Culture media and sport committee inquiry: new media and the creative industries

2006 ◽  
Author(s):  
J. Johnstone
Keyword(s):  
New Media ◽  
Culture Media ◽  
Creative Industries

scholarly journals Adjustment of Mineral Elements in the Culture Medium for the Micropropagation of Three Vriesea Bromeliads from the Brazilian Atlantic Forest: The Importance of Calcium

HortScience ◽  
2009 ◽  
Vol 44 (1) ◽  
pp. 106-112 ◽  
Author(s):  
Alice Noemí Aranda-Peres ◽  
Lázaro Eustáquio Pereira Peres ◽  
Edson Namita Higashi ◽  
Adriana Pinheiro Martinelli
Keyword(s):  
New Media ◽  
Mineral Composition ◽  
Culture Media ◽  
Dry Weight ◽  
Defined Medium ◽  
Ms Medium ◽  
Media Formulation ◽  
Half Strength

Many different species of Bromeliaceae are endangered and their conservation requires specific knowledge of their growth habits and propagation. In vitro culture of bromeliads is an important method for efficient clonal propagation and in vitro seed germination can be used to maintain genetic variability. The present work aims to evaluate the in vitro growth and nutrient concentration in leaves of the epiphyte bromeliads Vriesea friburguensis Mez, Vriesea hieroglyphica (Carrière) E. Morren, and Vriesea unilateralis Mez, which exhibit slow rates of growth in vivo and in vitro. Initially, we compared the endogenous mineral composition of bromeliad plantlets grown in half-strength Murashige and Skoog (MS) medium and the mineral composition considered adequate in the literature. This approach suggested that calcium (Ca) is a critical nutrient and this was considered for new media formulation. Three new culture media were defined in which the main changes to half-strength MS medium were an increase in Ca, magnesium, sulfur, copper, and chloride and a decrease in iron, maintaining the nitrate:ammonium rate at ≈2:1. The main difference among the three new media formulated was Ca concentration, which varied from 1.5 mm in half-strength MS to 3.0, 6.0, and 12 mm in M2, M3, and M4 media, respectively. Consistently, all three species exhibited significantly higher fresh and dry weight on M4, the newly defined medium with the highest level of Ca (12 mm). Leaf nitrogen, potassium, zinc, magnesium, and boron concentrations increased as Ca concentration in the medium increased from 1.5 to 12 mm.

Creative Modernity: The New Cultural State

2004 ◽  
Vol 112 (1) ◽  
pp. 9-27 ◽  
Author(s):  
Steve Redhead
Keyword(s):  
Culture Media ◽  
Social Engineering ◽  
Creative Industries ◽  
Theory And Practice ◽  
Modern State ◽  
International Debate ◽  
The United Kingdom ◽  
New Concepts ◽  
The Social ◽  
Cultural Sphere

This essay introduces two new concepts into the international debate about the theory and practice of creative industries. These concepts are ‘creative modernity’ and the ‘new cultural state’. The new cultural state has a double meaning. It refers to the new cultural condition we find ourselves in, what we call here creative modernity, and the form in which the modern state has governed, or intervened in, culture through law and other means of governance or regulation. In this process, the modern state — as it did in the United Kingdom for a while — sometimes becomes a part of the ‘cultural’ sphere through the project of creative modernity. As we see here in a rethinking of the case of the Department of Culture, Media and Sport in the British New Labour government, an experiment which is often cited approvingly in the creative industries debates around the world, creative modernity involves the social engineering of a ‘new individualism’ where citizens are remade as creative entrepreneurs. In this essay, it is argued that to move the arguments forward, the debate about creative industries should be re-situated within the wider framework of cosmopolitan sociology's analyses of modernity, the state and culture.

Thought Beats: New Technology, Music Video and Media Education

2006 ◽  
Vol 120 (1) ◽  
pp. 142-155
Author(s):  
Steve Archer
Keyword(s):  
New Media ◽  
Classroom Management ◽  
Media Studies ◽  
Digital Technology ◽  
Culture Media ◽  
Rapid Expansion ◽  
Media Education ◽  
Music Video ◽  
Creative Work ◽  
Dominant Feature

This paper has as its focus two key strands that are significant to contemporary media education. The first is the increasing move towards creative production work as the central and dominant feature of media studies courses. In UK schools, this has largely been facilitated by the rapid expansion of digital technologies. Whilst this offers unprecedented opportunities for students to construct advanced and highly polished artefacts, it has also created new challenges for the media teacher in relation to pedagogy and classroom management. The second strand is the emergence of globalised, commercial media cultures and their relation to new media forms facilitated by digital technology. Here, this paper is interested in the relatively new media form of the music video which, in its dominant mode of distribution and exhibition, exists globally as part of satellite and digital packages. Music video as a form is ideal for use in Media Studies as an object of study and as a framework for facilitating creative work. Based on practitioner research methods, this paper teases out the tensions that exist between popular culture, media education and digital technology, incorporating the way a sense of community located beyond the school can create opportunities for student creative work.

scholarly journals Young Canadians’ Apprenticeship Labour in User-Generated Content

2013 ◽  
Vol 38 (1) ◽  
Author(s):  
Tamara Shepherd
Keyword(s):  
Young People ◽  
New Media ◽  
Case Studies ◽  
Creative Industries ◽  
User Generated Content ◽  
Type Model ◽  
Online Activity ◽  
Economic Framework ◽  
Conditions De Travail ◽  
Political Economic

This article introduces a political-economic framework for analyzing young people’s production of user-generated content (UGC) as a kind of apprenticeship labour. Based on case studies of four young Montréalers engaged in creating user-generated content, the author developed the apprenticeship-type model of UGC labour to denote a process by which online immaterial labour or “free labour” coincides with self-directed and informal job training, channelled specifically toward a career in the creative industries. The 20- to 24-year-old participants’ online activity is seen as a non-remunerated training ground, driven by the promise of notoriety that begets autonomous future employment in areas such as fashion, music, and journalism. Throughout this process, young people must constantly negotiate their autonomy; negotiated autonomy is precisely what they are apprenticing into through UGC production, where uncertainty and flexibility serve as the hallmarks of new media working conditions.Cet article propose une approche politico-économique afin d’analyser les contenus web générés par les utilisateurs (mieux connus sous l’acronyme anglais UGC : usergenerated content) en tant que travail d’apprentissage. Suivant une étude menée auprès de jeunes montréalais actifs dans la création d’UGC, l’auteure a développé l’idée de « travail d’apprentissage » en tant que procédé au sein duquel le travail immatériel (ou « travail non rémunéré ») sert la formation informelle et autonome d’une main d’oeuvre vouée plus spécifiquement aux carrières afférentes aux industries culturelles. Ainsi, les activités web des jeunes dans la vingtaine ayant participé à l’étude sont conçues en tant que travail bénévole motivé par la promesse de notoriété qui conduirait, de manière autonome, à leur futur employabilité dans les domaines de la mode, de la musique ou du journalisme. Tout au long de ce processus d’apprentissage, ces jeunes deviennent les agents de négociations constantes à propos de leur autonomie ; pour ces jeunes, l’autonomie négociée constitue précisément ce vers quoi culmine leur apprentissage, alors que l’incertitude et la flexibilité deviennent les marques distinctives des conditions de travail dans le domaine des nouveaux médias.

The culture of consumption

Scene ◽  
2019 ◽  
Vol 7 (1) ◽  
pp. 75-86
Author(s):  
Christine White
Keyword(s):  
United Kingdom ◽  
Culture Media ◽  
Labour Force ◽  
Creative Industries ◽  
Digital Culture ◽  
Positive Contribution ◽  
Stem Learning ◽  
The United Kingdom ◽  
The Arts ◽  
Cultural Sector

Abstract The creative and cultural arts sector in the United Kingdom, most often termed the 'arts and cultural industries' in 2011 had a turnover of £12.4 billion published in Create Arts Council England. The Centre for Economic and Business Research (CEBR) stated that the arts and cultural industry in 2016 was responsible for £21.2 billion direct turnover, which involved 137,250 jobs. This sector pays 5% more than the UK median salary and so makes a positive contribution to an average household. This industry also plays an important role in supporting wider commercial activity. This includes tourism spend estimated as £856 million and this includes film production advertising, design and crafts all of which is also showcased overseas. In addition, this sector's work is seen to have a wider benefit for health and wellbeing. For example, those who attended a cultural place or event in the preceding twelve months were 60% more likely to report good health and in terms of spend, people valued being in an audience for the arts as they spent £2000 a year on events, which is more than for sport, as cited in the Arts Council England report of 2014. The continued need for reports and advocacy for the value of the arts and how that value should be ascribed is frustrating as there is a continued and pervasive sense that these areas are still of less value when compared with STEM learning and industrial activity, yet there are an estimated 89,000 jobs in museums, galleries and libraries and 296,000 jobs in music, performing and visual arts. In 2018, the number of jobs in the creative industries sector stood at just over two million, an increase of 1.6% from 2017. The sector accounted for 6.2% of UK jobs in 2018. The number of jobs in the creative industries has increased by 30.6% from 2011: three times the growth rate of employment in the United Kingdom overall (10.1%) (Department for Digital, Culture, Media and Sport [DCMS] 2018). The cultural sector had a workforce of 659,000, a fall of 2.1% from 674,000 in 2017 (a record number). The sector accounted for 2.0% of all UK jobs in 2018. Since 2011, the cultural sector workforce has grown by 21.0%.All of these sectors do not include tourism; however, we know that when people are tourists, they are doing and seeing stuff which is most often in the realm of cultural and creative sector developed activity. Across Europe and by their different methodologies of definition of the cultural sector, defined anyone employed in an economic sector defined as 'cultural', irrespective of whether they are employed in a cultural occupation and all persons with occupations relating to culture are included, even if the people concerned are employed in non-cultural sectors ‐ the number is 8.7 million people (European Union Labour Force Survey: EU-LFS).

scholarly journals Synthetic Culture Media Evaluated for the Detection of Coliform Bacteria in Milk, Cheese and Egg Melange

2008 ◽  
Vol 77 (1) ◽  
pp. 143-147 ◽  
Author(s):  
G. Szita ◽  
B. Gyetvai ◽  
J. Szita ◽  
M. Gyenes ◽  
N. Solymos ◽  
...  
Keyword(s):  
New Media ◽  
Culture Media ◽  
Comparative Investigation ◽  
Coliform Bacteria ◽  
Carbon Supply ◽  
Inorganic Substances ◽  
Pure Cultures ◽  
The Media ◽  
Camembert Cheese ◽  
Solid Form

Simple synthetic culture media of liquid and solid form (X broth and X agar) were tested for selective isolation of coliform bacteria. Selectivity is based on the ability of coliform bacteria to grow when the minimal medium contains simple inorganic substances as nitrogen and carbon supply. Selectivity of the media was tested by inoculation of pure cultures of different microbes belonging to the genera of Staphylococcus, Bacillus and Pseudomonas and the family Enterobacteriaceae and was found to be complete in this range. The comparative investigation of milk, camembert cheese and egg melange samples in the traditional and new media proved good applicability of X broth and X agar for an effective and selective detection of coliform bacteria. When testing pasteurized milk samples, X agar detected coliforms in significantly higher counts than violet red-bile-lactose agar.

scholarly journals Research on the Development Path of Zigong Salt Culture and Creative Industry in the Era of Digital New Media

2020 ◽  
Vol 3 (4) ◽  
Author(s):  
Bingjie Zhang
Keyword(s):  
New Media ◽  
Digital Media ◽  
Rapid Development ◽  
Traditional Culture ◽  
Creative Industries ◽  
Creative Industry ◽  
Media Technology ◽  
Virtual Technology ◽  
Development Path ◽  
Cultural And Creative Industries

Salt culture is the main component of traditional culture in Zigong, Sichuan.With centuries of history, it has accumulated rich cultural connotations. At present, Zigong salt culture, as a precious traditional cultural wealth, has taken cultural and creative industries as a new carrier of communication in the rapid development of digital new media technology, giving full play to the resource advantages of its traditional culture. This article focuses on the study of the development path of Zigong salt cultural and creative industry in the new digital media era. Combining digital new media technology with cultural and creative industries, Zigong salt culture actively uses virtual technology to realize the innovative development of cultural and creative industries, promote the cultivation of cultural and creative brands based on digital new media technology. This article aims to give relevant strategies with reference value, so as to make corresponding contributions to the development path of Zigong salt culture in the future.

The Word-Image-Virtual Body

2020 ◽  
pp. 72-95
Keyword(s):  
New Media ◽  
Citizen Science ◽  
Present Knowledge ◽  
Creative Industries ◽  
Service Economy ◽  
The World ◽  
The Moment ◽  
And Function ◽  
Virtual Body

In the present knowledge and innovation society, including creative industries, DIY practices, and citizen science, it is not enough to produce solely a product; it is necessary to sell a story about its groundbreaking appearance and function, which means that the product is well-marketed only at the moment when it is sold in a package together with a story written, performed, or shot about it. This turns into the world of arts; sciences, technologies, and business goes hand in hand with the contemporary storytelling, which is becoming distinctively performative and conceptual; rather than making a stable “textwork,” it directs to textual service, which is integrated in the trendy service economy. Textual services generate novel forms of expanded narrative, shaped by means of new media textuality and novel narrative practices. One of the most attractive modes of today's textual service is a story as application.

Reference Course Model

2010 ◽  
pp. 334-351
Author(s):  
Per Bergamin ◽  
Marco Bettoni ◽  
Simone Ziska ◽  
Cindy Eggs
Keyword(s):  
New Media ◽  
Corporate Culture ◽  
Teaching And Learning ◽  
Learning Strategy ◽  
Culture Media ◽  
Point Of View ◽  
Media Culture ◽  
Educational Institutions ◽  
Technology Enhanced Learning ◽  
Self Regulated Learning

Since our mission is the collaborative cultivation of a university-wide media culture, in this chapter the authors propose to look at the relation between Self-regulated learning (SRL) and Technology-Enhanced Learning Environments (TELE) from the point of view of a learning organization. The goal is to clarify how to embed TELE-technologies in educational institutions in a collaborative way that sustains and continuously improves the quality of teaching and learning at a university. Our solution is focused around the concept of “university-wide media culture”, a corporate culture for new media that we hope to develop by means of a collaborative instrument called the “Reference Course Model”. The authors begin by screening and summarizing what they consider to be relevant aspects of components of the SRL theory (models, learning strategy, prompting) and continue by introducing the concepts of media culture, media literacy and their relation to TELE and SRL; based on this they then present their idea of what they call a “Reference Course Model”, explaining its theoretical foundation and developing its conceptual features. Finally, they conclude by showing how they have implemented this model in their university and reflect on the experiences collected to-date.

scholarly journals A Decade of Development of Chromogenic Culture Media for Clinical Microbiology in an Era of Molecular Diagnostics

2017 ◽  
Vol 30 (2) ◽  
pp. 449-479 ◽  
Author(s):  
John D. Perry
Keyword(s):  
New Media ◽  
Molecular Diagnostics ◽  
Clinical Microbiology ◽  
Culture Media ◽  
Group B Streptococci ◽  
Widespread Application ◽  
Content Type ◽  
Flight Mass Spectrometry ◽  
Group B ◽  
The Impact

SUMMARYIn the last 25 years, chromogenic culture media have found widespread application in diagnostic clinical microbiology. In the last decade, the range of media available to clinical laboratories has expanded greatly, allowing specific detection of additional pathogens, includingPseudomonas aeruginosa, group B streptococci,Clostridium difficile,Campylobacterspp., andYersinia enterocolitica. New media have also been developed to screen for pathogens with acquired antimicrobial resistance, including vancomycin-resistant enterococci, carbapenem-resistantAcinetobacterspp., andEnterobacteriaceaewith extended-spectrum β-lactamases and carbapenemases. This review seeks to explore the utility of chromogenic media in clinical microbiology, with particular attention given to media that have been commercialized in the last decade. The impact of laboratory automation and complementary technologies such as matrix-assisted laser desorption ionization–time of flight mass spectrometry (MALDI-TOF MS) is also assessed. Finally, the review also seeks to demarcate the role of chromogenic media in an era of molecular diagnostics.

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