rss_2.0Library and Information Science, Book Studies FeedSciendo RSS Feed for Library and Information Science, Book Studieshttps://www.sciendo.com/subject/LBhttps://www.sciendo.comLibrary and Information Science, Book Studies Feedhttps://www.sciendo.com/subjectImages/Library_Information_&_Science,_Book_Studies.jpg700700Interactive Evolution of Multidimensional Information in Social Media for Public Emergency: A Perspective from Optics Scatteringhttps://sciendo.com/article/10.2478/dim-2021-0008<abstract><title style='display:none'>Abstract</title><p>Most of the current research on the information analysis of social media (SM) for public emergency focused on a single dimension such as emotion while neglecting the interaction between multidimensional information. Therefore, in this study, an information dispersing–superimposing model is proposed to explain the implicit regularity of the impact within a symbol, sentiment, and context information and their dependent evolution on the SM. Information hue, saturation, and flux (HSF) are defined to measure the interaction process. An online event was selected to verify the concept and hypothesis of this study. The results proved that the interaction among multidimensional information did exist on the SM for a public emergency. The turning points of information dispersing–superimposing often emerged when the number of online users involved had significant changes, and sentiment and context information were showed to have a strong interaction relationship and tended to be spread at the same time. It was also manifested that the dominant information component was varied at each stage of the emergency. This paper is one of the first to study the interaction of multidimensional information on the SM derived from optics scattering. The findings of the study will try to provide a theoretical explanation for why certain information components may be enhanced during the online dissemination and suggest practical support for the information predictions and interface design for SM.</p></abstract>ARTICLE2021-07-09T00:00:00.000+00:00Automatic Subject Classification of Public Messages in E-government Affairshttps://sciendo.com/article/10.2478/dim-2021-0004<abstract> <title style='display:none'>Abstract</title> <p>Public messages on the Internet political inquiry platform rely on manual classification, which has the problems of heavy workload, low efficiency, and high error rate. A Bi-directional long short-term memory (Bi-LSTM) network model based on attention mechanism was proposed in this paper to realize the automatic classification of public messages. Considering the network political inquiry data set provided by the BdRace platform as samples, the Bi-LSTM algorithm is used to strengthen the correlation between the messages before and after the training process, and the semantic attention to important text features is strengthened in combination with the characteristics of attention mechanism. Feature weights are integrated through the full connection layer to carry out classification calculations. The experimental results show that the F1 value of the message classification model proposed here reaches 0.886 and 0.862, respectively, in the data set of long text and short text. Compared with three algorithms of long short-term memory (LSTM), logistic regression, and naive Bayesian, the Bi-LSTM model can achieve better results in the automatic classification of public message subjects.</p> </abstract>ARTICLE2021-04-14T00:00:00.000+00:00Knowledge Entity Extraction and Text Mining in the Era of Big Datahttps://sciendo.com/article/10.2478/dim-2021-0009ARTICLE2021-07-02T00:00:00.000+00:00A Pattern and POS Auto-Learning Method for Terminology Extraction from Scientific Texthttps://sciendo.com/article/10.2478/dim-2021-0005<abstract> <title style='display:none'>Abstract</title> <p>A lot of new scientific documents are being published on various platforms every day. It is more and more imperative to quickly and efficiently discover new words and meanings from these documents. However, most of the related works rely on labeled data, and it is quite difficult to deal with unlabeled new documents efficiently. For this, we have introduced an unsupervised method based on sentence patterns and part of speech (POS) sequences. Our method just needs a few initial learnable patterns to obtain the initial terminology tokens and their POS sequences. In this process, new patterns are constructed and can match more sentences to find more POS sequences of terminology. Finally, we use obtained POS sequences and sentence patterns to extract terminology terms in new scientific text. Experiments on paper abstracts from Web of Knowledge show that this method is practical and can achieve a good performance on our test data.</p> </abstract>ARTICLE2021-04-07T00:00:00.000+00:00Discovering Booming Bio-entities and Their Relationship with Fundshttps://sciendo.com/article/10.2478/dim-2021-0007<abstract> <title style='display:none'>Abstract</title> <p>With the increasing pressure on the National Institutes of Health (NIH) budget nowadays, it is such a major challenge to cut waste and improve efficiency in the research funding allocation. To meet this challenge, this paper explores research hotspots and disciplinary trends of the biomedical area, and discusses the relationship between these factors and the government funding, thereby uncovering biomedical hotspots of interest to academia and the evolution law of the U.S. federal government funding through an entitymetrics analysis. Considering that the rapid proliferation of biomedical literature provides large amounts of information resources for knowledge discovery, entities extracted from articles in PubMed and NIH-funded projects during 1988–2017 are taken as experimental data. They are divided into four categories: species, diseases, genes, and drugs. Subsequently, a comparative analysis of entity trajectories in the four domains is performed, which includes occurrence frequency calculations of disease entities to explore frequency variation trends in high-frequency entities and the situation of the distribution of research funds. Finally, we conduct an evolutionary analysis of two sides, respectively: the relationship between research popularity and the amount of funding; the relationship between research popularity and the number of funded projects. The results suggest that research on gene and disease entities is at the stage of rapid development. Diseases with high prevalence rate and mortality and diseases associated with genetic factors will be the emphasis of research trends in the future. The distribution of NIH grant appears obvious long tail effect and can influence overall trends in the heat of research topics.. We also find that there is a strong linear correlation between the research popularity of bio-entities, and the amount and number of funding grants, respectively. However, the impact of the amount and number of grant funds on the entity research popularity is decreasing. The above results indicate the extensive applicability of entitymetrics in funding research.</p> </abstract>ARTICLE2021-06-26T00:00:00.000+00:00Digital Words of Wisdom? https://sciendo.com/article/10.5334/csci.85<abstract> <title style='display:none'>Abstract</title> <p>This paper introduces Milia (AppleTree), an open online platform for social interactive digital storytelling, which has been developed by the Laboratory of New Technologies in Communication, Education and the Mass Media, with the support of the University Research Institute of Applied Communication (URIAC) of the Faculty of Communication and Media Studies of the University of Athens. The Milia platform aims to support the representation, presentation and collaborative creation of any sort of stories in digital format. Applications of the platform can be found in storytelling per se, in education, in publishing and, more generally, in the creation and publication of collaborative digital works. The first part of the paper is focused on a state of the art review for digital storytelling platforms and discussion of some major challenges that these platforms are attempting to face. This review is followed by a second part, which discusses the technical features and functional capabilities of the Milia platform in detail, and a third part, which reports on applications of the platform that have already been realized and digital stories that are already available online. The paper is concluded with a discussion of limitations and directions of future work for the Milia platform.</p></abstract>ARTICLE2015-10-31T00:00:00.000+00:00Owning your emotions or sentimental navel-gazing: https://sciendo.com/article/10.5334/csci.80<abstract> <title style='display:none'>Abstract</title> <p>Literature argues that for post-conflict pedagogies to facilitate student engagement across difference it requires emotional engagement with the subject. However, how to achieve such emotional engagement, without falling into the trap of sentimentality, is an area that is under-researched. This paper reflects on conversations with South African students in a final year pre-service teacher-training programme, who developed digital stories as a vehicle for student engagement across difference. Applying ‘critical emotional reflexivity’ (<xref ref-type="bibr" rid="j_csci.80_ref_040">Zembylas 2011</xref>) as an analytical framework, we found that students described the digital storytelling process as opening up different ways of being with/for the ‘Other’ and allowing them to start questioning cherished beliefs and assumptions about the ‘Other’. However, they had difficulties in placing themselves in a bigger historical and sociocultural context. Furthermore, the specific set-up of the project made it difficult to track lasting social change within students, the fourth element of Zembylas’ theoretical framework. Findings also confirmed the potential of digital stories to lead to sentimentality and ‘passive empathy’ (<xref ref-type="bibr" rid="j_csci.80_ref_004">Boler 1999</xref>), characterised by pity from the part of the privileged observer and resentment from the subjugated storyteller. We recommend adding a historical-political analysis of previous students’ stories to the digital storytelling process in order to help students deconstruct positions premised on the existence of clearly differentiated identities and to consciously create spaces where a reflection on the emotions students encountered while sharing and listening to their stories can be facilitated.</p></abstract>ARTICLE2015-10-31T00:00:00.000+00:00The pot, the cup and the jar: https://sciendo.com/article/10.5334/csci.79<abstract> <title style='display:none'>Abstract</title> <p>What sort of story can you tell with just a pot, a cup, a coffee pot, a jar, a chopping board, an onion and a knife? Would the stories told among a group of seven PhD candidate women reveal the burden of writing a PhD dissertation relating the process to cooking? We, eight women, came together to run an event for the March 8<sup>th</sup>, International Women’s Day in 2014 and talked about what we had been experiencing during the period of writing master’s and PhD dissertations through the help of some ordinary life kitchen objects. We called this digital storytelling workshop, “I have food on the stove”, getting our inspiration from a very common phrase used by women during their everyday life conversations in Turkey. This workshop enabled me to think about what kind of roles both kitchen and objects have in our lives and how telling stories help women to deal with hard times.</p></abstract>ARTICLE2015-10-31T00:00:00.000+00:00The Potential of Digital Storytelling as an Ethnographic Research Technique in Social Scienceshttps://sciendo.com/article/10.5334/csci.88<abstract> <title style='display:none'>Abstract</title> <p>By using ethnographic research techniques, we can ask questions in order to understandsome issues in the social sciences such as experience, the unique, the ordinary, daily life, emotions etc. However, it is possible to query the proficiency of current ethnographic techniques to design dialogic research and to convey the experiences of the ‘subjects’ of the field research. Techniques such as in-depth interviews, informal interviews and even the focus group depend on the dichotomy of the researcher who asks questions and the subject who responds to them. However, designing dialogic field research requires refusing those dichotomies, which can be considered to be inherited from a positivist understanding of science. In this article I discuss the potential of any digital storytelling workshop as an ethnographic research technique, with regard to three issues that seem problematic in current ethnographic techniques: <italic>integrated research processes; power and hierarchy relationships;</italic> and <italic>conveying the voice of subjects</italic>. The discussion of this article results from two academic experiences: One of them is my ethnographic field research experience for my doctoral dissertation; <fn id="j_csci.88_fn_001" symbol="1"><p>When I was writing my doctoral dissertation, entitled <italic>The Experience of Asylum Seeking in Turkey within the Context of Intercultural Communication</italic>, I conducted field research between 20 July and 20 December 2011, when I investigated how asylum-seeking in Turkey is experienced in daily life within the context of intercultural communication. In my field study, which lasted for five months in Gaziantep, one of the provinces that is located on the south-eastern part of Turkey, I adopted and put to use the participant observation, informal interview and in-depth interview techniques. I experienced a number of difficulties in conducting a field research with a sensitive (disadvantaged) group of people such as the asylum seekers.</p></fn> the other is the digital storytelling workshop entitled <italic>When I was in the field: Digital Stories from Young Academic Women</italic> . <fn id="j_csci.88_fn_002" symbol="2"><p>We conducted this workshop within the body of Hacettepe University, Faculty of Communication, between 25 March and 16 April 2013. I was one of the facilitators of the workshop. We had two purposes. The first was to share stories about our field research experiences as woman academicians. We wanted to understand if gender differentiates the field research experiences. The second was to use DST (digital storytelling) as an ethnographic research technique. We wanted to discuss the problems of ethnographic research techniques that we encounter in the field and see if DST has a potential that allows us to ask new questions.</p></fn> First, I discuss the weaknesses of current ethnographic research techniques and, second, I focus on how digital storytelling workshops can help to reduce these weaknesses. Finally, in conclusion, I touch on the discussions – carried out in the workshop mentioned above – regarding the opportunities and difficulties of using the digital stories and the workshop process as one of the ethnographic research techniques.</p></abstract>ARTICLE2015-10-31T00:00:00.000+00:00 Digital storytelling and Co-creative Media: The role of community arts and media in propagating and coordinating population-wide creative practicehttps://sciendo.com/article/10.5334/csci.87ARTICLE2015-10-31T00:00:00.000+00:00Learning and intergenerational communication through digital storytelling in the first grades of primary school: https://sciendo.com/article/10.5334/csci.82<abstract> <title style='display:none'>Abstract</title> <p>The research reported in this paper examines how two different groups, primary schoolchildren and elderly people, could close the generation gap through a digital storytelling-based interaction framework that can result in learning for the younger and intergenerational communication. Yesteryear jobs have been chosen as the theme of this research, based on the premise that, as computers and automated systems increasingly take the jobs humans once held, entire professions become extinct, and some of these endangered professions, from a milkman to an iceman, could become better known to primary school children through storytelling from elderly people. In this respect, the research reported in this paper has combined digital storytelling with techniques as traditional as theatrical games, in order to create a blended framework for intergenerational interactions. The research project was realized in the 15th Primary School of Piraeus, in Athens, Greece during academic years 2011-12 and 2012-13. It has involved a 6-month empirical study and embraced skills such as literature reading, story and song listening, painting, creating digital stories as well as improvising through theatrical games. The evaluation tools for the outcomes of this project comprised a questionnaire, participant observation, informal interviews and a video rubric for evaluating the digital creations of schoolchildren.</p></abstract>ARTICLE2015-10-31T00:00:00.000+00:00Heart of the Story: https://sciendo.com/article/10.5334/csci.83<abstract> <title style='display:none'>Abstract</title> <p>This paper is based upon a paper delivered at the ‘Create, Act, Change’: The 5th International Digital Storytelling Conference in May 2013, in Ankara, Turkey <fn id="j_csci.83_fn_002" symbol="2"><p><ext-link ext-link-type="uri" xmlns:xlink="http://www.w3.org/1999/xlink" xlink:href="http://www.digitalstorytelling2013.hacettepe.edu.tr/documents/program_web.pdf">http://www.digitalstorytelling2013.hacettepe.edu.tr/documents/program_web.pdf</ext-link></p></fn>. It aims to put forward a connection between digital storytelling and the sociology of emotions. For this purpose, it briefly gives a picture of the field of sociology of emotions. The paper sets out to offer some self-reflection, because the aim of this piece is closely related to the academic interests of the writer. Following the path of self-reflection, it introduces common points between digital storytelling and the sociology of emotions.</p></abstract>ARTICLE2015-10-31T00:00:00.000+00:00Digital Storytelling: https://sciendo.com/article/10.5334/csci.84<abstract> <title style='display:none'>Abstract</title> <p>In this paper, I interrogate our understanding of social change in the telling of self-representational digital stories, stories that speak from the perspective of the storyteller and which centre on the “I”. There is a growing audible criticism of the value of these digital stories if distribution and outreach of such stories do not reach both wider and critical audiences. As a digital storytelling practitioner, I examine these criticisms and draw attention first to our understanding of storytelling, and second to our understanding of audiences within an ancient oral tradition of humankind. There is no doubt that the digital in digital storytelling allows for a global arena of possibilities. However, it is these very same global possibilities within the digital that have possibly forced a cursory value on storytelling by the most important audience among audiences—the marginalised "I" who struggles for political, social and economic attention. The existential self is severely talked down to for not going beyond that one digital story or those few friends and family members. In these instances, that potential to transform “power over” into “power with” and “power within” the storytellers quickly disintegrates. What happens instead is an expansion of the pool of judges of narratives, a predominant and more overt phenomenon in the field of human rights. What form the final narrative takes in any digital storytelling project is often shaped by the interests of these “mediators” who turn “judges of narratives” when they mould and package these stories to be more palatable to their specific audiences and consumption needs. The storyteller's sense of existential peril is in this way prolonged. These untoward developments beg us to ask the question, “what change then are self-representational digital stories meant to bring about?”</p> <p>Change is too often seen as synonymous to "cause and effect". Drawing from interviews conducted with those who organise and conduct digital storytelling workshops within a human rights framework around the world, as well as those who have strived for social change through storytelling in Malaysia, I contend that there is no such causality. The "change" is in fact dialogic and in constant flux—between self and other, self and non-self and in being for self and the other—in that storyteller's struggle of regaining control over situations and circumstances she or he had little or no control over. For what is implied in self-representational stories is that the intended audience of such a digital story inherently must include and bring meaning to the “I”, the storyteller.</p></abstract>ARTICLE2015-10-31T00:00:00.000+00:00Digital Words of Wisdom? https://sciendo.com/article/10.5334/csci.81<abstract> <title style='display:none'>Abstract</title> <p>Digital Storytelling is over 20 years old, its roots in citizen activism, its techniques evolving from radical theatre and media arts and its primary driver an unwavering commitment to enabling people to find and share their stories, as well as to the valuing of each and every one of those stories. This paper builds upon a presentation given at “Digital Storytelling in a Time of Crisis”, an international Digital Storytelling conference that took place in Athens in May 2014. It sets out to map some of the territory around Digital Storytelling and older people – ageing and the old (specifically the <italic>costs</italic> associated with a growing older population) being the ‘crises’ in question. The paper discusses questions concerning the benefits of Digital Storytelling with older people – both active older people and those who have dependency needs associated with ageing, such as dementia. The questions focus on the measurement of value, both in terms of participation in Digital Storytelling as a process and in the stories themselves. The paper is also self-reflective, as the writer embarks upon the formal route of PhD research, questioning the assumed benefits of the practice that has dominated the last eight years of over thirty years as a teacher and avid promoter of participatory media as a means to effect positive change. The paper is in 6 parts: (1) The Ageing Agenda; (2) Why Am I Doing This?; (3) What are the Benefits of Digital Storytelling with Older People? (4) The Pros and Cons of Digital Storytelling Projects (5) Extending Creative Practice and Silver Stories – Two Transnational Projects Linking Digital Storytelling and Older people – a sustainable model? (6) Ever Decreasing (Story) Circles.</p></abstract>ARTICLE2015-10-31T00:00:00.000+00:00Life storytelling at the ABC: https://sciendo.com/article/10.5334/csci.86<abstract> <title style='display:none'>Abstract</title> <p>Life storytelling projects have become an important means through which public service media institutions such as the Australian Broadcasting Corporation are seeking to foster audience participation and involve particular cohorts in the creation and distribution of broadcast content. This paper contributes to the wider conversation on audience participation within public service media intuitions (PSMs), and focuses on the opportunities and challenges that arise within life storytelling projects that are facilitated by these institutions, and that aim to ‘give voice’ to members of ‘the audience’. In particular, it focuses on two of the Australian Broadcasting Corporation’s current life storytelling projects: ABC Open and Heywire.</p></abstract>ARTICLE2015-10-31T00:00:00.000+00:00Introduction: https://sciendo.com/article/10.5334/csci.78ARTICLE2015-10-31T00:00:00.000+00:00Networked Identity Work as Project Development Among Co-Creative Communitieshttps://sciendo.com/article/10.5334/csci.57<abstract> <title style='display:none'>Abstract</title> <p>Networked identity work is the conscious negotiation or co-creation of identity, enacted by speaking and listening across differences among multiple publics, including those real and imagined, familiar and unknown, on and offline, present and future. It is a concept I explore extensively in research with queer Digital Storytellers who share their personal stories in public places to catalyse social change (<xref ref-type="bibr" rid="j_csci.57_ref_012">Vivienne 2013</xref>). In this article I consider distinctions between ‘story’ and ‘identity’; ‘networking’ and ‘networked identity work’ and argue that the two concepts may be usefully employed in development of co-creative community projects. Finally I consider how variable definitions of co-creativity influence project development.</p></abstract>ARTICLE2013-12-20T00:00:00.000+00:00A Trojan Horse in the Citadel of Stories?https://sciendo.com/article/10.5334/csci.58<abstract> <title style='display:none'>Abstract</title> <p>Digital storytelling is an international movement for self-representation and advocacy, especially in educational, arts, and therapeutic communities. It has begun to attract a significant body of scholarship including publications and conferences. Australia has been an important player in all of these developments. In this presentation I explore some of the issues that have emerged for activists and scholars, including the problem of how to ‘scale up’ from self-expression to communication (i.e. self-marketing), and the question of the role that stories play in constituting ‘we’-communities (or ‘demes’).</p> <p>The paper pursues the relationship between storytelling and political narrative over the extreme long term (<italic>longue durée</italic>), using well known and lesser-known connections between Australia and Turkey to tell the tale. It considers how digital self-representation intersects with that political process, and what activists need to know in order to intervene more effectively.</p> <p>The paper is in five parts: (1) Gevinson; (2) Gallipoli; (3) Granddad; (4) Göbekli Tepe; (5) Gotcha? It seeks to place digital storytelling within a larger framework that links storytelling with the evolution of the polity. The analysis ultimately points to a looming problem for the digital storytelling movement – and possibly for human socio-cultural evolution too. In the crisis of ‘we’ communities that arises with the possibility of a globally networked polity, we need new guides to storytelling action, not the old (Trojan) warhorses of mainstream media. Events such as the centenary of World War I present unexpected opportunities for this kind of exploration.</p></abstract>ARTICLE2013-12-20T00:00:00.000+00:00Co-Creating Knowledge Online: Approaches for Community Artistshttps://sciendo.com/article/10.5334/csci.55<abstract> <title style='display:none'>Abstract</title> <p>Forming peer alliances to share and build knowledge is an important aspect of community arts practice, and these co-creation processes are increasingly being mediated by the Internet. This paper offers guidance for practitioners who are interested in better utilising the Internet <fn id="j_csci.55_fn_002" symbol="2"><p>The decision not to capitalise the word ‘internet’ in this paper is based on the consideration that digital networks that use the Internet protocol suite, TCP/IP, have become ubiquitous means of sending and receiving communications.</p></fn> to connect, share, and make new knowledge. It argues that new approaches are required to foster the organising activities that underpin online co-creation, building from the premise that people have become increasingly networked as individuals rather than in groups (<xref ref-type="bibr" rid="j_csci.55_ref_017">Rainie &amp; Wellman 2012</xref>: 6), and that these new ways of connecting enable new modes of peer-to-peer production and exchange. This position advocates that practitioners move beyond situating the Internet as a platform for dissemination and a tool for co-creating media, to embrace its knowledge collaboration potential.</p> <p>Drawing on a design experiment I developed to promote online knowledge co-creation, this paper suggests three development phases – <italic>developing connections</italic>, <italic>developing ideas</italic>, and <italic>developing agility</italic> – to ground six methods. They are: <italic>switching and routing</italic>, engaging in small trades of ideas with networked individuals; <italic>organising</italic>, co-ordinating networked individuals and their data; <italic>beta-release</italic>, offering ‘beta’ artifacts as knowledge trades; <italic>beta-testing</italic>, trialing and modifying other peoples ‘beta’ ideas; <italic>adapting</italic>, responding to technological disruption; and, <italic>reconfiguring</italic>, embracing opportunities offered by technological disruption. These approaches position knowledge co-creation as another capability of the community artist, along with co-creating art and media.</p></abstract>ARTICLE2013-12-20T00:00:00.000+00:00Co-creative Media in Remote Indigenous Communitieshttps://sciendo.com/article/10.5334/csci.54<abstract> <title style='display:none'>Abstract</title> <p>This paper examines co-creative video outputs that have originated from, or relate to, remote Indigenous communities in Australia. Scholarly work on remote media has mostly operated at the interface of media studies and anthropology, seeking to identify how cultural systems shape the production, distribution and reception of media in Aboriginal communities. This paper looks instead at content themes, funding sources and institutions during the 2010-2013 period, and examines the factors that may be determining the quantity of co-creative outputs, as well as the types of stories that get produced. I argue that the focus on culture has obscured important shifts in remote media policy and funding, including a trend towards content designed to address social disadvantage.</p></abstract>ARTICLE2013-12-20T00:00:00.000+00:00en-us-1