuvi natijasidir. Determinizm butun jamiyat bitta markaziy shartning natijasi yoki amalga oshirganligini ta'kidlaydi. Ba'zi hollarda shart til bo'lishi mumkin (lingvistik determinizm ), din (teologik determinizm ), moliyaviy (iqtisodiy determinizm ). McLuhan, Postman va Media Ecology misolida, texnologiya jamiyat uchun yagona hal qiluvchi omil bo'lib, insonning texnologik yutuqlarini o'lchash vaqtini ajratib, ularni quyidagicha tasniflash mumkin. texnologik determinizm. Postmanning so'zlariga ko'ra, "shuning uchun bosmaxona, kompyuter va televizor shunchaki ma'lumot uzatuvchi mashinalar emas. Ular metafora bo'lib, ular orqali biz haqiqatni u yoki bu tarzda kontseptsiya qilamiz. Ular biz uchun dunyoni tasniflashadi, ketma-ketligini, ramkasini yaratadilar. , uni kattalashtiring, kamaytiring, qanday bo'lishiga oid masalani muhokama qiling.Bu media metaforalar orqali biz dunyoni qanday bo'lsa shunday ko'rmayapmiz, biz uni kodlash tizimimiz kabi ko'ramiz.Ma'lumot shaklining kuchi shu. "[52] Postman shuningdek, "vosita - bu madaniyat o'sib boradigan texnologiya; ya'ni madaniyatning siyosati, ijtimoiy tashkiloti va odatiy fikrlash tarzini shakllantiradi", deb ta'kidlagan.[53]

Kabi olimlar Maykl Zimmer McLuhan va uning "O'rta - xabar" nazariyasini texnologik determinizmning eng yaxshi namunasi sifatida ko'rish:

... media-ekologik stipendiyalarning asosiy mavzusi, masalan, Makluanning (1964/1994) "vosita bu xabar" degan so'zlari bilan tasdiqlangan, vositaning texnologik tarafkashligi u etkazayotgan xabardan ko'ra ko'proq ahamiyatga ega. Maklyan jamiyatdagi, madaniyatdagi va shaxsdagi katta o'zgarishlarning asosiy belgilovchi vositasi sifatida dominant aloqa muhitidagi o'zgarishlarni ko'rdi. Media-ekologiya an'analari markazida joylashgan ushbu McLuhanesque mantig'i ko'pincha ommaviy axborot vositalarining determinizmi uchun tanqid qilinadi. Ijtimoiy va madaniy o'zgarishlarning asosiy kuchi sifatida media-texnologiyalarning g'arazli tomonlarini ko'rish, mujassamlangan texnologik tarafkashlik nazariyasining qattiq texnologik determinizmiga o'xshaydi.[54]

Bunday deterministik yondashuvning tanqidchilari boshqa turdagi determinizmni, masalan, iqtisodiy determinizm bilan shug'ullanadigan nazariyotchilar bo'lishi mumkin. Jon Fekete kabi nazariyotchilar McLuhan dunyoni haddan ziyod soddalashtirmoqda "deb hisoblaydi" bizning harakatlarimiz ijtimoiy-madaniy dunyomiz boshdan kechirayotgan va sodir bo'ladigan o'zgarishlar uchun o'zi inson javobgarligini inkor etib, Maklyan tanqidiy munosabat axloqiy jihatdan ahamiyatli yoki amaliy ahamiyatga ega ekanligini inkor etadi. "[55]

Lans strategiyasi Boshqa tomondan, Makluan nazariyalari hech qanday tarzda deterministik emas deb ta'kidlaydi. "McLuhan hech qachon" determinizm "atamasini ishlatmagan va inson agentligiga qarshi bahslashmagan. Uning eng ko'p sotilgan kitobida, O'rta - bu xabar, deb yozgan u, "nima bo'layotganini o'ylashga tayyorlik mavjud ekan, albatta muqarrarlik bo'lmaydi" (McLuhan & Fiore, 1967, 25-bet). John Culkin (1967) McLuhanning pozitsiyasini "biz asboblarimizni shakllantiramiz, shundan keyin ular bizni shakllantiradi",[56] ommaviy axborot vositalariga tranzaktsion yondashuvni taklif qilish. "[57] Strategiyaning ushbu bayonoti McLuhan va Media Ecology ni "yumshoq determinizm " qarshi "qattiq determinizm "farqi shundaki," qattiq determinizm "jamiyatdagi o'zgarishlar ushbu jamiyat a'zolarining hech qanday ishtiroki yoki nazorati bo'lmagan holda sodir bo'lishini ko'rsatadi," yumshoq determinizm "esa o'zgarishlarni texnologiyalar, lekin iroda va a'zolarning irodasi bilan itaradi deb ta'kidlaydi. oxir-oqibat jamiyatning natijalariga ta'sir o'tkazish imkoniyati mavjud.

Texnologik determinizm g'oyalari odatda salbiy ma'noga ega bo'lsa, texnologiya faylasufi Pol-Piter Verbek texnologiyalar "mohiyatan axloqiy vositalar" va ularning rivojlanishi "axloqiy korxona" ekanligini ta'kidladi.[58][59][60]

Mavjud tizimlarda uzilishlar

Rivojlanayotgan texnologiyalar media-ekologiyani o'rganishga imkon beradigan bo'lsa-da, ular paydo bo'lgan sari mavjud aloqa tizimini tez-tez buzib turadi. Umuman olganda, media ekologiyasini o'rganish davomida to'rt xil buzilishlar bo'lishi mumkin.[61]

  1. Yangi texnologiyalar
  2. Yangi tomoshabinlar
  3. Yangi hokimiyat
  4. Yangi ritorika

Buni o'zingiz ko'rishingiz mumkin bo'lgan ta'limdan ko'rish mumkin bo'lgan bir misol. Rivojlanayotgan texnologiyalar, shuningdek, o'z qo'li bilan (DIY) ta'limi olish imkoniyatini kengaytirdi. DIY ta'limi "raqamli axborot vositalaridan ba'zida jamoaviy, ba'zida individual foydalanish orqali an'anaviy markazlashtirilgan ta'lim modellarini markazsizlashtirish yoki buzishga qaratilgan har qanday urinishni" o'z ichiga olishi mumkin.[62] Media-ekologiyani tahlil qilish orqali ushbu yangi texnologiyalarning jamiyatga ta'sirini yaxshiroq anglash mumkin.

Harakatlilik va modallik

Turli olimlar XXI asrda ushbu nazariyani yaxshiroq tushunish uchun turli xil linzalar orqali media ekologiya nazariyasini ko'rib chiqdilar. Sternberg nazariyani anglash uchun yin / yang metaforasini qo'llagan bo'lsa, Julia Xildebrand va Jon Dimmik va boshq. ning yangi tillarini yaratish modallik. Shunday qilib, Internet, ijtimoiy tarmoqlar va texnologiyalar rivoji davrida media-ekologiyani kontekstualizatsiya qilish bo'yicha yangi ritorikaga hissa qo'shish. Hildebrand media vositalar ekologiyasi va mobillik tadqiqotlari o'rtasidagi bog'liqlikni tasvirlash uchun "vositachilik mobilligi" kontseptsiyasidan foydalanadi va natijada modal o'rta nazariya. U Emili Keightley va Anna Reading maqolalarini va Lance Strate'ni o'z ishi uchun asos sifatida ko'rib chiqadi. 1999 yilda Lens strategiyasida media-ekologiya nazariyasi "grammatika va ritorika, semiotika va tizim nazariyasi, tarix va texnika falsafasi" deb ta'kidlangan.[63] Xildebrand, strategiyaning media-ekologiya kontseptsiyasi nafaqat axborot-kommunikatsiya texnologiyalarini, balki umuman texnologiyalarni o'rganish bilan cheklanib qolishini tushuntiradi. Shuning uchun texnologiya media ekologiyasi bilan bog'liq bo'lgan muhimlik va harakatchanlikni nazarda tutadi. Xildebrand ta'kidlaganidek, "[muhitlar] turli xil ommaviy axborot vositalari va rejimlar hamda ular yaratadigan jismoniy, virtual va aqliy jarayonlar va sayohatlar tomonidan yaratilgan va shakllangan".[63] Media ekologiyasi singari, mobil aloqa tadqiqotlari atrof-muhitni shakllantiruvchi va aloqa zonalarini yaratadigan "oqim" haqida gapiradi. Dimmik bu tushuntirishni interstitsiyalar tushunchasi bilan aloqa muhitining kesishishi va harakatchanlik masalalari sifatida keltiradi.[64] U yangi so'zini kontekstlashtirish uchun ikkita olim - Xemment va Karoniyaning so'zlarini keltiradi. Xemmentning ta'kidlashicha, mobil texnologiyalar makon va vaqtdan joy yaratadi, ular makon va vaqtning o'zgaruvchilardan mustaqil ekanligini hisobga olib, o'ziga xos "bo'sh joy" yoki "noaniqlik" yaratadi. Caronia ta'kidlashicha, bunday texnologiyalar ommaviy axborot vositalarini bo'sh joy va joylarni yaratishga qadar kengaytiradi.[64]

Mediya xabar emas

McLuhan tanqidchilarining ta'kidlashicha, vosita bu xabar emas. Ular biz matematik tenglama bilan ishlaymiz, bu erda o'rtacha x ga, xabar esa y ga teng. Shunga ko'ra, x = y, lekin haqiqatan ham "vosita bu xabar" tenglama emas, metafora. Uning tanqidchilari, shuningdek, McLuhan tarkibni butunlay inkor qilmoqda, chunki haqiqatan ham McLuhan tarkibni vositaga nisbatan ikkinchi darajali rolida ko'rsatishga harakat qilar edi. McLuhanning ta'kidlashicha, texnologiya - bu "insonning kengaytmasi" va biz dunyoni jismonan sezish tarzimiz o'zgarganda, uni qanday qabul qilishimiz ham birgalikda o'zgaradi, ammo tarkib bu in'ikosning o'zgarishiga ta'sir qilishi yoki ta'sir qilmasligi mumkin. McLuhan foydalanuvchi - bu tarkib, demak, foydalanuvchi o'z muhitini anglab, olayotgan narsasini izohlashi va qayta ishlashi kerakligini anglatadi.[65]

Maklyanning taniqli tanqidchilaridan biri edi Umberto Eko. Eko fondan kelib chiqadi semiotikalar, which goes beyond linguistics in that it studies all forms of communication. He reflected that a cartoon of a cannibal wearing an alarm clock as a necklace was counter to McLuhan's assertion that the invention of clocks created a concept of time as consistently separated space. While it could mean this it could also take on different meanings as in the depiction of the cannibal. The medium is not the message. An individual's interpretation can vary. Believing this to be true Eco says, "It is equally untrue that acting on the form and content of the message can convert the person receiving it." In doing this Eco merges form and content, the separation of which is the basis of McLuhan's assertion. McLuhan does not offer a theory of communication. He instead investigates the effects of all media mediums between the human body and its physical environment, including language.[66]

Boshqalar

The North American variant of media ecology is viewed by numerous theorists such as John Fekete[55] and Neil Compton as meaningless or "McLuhanacy". According to Compton, it had been next to impossible to escape knowing about McLuhan and his theory as the media embraced them. Compton wrote, "it would be better for McLuhan if his oversimplifications did not happen to coincide with the pretensions of young status-hungry advertising executives and producers, who eagerly provide him with a ready-made claque, exposure on the media, and a substantial income from addresses and conventions."[67] Kabi nazariyotchilar Jonathan Miller claim that McLuhan used a subjective approach to make objective claims, comparing McLuhan's willingness to back away from a "probe" if he did not find the desired results to that of an objective scientist who would not abandon it so easily.[68] These theorists against McLuhan's idea, such as Raymond Rozental, also believe that he lacked the scientific evidence to support his claims:[35] "McLuhan's books are not scientific in any respect; they are wrapped however in the dark, mysterious folds of the scientific ideology."[67] Additionally, As Lans strategiyasi said: "Other critics complain that media ecology scholars like McLuhan, Havelock, and Ong put forth a "Great Divide" theory, exaggerating, for example, the difference between orality and literacy, or the alphabet and hieroglyphics.

Tadqiqot

Yangi ommaviy axborot vositalari

Many ecologists are using media ecology as an analytical framework, to explore whether the current yangi ommaviy axborot vositalari has a "new" stranglehold on culture or are they simply extensions of what we have already experienced. The new media is characterised by the idea of veb-2.0. It was coined in 2003 and popularized by a media consultant, Tim O'Rayli. He argues that a particular assemblage of software, hardware and sociality have brought about 'the widespread sense that there's something qualitatively different about today's Web. This shift is characterised by co-creativity, participation and openness, represented by software that support for example, wiki-based ways of creating and accessing knowledge, social networking sites, blogging, tagging and 'mash ups'.[69] The interactive and user-oriented nature of these technologies have transformed the global culture into a ishtirok etish madaniyati which proves Neil Postman's saying "texnologik o'zgarish is not additive; it is ecological".

As new media power takes on new dimension in the digital realm, some scholars begin to focus on defending the democratic potentialities of the Internet on the perspective of corporate impermeability. Today, corporate encroachment in cyberspace is changing the balance of power in the new media ecology, which "portends a new set of social relationships based on commercial exploitation".[70] Many social network websites inject customized advertisements into the steady stream of personal communication. It is called commercial incursion which converts user-generated content into fodder for marketers and advertisers.[70] So the control rests with the owners rather than the participants. It is necessary for online participants to be prepared to act consciously to resist the enclosure of digital commons.

There is some recent research that puts the emphasis on the youth, the future of the society who is at the forefront of new media environment. Each generation, with its respective worldview, is equipped with certain media grammar and media savodxonligi in its youth.[71] As each generation inherits an idiosyncratic media structure, those born into the age of radio perceive the world differently from those born into the age of television.[71] The nature of new generation is also influenced by the nature of the new media.

According to the media ecology theory, analyzing today's generational identity through the lens of media technologies themselves can be more productive than focusing on media content. Media ecologists employ a media ecology interpretative framework to deconstruct how today's new media environment increasingly mirrors the values and character attributed to young people. Here are some typical characteristics of the new generation: first, it is "the world's first generation to grow up thinking of itself as global. The internet and satellite television networks are just two of the myriad technologies that have made this possible."[72] Second, "there may actually be no unified ethos".[73] With "hundreds of cable channels and thousands of computer conferences, young generation might be able to isolate themselves within their own extremely opinionated forces".[74]

Ta'lim

In 2009 a study was published by Cleora D'Arcy, Darin Eastburn and Bertram Bruce entitled "How Media Ecologies Can Address Diverse Student Needs".[75] The purpose of this study was to use Media Ecology in order to determine which media is perceived as the most useful as an instructional tool in post-secondary education. This study specifically analyzed and tested "new media" such as podcasts, blogs, websites, and discussion forums with other media, such as traditional text books, lectures, and handouts. Ultimately comparing "hot" and "cold" media at today's standard of the terms. The result of the study, which included student surveys, indicated that a mixture of media was the most "valued" method of instruction, however more interactive media enhanced student learning.

Application and case studies

There is significant research being done on the rise of ijtimoiy tarmoqlar kabi platformalar Twitter, Instagram, Facebook and their influence on communication in society. Some of that research is being done through a media ecology perspective. Quyida ba'zi bir misollar keltirilgan:

Social media activism

While many people utilize social media platforms to stay in contact with friends and family, socialize, or even shop,[76] these platforms have also been pivotal for social activism. Social media activism va hashtag faolligi have become popular ways to gain mainstream media and public attention for causes, and to facilitate protests.

Thomas Poell researched the influence of social media on the 2010 protests of the Toronto G20 summit.[77] In the article, he focused on identifying how each social media site was used independently, and then how they were integrated together. The sites analyzed were Twitter, YouTube, Flickr, Facebook, and an open publishing website. What he found is that each site is used differently for social media activism. While this kind of activism was originally looked at as a way to promote causes and encourage long term focus on the issues, Poell found that sites like Twitter and Facebook tend to do the opposite. Posts center around photographs and videos of action during protests and rallies, not on the issues that are being protested. This would be an example of hot media, because the user can scroll through photos or watch videos without being otherwise engaged, instead of cool media where the user has to be more involved. Additionally, because activists are using sites they do not own, the social media platform actually has more control over the information being posted. For example, Twitter no longer allows unrestricted access to all posts made with a certain hashtag after a period of time. This seems to mean that the issue being highlighted fades over time.

Additionally, Heather Crandall and Carolyn M. Cunningham focus on hashtag activism, where activists use metadata teglari to focus on specific issues (ex: #activism).[78] They did not look at one specific protest like the G20 summit, but rather at the benefits and criticisms of hashtag activism as a whole. They discuss that social media is a new media ecology, one where users can connect and share ideas without boundaries. This falls under McLuhan's idea of the world as a global village. By using hashtags, activists are able to bring awareness to social issues. Crandall and Cunningham point out that this is both beautiful and interesting, because it encourages learning, conversations, and community for social justice, and that it is also dark and confusing, because the open environment of the internet also allows hashtags to be used for hate speech and threats of violence. Also, they posit that hashtag activism is pointed and stacked, in that hashtags are often short lived, and the user has to be able to navigate the platform and understand hashtags in order to gain knowledge of the issue. When viewed through media ecology, hashtag activism is changing the way people encounter and engage in social justice.

Keyslar

Arab Spring: Egypt and Iran

Mark Allen Peterson of in the Department of Anthropology at Miami University published an article in the Summer of 2011 comparing the media ecology of 1970s Iran to that in Egypt in 2011. The article, title "Egypt's Media Ecology in a Time of Revolution"[79] looks at the difference that social media made in the Egyptian uprising and makes two observations: social media extends the "uzumzor " network and that social media, despite the result of the uprising, completely changes the "mediascape " of Egypt. One dramatic difference between the two uprising noticed by Peterson is the ultimate position of the media of choice during each in the end. On the one hand, Iran's news media, the primary source of information at that time, reverted to its original role, while the Egyptian use of social media changed the media of choice for Egypt.

Peterson's study compared his observations to that of William Beeman, who in 1984 published an essay, "The cultural role of the media in Iran: The revolution of 1978–1979 and after"[80] on the media ecology of Iran. Beeman's ultimate conclusion of his review of the Eron inqilobi followed that of what you would expect to find from most media ecologists: "At times newly introduced mass media have produced revolutionary effects in the societal management of time and energy as they forged new spaces for themselves. Thus media are cultural forces as well as cultural objects. In operation, they produce specific cultural effects that cannot be easily predicted."[80]:147

Although there were many similarities between the Eron inqilobi va Misr inqiloblari, such as censorship in media, including newspaper and television, the one major difference was the availability of the internet and social media as a tool to spread messages and increase awareness in Egypt. Social media in 2011's uprising was equivalent to the use of cassette tapes in Iran in the 1970s. The tapes provided a way to spread information that could not be as easily censored and was repeatable through the country.[79]:5 The rise of social media helped free Egyptians from censorship of other media. In this case, the medium was the message, a message of freedom and by the Egyptian government's attempt to also censor this medium, they only managed to spread the message further and faster:

Although we may never know the true impact, in fact it likely sped up the regime's fall. In the absence of new technologies, people were forced to rely on traditional means of communication, including knocking on doors, going to the mosque, assembling in the street, or other central gathering places. Thomas Schelling won a Nobel prize in part for discovering that in the absence of information, people will coordinate by selecting a focal point that seems natural, special or relevant to them. Given the protests, Tahrir Square was the obvious focal point. By blocking the Internet, the government inadvertently fueled dissent and galvanized international support for the people of Egypt. (Bowman 2011)[81]

Since 2011, leaders of the protest continue to utilize social media as a method to push democratic reform.[79]:4 According to Peterson the role of social media in Egypt is also evolving the political culture as even state figures are beginning to make announcements using social media rather than more traditional forms of media.[79]:5

Gezi protests: Turkey

Shunga o'xshash Arab bahori, Gezi noroziliklari were an environmental sit-in that ultimately turned into a social movement based on the influence of various forms of social media. Rolien Hoyng and Murat Es coin the term "Turkish media ecology" to evoke a sense of particularly on the part of Turkey's relationship with media outlets and platforms.[82] In Turkey, media censorship and control by state institutions most directly impact broadcast media. Both authors emphasize how "…media-ecological affordances are conditioned and modulated by legal frameworks and institutional-political rationalities".[82] They also note that such censored media ecology forms a 'fertile milieu' for the proliferation of conspiracy theories which both feed on one another.[82] Scholar Gulizar Haciyakupoglu examines how social media influenced the protests, specifically looking at how trust was built and maintained among protestors across multiple platforms.[83] From his interviews, the scholar extrapolates that "closed groups" like Whatsapp and Facebook "...allowed the circulation of confidential and trustworthy information among first- and second-degree friends" whereas Twitter was used for "rapid acquisition of logistic information" that became important during the protest.[83]

15M movement: Spain

Emiliano Treré looks to the media ecology metaphor as a way to investigate the relationship between social movements, media ecologies and communication technologies through the lens of Spain's tejamkorlikka qarshi harakat, also called the "15M movement". Treré states how most scholars believe the media ecological framework is particularly suited for the study of the social movements/media nexus "...because of its ability to provide fine-tuned explorations of the multiplicity, the interconnections, the dynamic evolution of old and new media forms for social change".[84] The author also agrees with Scolari (mentioned above) that the key reflections from the theory is especially beneficial for modern analysis on media and social events.[84] One such application is seen with the analysis of Spain's 15M movement. Facing different degrees of mainstream ommaviy axborot vositalarining manipulyatsiyasi and bias "various media activists turned to Web TV services, radical online tools, Twitter and Facebook among others to organize, and contrast the official narratives of the protest."[84] Scholar John Postill argues that Twitter, among all the types of technologies used, produced a greater effect for setting and tone and agenda of the movement.[85] Such appropriation of technologies demonstrates the dichotomies between old and new technologies that in term created a kind of "technological sovereignty" among activists.[84] Media ecology has the innate ability to aggregate different analytical approaches to better understand the technology that is at place during such a protest. Postill and other scholars ultimately look to a new age in social activism, where "viral" posts shared by media professionals and amateurs empower people and become the rising voice for the future of democracy in Spain.[85]

Shuningdek qarang

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