Academic literature on the topic 'Hypermedialitet'

Zusammenfassung: Der Beitrag diskutiert die Diskursivierungen von ,Political Correctness‘ anhand des Dualismus von ,Hassrede‘ und ,Redefreiheit‘ im Kontext digitaler Teilöffentlichkeiten. Einerseits funktioniert der ablehnende Rekurs auf den Begriff ,Political Correctness‘ unter dem Deckmantel der Redefreiheit als Legitimierung herabsetzender Adressierungen. Andererseits dient der Begriff der Formierung eines Diskurses über ,Hassrede‘, der darauf zielt, die Äußerungsmöglichkeiten einzuschränken. Zunächst wird herausgearbeitet, inwiefern sich das Verhältnis von ,Hassrede‘ und ,Redefreiheit‘ als oppositionelle Einschätzung der Materialität digitaler Zeichen verstehen lässt. Darauf aufbauend wird dargelegt, dass beide Diskurse an einem (vermeintlich) konsensualen Universalismus orientiert sind und damit tendenziell an einer Entpolitisierung des Internets arbeiten. Abschließend werden die Begriffe Virtualität und Verletzbarkeit als mögliche Artikulationsformen einer alternativen Denkweise vorgestellt, welche nicht mit der moralischen Orientierung am Konsens verknüpft ist, sondern Prozesse des durchaus konflikthaften Aushandelns von Positionen – insbesondere im Kontext digitaler Hypermedialität – zu einem konstitutiven Moment demokratischen Miteinanders erklärt.

The objective of this thesis is to examine which form value-adding qualities specific for the Web take and to what extent they exist in a selection of electronic scholarly editions of literary works. The examination was concentrated on the qualities hypertextuality, interactivity and hypermediality. Besides extent and form, the research questions focused on whether or not the form of the editions correspond to theories and guidelines about how electronic scholarly editions should be designed to generate an added value from a scholarly point of view. The empirical approach was qualitative and the selection consisted of 31 editions. They were examined according to theories about the value-adding features of the qualities. The results showed that a majority of the editions did not incorporate all of the value-adding aspects. It was mainly the ability to use hyperlinks to bring larger amount of material together, and the use of links to show inter- and intratextual relations, that was realised. Only a minority of the editions exploited the possibilities of interactivity, especially the ability to read and give user comments within the editions. The conclusion of this study shows that the electronic editions seem to reproduce features of the printed media and do not fulfil the potential of the Web in any larger extent.
Uppsatsnivå: D

This essay investigates live-streamed guided tours made by Moderna Museet, so called sofa tours, streamed between February 2020­ and April 2021. The aim is to observe, describe and analyze the [Moderna Museet’s] sofa tours using a modality approach as well as relating the sofa tours to physical museum visits, using the concepts of media, mediation, remediation, immediacy and hypermediacy. The research questions concern ways of looking at art when participating in sofa tours and the differences compared to physically viewing art at the museum. In conclusion, the sofa tours made by Moderna Museet offers several alternatives to physical museum visits, not necessarily better or worse. Participants can actually modify their experience of participating in sofa tours and looking at art, for example by choosing to participate live or afterwards, with or without access to other participants comments, questions and reactions as well as choosing between using Facebook, Instagram, YouTube or the museum webpage to access the sofa tours. Comparing sofa tours to physical museum visits showed that both their principal function is to provide opportunities for people to view art together with other people, with or without the aid of a guide. However, most of the mediated space in the physical museum is unavailable to sofa tour participants. On the other hand, the sofa tour creates another set of unique mediations which do not exist in the physical museum space.

Abstract It is often proposed that the unique capacity of theatre is that it allows all media hosted within it to manifest themselves in their own particular forms. This chapter pursues Lars Elleström’s notion that theatre is indeed highly multimodal and integrates many basic and qualified media, prompting a recalibration of current definitions of a hypermedium incorporating all arts and media. The author contends that, alongside the significance of material mobility, there are specific temporal, spatial and sensorial modes that are fundamental in defining the mechanics and the potential of the hypermedium. This interplay of modalities creates new forms of hybrid signification through particular dialogues of immediacy and hypermediacy, participant authorship, angles of mediation and angles of exclusivity, transporting theatre into new and sometimes challenging relationships with other assertive qualified media types, notably what the author refers to as the architecture of commerce.