Relevant bibliographies by topics / Video game journalism

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Video game journalism'

Author: Grafiati
Published: 4 June 2021
Last updated: 18 February 2022

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Journal articles on the topic "Video game journalism"

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Dowling, David O. "Documentary games for social change: Recasting violence in the latest generation of i-docs." Catalan Journal of Communication & Cultural Studies 12, no. 2 (October 1, 2020): 287–99. http://dx.doi.org/10.1386/cjcs_00033_1.

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The evolutionary trajectory of digital journalism has been fuelled by the convergence of visual storytelling unique to documentary filmmaking with the graphics and procedural rhetoric of digital games. The reciprocal influences between gaming and documentary forms coalesce in this new highly engaging interactive journalism. This research demonstrates how game mechanics, design and logics combine with cinematic storytelling conventions in documentary games published since 2014. As forms of civic engagement more intimate and immersive than traditional print and broadcast journalism, documentary games leverage alternative depictions of violence for social critique. Case studies examine products of independent developers including the documentary games We Are Chicago by Culture Shock Games and iNK Stories’ 1979 Revolution: Black Friday along with its related vérité virtual reality experience, Blindfold. These cases represent major advances in the activist depiction of oppressed populations in narrative documentary journalism. All these projects feature atypical video game protagonists anathema to those of mainstream games.
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Shaffer, David Williamson. "Epistemic Games as Career Preparatory Experiences for Students with Disabilities." Journal of Special Education Technology 22, no. 3 (September 2007): 57–69. http://dx.doi.org/10.1177/016264340702200306.

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This paper looks at how computer- and video-based epistemic games can help provide career preparation experiences for young people. Epistemic games are a simulation of professional training in game form. As such, they help players try on or assume different professional identities and learn to think and act like professionals in that community. First, journalism is explored as a community of practice. Second, a study of a journalism-based epistemic game called science.net with middle school students is shared, demonstrating the learning potential of this approach. The value of a practicum for career preparation and transition planning is discussed, and readers are challenged to consider how epistemic games might benefit students with disabilities who are preparing to enter the work force.
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Perks, Matthew E. "How Does Games Critique Impact Game Design Decisions? A Case Study of Monetization and Loot Boxes." Games and Culture 15, no. 8 (August 1, 2019): 1004–25. http://dx.doi.org/10.1177/1555412019865848.

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Games critics arguably influence the form games take, identities of players, and identities of game developers. However, very little work in Game Studies examines how critical games journalism, games, developers, and independent actors intersect. This article argues that pragmatic sociology of critique, developed by Luc Boltanski, can act as a theoretical framework to aid in understanding these processes of critique. Utilizing a theoretical lens such as this helps us better understand the function of games critique within the video game industry. Applying this framework to a case study of monetization and “loot boxes,” this article emphasizes the role and power of journalistic critique in shaping gaming cultures, and the consumption and production of media more generally.
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Salor, Enrinc. "Neutrality in the Face of Reckless Hate : Wikipedia and GamerGate." Nordisk Tidsskrift for Informationsvidenskab og Kulturformidling 5, no. 1 (March 13, 2016): 23–29. http://dx.doi.org/10.7146/ntik.v5i1.25880.

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The year 2015 will very likely be remembered as a turning point in video game industry and culture. While tensions were slowly escalating regarding diversity of representation in video games across the cultural sphere and the position and treatment of women and other minorities within the industry, these insular debates finally, and violently, broke into mainstream consciousness in the second half of 2014. As we grimly note the one-year anniversary of the birth of the amorphous movement called GamerGate, the games industry is showing slow but hopeful signs of change regarding inclusion and representation of gender and ethnic diversity. Meanwhile, since GamerGate as a movement strives to achieve its self-declared goal of "ethics in video game journalism" primarily through constant and brutal harassment of women across the cultural space of games, their frequent targets are slowly and painfully trying to rebuild their lives.
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Fisher, Howard D., and Sufyan Mohammed-Baksh. "Video Game Journalism and the Ideology of Anxiety: Implications for Effective Reporting in Niche Industries and Oligopolies." Journal of Media Ethics 35, no. 1 (January 2, 2020): 45–59. http://dx.doi.org/10.1080/23736992.2020.1731312.

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Ph.D., Fabrizio Pezzani,. "The “Media” System and the Hidden Truth: Journalism Betrayed." Journal of Business Theory and Practice 5, no. 3 (July 11, 2017): 217. http://dx.doi.org/10.22158/jbtp.v5n3p217.

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<em>Those wishing to re-read some of the editorials epitomising the cultural and social line of some major </em><em>American and Italian newspaperswould see how far from the truth the mechanistically repeated news </em><em>were, seemingly forgetting the facts, without the least self-criticism and with hypocritical malice because </em><em>the events did not go as they had wanted In this way we are discovering the “fake. News”. The official </em><em>and servile story seemed more geared to interests other than that which independent information should </em><em>have. Honoré de Balzac rightly reminded us “History is of two kinds—there is the official history taught </em><em>in schools, a lying compilation ad usumdelphini; and there is the secret history which deals with the real </em><em>causes of events—a scandalous chronicle”, but it is in this that we must seek the facts and events we are </em><em>witnessing. Thus, in some sort of video game and incapable of criticism, we end up hypnotized and </em><em>subdued by the “big brother” Orwell described, by now unacceptable.</em>
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Ortiz, Luz, Héctor Tillerias, Christian Chimbo, and Veronica Toaza. "Impact on the video game industry during the COVID-19 pandemic." Athenea 1, no. 1 (September 25, 2020): 5–13. http://dx.doi.org/10.47460/athenea.v1i1.1.

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This work presents trends and comparisons that show a change in the consumption and production of video games in times of confinement due to the health emergency. The video game industry has modified its philosophy and adapted its products to the new requirements and trends of consumers who see in this activity a way to appease the psychological and social impact due to quarantine and isolation. There is evidence of a 65% increase in the use of online video games, which has broken a world record. Products that have new aspects and considerations never before proposed by this great industry have been developed and offered, such as thematic games related to the COVID-19 pandemic. Keywords: Video game, pandemic, online games, confinement. References [1]M. Olff, Screening for consequences of trauma–an update on the global collaboration on traumatic stress.European Journal of Psychotraumatology, 2020. [2]Z. Li, China’s Digital Content Publishing Industry: The 2019 Annual Report on Investment Insights and Market Trends. Publishing Research Quarterly, 2020. [3]R. Agis, An event-driven behavior trees extension to facilitate non-player multi-agent coordination in video games, Expert Systems with Applications, 2020. [4]O. Wulansari, Video games and their correlation to empathy: How to teach and experience empathic emotion. Advances in Intelligent Systems and Computing, 2020. [5]C. Bachen, Simulating real lives: Promoting Global Empathy and Interest in Learning Through SimulationGames. Sage Journal, 2012. [6]S. Fowler, Intercultural simulation games: A review (of the united states and beyond). Sage Journals, 2010. [7]G. Chursin, Learning game development with Unity3D engine and Arduino microcontroller. Journal ofPhysics: Conference Series, 2019. [8]K. Hewett, The Acquisition of 21st-Century Skills Through Video Games: Minecraft Design Process Modelsand Their Web of Class Roles. Sage Journal, 2020. [9]R. Bayeck, Exploring video games and learning in South Africa: An integrative review. Educational TechnologyResearch and Development, 2020. [10]K. Hewett, The 21st-Century Classroom Gamer. Games and Culture, 2021.
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Waszkiewicz, Agata, and Martyna Bakun. "Towards the aesthetics of cozy video games." Journal of Gaming & Virtual Worlds 12, no. 3 (October 1, 2020): 225–40. http://dx.doi.org/10.1386/jgvw_00017_1.

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While among game journalists and developers the term ‘cozy games’ has recently been gaining popularity, the concept still rarely is discussed in detail in academic circles. While game scholars put more and more focus on the new types of casual games that concentrate mostly on starting discourses on mental health, trauma and the experiences of marginalized people (often referred to as ‘empathy games’), the discussion would benefit from the introduction of the concept of coziness and the use of more precise definitions. The article discusses cozy aesthetics, showing that their popularity correlates with sociopolitical changes especially in Europe and the United States. First, cozy games are defined in the context of feminist and inclusive design. Second, it proposes three types of application of coziness in games depending on their relationship with functionality: coherent, dissonant and situational.
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Order, Simon, Leo Murray, Jon Prince, Julia Hobson, and Sara de Freitas. "Remixing Creativity in Learning and Learning of Creativity: A Case Study of Audio Remix Practice with Undergraduate Students." Asia Pacific Media Educator 27, no. 2 (October 20, 2017): 298–310. http://dx.doi.org/10.1177/1326365x17728827.

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Testing creativity in tertiary learning activities is a young field of research, and current assessment methods are difficult to apply within the diverse context of media production education, where disciplines range from journalism through to video game production. However, the concept of remix is common across this wide range of media, and offers practitioners ‘endless hybridizations in language, genre, content, technique and the like’ (Knobel & Lankshear, 2008, p. 22). The conceptual commonality of remix indicates that the study conclusions will have useful implications across a range of media production disciplines. This study aims to consider new methods for testing creativity in media production learning activities and to provide better assessments for learning design. This study focused upon a learner cohort of music technology students that were undertaking a work-integrated learning programme with a record label. To make the students more work-ready and inspire greater creativity, they remixed tracks recorded by professional music artists as part of a unit assessment. Subsequent self-report surveys ( N = 29) found that the process of creating a ‘remix’ enhanced their creativity and provided suggested improvements to the design of the learning experience. Importantly, we found no relationship between the survey responses and objective assessments, indicating that the self-reported improvements in creativity were not simply a measure of how well the students performed the formally assessed tasks. Although more research is needed to establish effective measures of creativity, these findings demonstrate that self-report survey tools can be a powerful tool for measuring creativity and supporting improved iterative learning design.
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Wilson, Jason. "Indie Rocks! Mapping Independent Video Game Design." Media International Australia 115, no. 1 (May 2005): 109–22. http://dx.doi.org/10.1177/1329878x0511500111.

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Though many video games scholars and journalists tend to train their sights on ‘big gaming’, there is a vibrant and varied sector of independent game design, production and distribution. Indie gaming is not a unitary field and, as well as producing a diverse range of games, indie designers occupy a range of positions vis-à-vis mainstream video gaming. Therefore, while this article gives examples of this diversity, it is by no means an exhaustive account. Industry watchers and events are together suggesting that low-cost, independent modes of production will become increasingly important and prevalent in the immediate future. Scholars and practitioners alike will do well to understand the historical trajectories of indie design, and to keep pace with its present and future diversity.
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Dissertations / Theses on the topic "Video game journalism"

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Cameron, David John. "Giving games a day job developing a digital game-based resource for journalism training /." Access electronically, 2004. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20041220.144608/index.html.

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Johansson, Emil, and Johan Kindmark. "Att spela ett yrke : En kvantitativ studie om svenska speljournalister och deras professionalisering." Thesis, Linnéuniversitetet, Institutionen för samhällsvetenskaper, SV, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-10584.

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This work aims to improve our knowledge about Swedish video game journalists, a new occupation in a quickly expanding business. Through a survey sent out to over 50 Swedish video game journalists, the result indicate some unexpected facts. Men largely dominate the profession; just 10 % of the work forces are females. This relation was notable in our survey, as well as in earlier studies. Video game journalists between 26 and 35 years old seems to be the largest age group, which we think is a bit surprising considering how new this form of journalism is, and the fact the internet provides opportunities for every enthusiastic video game writer. The professionalism of video game journalists has been debated over a long time, with many people arguing that this type of work has little to do with traditional journalism. In our survey, a large part of the respondents made clear that they consider themselves to be writers rather than journalists. The majority of the Swedish video game journalists don't have a journalistic education, whether it's from high school or university. Most of them don't value education as much as writing skill, talent, passion and knowledge about video games. The minority arguing about the importance of education motivates their standpoint with arguments of classical journalistic ethics and values. One respondent told us that the whole industry would benefit from more highly educated journalists, another one pointed out that a lot of ground has been covered in the last 5-6 years, although there ́s still a great distance compared to traditional journalism.
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Soler, Alejandro. "Can We Save Video Game Journalism? : Can grass roots media contribute with a more critical perspective to contemporary video game coverage?" Thesis, Uppsala universitet, Institutionen för informatik och media, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-225392.

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Video game journalism has been accused for lack in journalistic legitimacy for decades. The historical relation between video game journalists and video game publishers has always been problematic from an objective point of view, as publishers have the power to govern and dictate journalistic coverage by withdrawing financial funding and review material. This has consequently lead to lack in journalistic legitimacy when it comes to video game coverage. However, as the grass roots media movement gained popularity and attention in the mid 2000s, a new more direct and personal way of coverage became evident. Nowadays, grass roots media producers operate within the same field of practice as traditional journalists and the difference between entertainment and journalism has become harder than ever to distinguish. The aim of this master thesis is to discover if grass roots media is more critical than traditional video game journalism regarding industry coverage. The study combines Communication Power theory, Web 2.0 and Convergence Culture, as well as Alternative Media and Participatory Journalistic theory, to create an interdisciplinary theoretical framework. The theoretical framework also guides our choice in methodology as a grounded theory study, where the aim of analysis is to present or discover a new theory or present propositions grounded in our analysis. To reach this methodological goal, 10 different grass roots media producers were interviewed at 6 different occasions. The interviewees were asked about their opinions regarding grass roots media production, their own contribution, as well how they identified journalistic coverage. It was discovered that the grass roots media producers were not more critical than traditional video game journalists. This was because grass roots media producers operate under the rules of entertainment production. It was discovered that if grass roots media producers break out of the normative rules of entertainment production, they would either loose their autonomous freedom or funding, resulting in a catch-22 situation. Furthermore, it was found that grass roots media producers did not identify themselves as journalists; rather they identified themselves as game critics or reviewers. Thus, a video game journalist is categorised as an individual that report writes or edits video game news as an occupation, with formal journalistic training. However, since neither grass roots media producers nor industry veterans in general have journalistic training, it is still unclear who is a video game journalist. Lastly, we found that grass roots media producers have little possibility to influence traditional video game journalism. The only way to increase the status of journalistic legitimacy is by encouraging journalism itself, to engage in critical media coverage. As there is a public demand for industry coverage, and journalistic legitimacy is grounded on the normative democratic self-descriptions of the profession, video game journalism needs to move beyond entertainment and engage in democratically, constructive and critical coverage.
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Humienny, Raymond Tyler. "Content Analysis of Video Game Loot Boxes in the Media." Ohio University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1546434312362585.

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Shiflet, Matthew. "Viral Marketing: Concept Explication and Case Studies in the Video Game and Esports Industries." Ohio University Honors Tutorial College / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1555957153106043.

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Almén, Peter, Iman Hazheer, and Sandra Schöld. "”Känsliga tittare varnas” : En uppsats om medier, makt och moralpanik." Thesis, University of Kalmar, School of Communication and Design, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:hik:diva-2775.

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Sweden. 1980. The term ‘video violence’ becomes public through the debates show Studio S. The show urges and obligates politicians to stop, regulate and ban video films with violent content from the market. 29 years later, the debates show Debatt raises concerns regarding a similar topic, ‘video game violence’. Both shows were produced and aired by the Public Service channels of Sveriges Television in Sweden.

The purpose of this thesis was to study and examine if the media encourages and nourishes moral panics to the general public through debates shows. How does the host/journalist interact to steer the debate to the media agenda and how has the power structure changed in the debate genre over the years? Do the media nurture the root of moral panics?

We based the study on a qualitative content analysis. We analyzed one episode from each of the two debate shows Studio S and Debatt. The method of analysis we used was discourse analysis with emphasis on relations and power structures. We also analyzed the episodes by using Goode and Ben-Yehudas five criteria’s for creating moral panic.

The study shows that both debates shows fail to mention the problem in a larger societal context. They tend to only portray a scapegoat. Furthermore, they often show one-sided and violent sequences from the cultural phenomena. They use discourses to maintain the firm power in the debates to fulfill their pre-constructed bias agenda. We’ve also observed that it has become much more difficult for a moral panic to gain momentum compared with 1980, because of the medias decentralization.

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Fisher, Howard D. "Don't Let the Girls Play: Gender Representation in Videogame Journalism and the Influence of Hegemonic Masculinity, Media Filters, and Message Mediation." Ohio University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1332372302.

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Diakopoulos, Nicholas A. "Collaborative annotation, analysis, and presentation interfaces for digital video." Diss., Atlanta, Ga. : Georgia Institute of Technology, 2009. http://hdl.handle.net/1853/29680.

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Thesis (Ph.D)--Computing, Georgia Institute of Technology, 2010.
Committee Chair: Essa, Irfan; Committee Member: Abowd, Gregory; Committee Member: Bolter, Jay; Committee Member: Lampe, Cliff; Committee Member: Stasko, John. Part of the SMARTech Electronic Thesis and Dissertation Collection.
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Kundus, Ian Michael. "Misadventures in Surreality." Kent State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=kent1397818714.

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Sampaio, Caio Ferraz. "What video games can teach to journalists about storytelling in the Post-Digital." Dissertação, 2020. https://hdl.handle.net/10216/129924.

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Books on the topic "Video game journalism"

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Simon, Ferrari, and Schweizer Bobby, eds. Newsgames: Journalism at play. Cambridge, Mass: MIT Press, 2010.

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Simon, Ferrari, and Schweizer Bobby, eds. Newsgames: Journalism at play. Cambridge, Mass: The MIT Press, 2010.

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Cote, Amanda C. Gaming Sexism. NYU Press, 2020. http://dx.doi.org/10.18574/nyu/9781479838523.001.0001.

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In 2012, video gaming culture saw an interesting, paradoxical divergence. On one hand, game journalists and trade organizations testified that gaming had significantly diversified from its masculine roots, with women comprising nearly half of all gamers. On the other hand, gaming spaces witnessed increasing, public incidents of sexism and misogyny. Gaming Sexism analyzes the video game industry and its players to explain the roots of these contradictory narratives, how they coexist, and what their divergence means in terms of power and gender equality. Media studies scholar Amanda C. Cote first turns to video game magazines to assess how longstanding expectations for “gamers” are shifting, how this provokes anxiety in traditional audiences, and how these players resist change, at times employing harassment and sexism to drive out new audience members. She follows this analysis by interviewing female players, to see how their experiences have been affected by games’ changing environment. Interviewees reveal many persistent barriers to full participation in gaming, including overtly and implicitly sexist elements within texts, gaming audiences, and the industry. At the same time, participants have developed nuanced strategies for managing their exclusion, pursuing positive gaming experiences, and competing with men on their own turf. Thus, Gaming Sexism reveals extensive, persistent problems in achieving gender equality in gaming. However, it also demonstrates the power of a motivated, marginalized audience, and draws on their experiences to explore how structural inequalities in gaming spaces—and culture more broadly—can themselves be gamed and overcome.
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Newsgames: Journalism at Play. MIT Press, 2012.

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Newsgames: Journalism at Play. MIT Press, 2012.

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Morgan, Winter. Discoveries in the Overworld: Lost Minecraft Journals, Book One. Skyhorse Publishing Company, Incorporated, 2016.

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Publishing, Sunshine. I Would Rather Suffer with Video Game Than Be Senseless: Funny Notebook for Video Game Lovers, Cute Journal for Writing Journaling and Note Taking at Home Office Work School College,appreciation Birthday Christmas Gag Gift for Women Men Teen Friend. Independently Published, 2020.

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Book chapters on the topic "Video game journalism"

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Rune, Ottosen. "Video Games as War Propaganda." In Peace Journalism in Times of War, 93–110. Routledge, 2017. http://dx.doi.org/10.4324/9781315126173-6.

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Cote, Amanda C. "Introduction." In Gaming Sexism, 1–22. NYU Press, 2020. http://dx.doi.org/10.18574/nyu/9781479838523.003.0001.

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Video games in the early twenty-first century face a deep contradiction. On the one hand, the spread of casual, social, and mobile games has led researchers, journalists, and players to believe that video gaming is opening up to previously marginalized audiences, especially women. At the same time, game culture has seen significant incidents of sexism and misogyny. The introduction outlines this contradiction and lays out the book’s key questions. First, how and why do these contradictory narratives coexist? Second, what impact does this have on marginalized game audiences, specifically women, as they try to enter game culture and spaces? And finally, what are the impacts of this struggle, and what can be learned from women’s strategies for managing their presence in a masculinized, often exclusionary space? The chapter also addresses the main theoretical concepts that undergird the book’s argument, including gender, hegemony, and feminism/postfeminism.
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Dubbles, Brock. "Video Games, Reading, and Transmedial Comprehension." In Handbook of Research on Effective Electronic Gaming in Education, 251–76. IGI Global, 2009. http://dx.doi.org/10.4018/978-1-59904-808-6.ch015.

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In this qualitative study, literacy practices of “struggling” seventh and eighth graders were recorded on videotape as they engaged in both traditional and new literacies practices in an after-school video games club. These recordings were analyzed in the context of building comprehension skills with video games. The students struggled with reading and are characterized as unmotivated and disengaged by the school, which may be at the root of their inability to use comprehension strategies. Playing video games is viewed here as a literate practice, and was seen to be more engaging than traditional activities (such as reading school text, writing journals, etc.). The conclusion of this observation makes connections to current research in comprehension and provides a basis for teachers to use games to develop comprehension and learning.
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Bippert, Kelli. "Popular Media and Grade 6-12 Literacy." In Advances in Early Childhood and K-12 Education, 1–23. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-5770-9.ch001.

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Adolescents in the 21st century engage with popular media in a variety of ways. Adolescent students' interactions with video games, videos, social media, and other forms of popular media have become a growing topic of study among academics interested in popular media's role in in-school literacies. To complicate matters, secondary classroom teachers continue to grapple with state and national standards that address traditional reading and writing skills. This systematic literature review focuses on what articles from practitioner journals reveal about adolescent participation in popular media, and how media skills are addressed. The analysis provided here is based on a random sample of 35 articles focusing on popular media and in-school literacies.
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Lloyd, John, and Cristina Marconi. "Video Games: The Challenges for TV Journalists and the Role of ‘Mass’ Media." In Reporting the EU. I.B.Tauris, 2014. http://dx.doi.org/10.5040/9780755695010.ch-007.

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Case, Steve, Phil Johnson, David Manlow, Roger Smith, and Kate Williams. "7. Crime and the media." In Criminology. Oxford University Press, 2017. http://dx.doi.org/10.1093/he/9780198736752.003.0007.

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This chapter examines media representations of crime and criminals. It first considers the public's fascination with crime before turning to two main methods traditionally used by criminologists to record the reporting of crime: content analysis and discourse analysis. It then assesses the capacity of media to distort and shape public perceptions of crime, criminality, and the criminal justice system. It also explores the importance of media in forming new narratives such as citizen journalism; how young people and migrants are portrayed in the media; the depiction of crime in novels, television, and film; media classification and censorship; and the fear and panic caused by new technology and new media such as video games. The chapter concludes by describing different kinds of cybercrime such as hacking and identity theft, along with young people's use of the Internet.
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Keats, Jonathon. "w00t." In Virtual Words. Oxford University Press, 2010. http://dx.doi.org/10.1093/oso/9780195398540.003.0029.

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W00t is a contraction of an exclamation once popular in Dungeons & Dragons, Wow, Loot! , imported online by nostalgic gamers. W00t is a codeword for root, the privileged user account of a system administrator, in the jargon of old-school hackers. W00t is onomatopoeic, imitating the sounds made by video games or by Daffy Duck or by railroad trains. W00t is an acronym, standing for “We owned the other team” and also “Want one of those.” W00t originated in dance clubs, where rappers in the early 1990s inspired shouts of “Whoot, there it is!” W00t comes from the Arsenio Hall Show, the Wizard of Oz books, Pretty Woman, Bloom County. Or it may be an inversion of the old Scots negation hoot, or a perversion of woeten, ostensibly an antiquated Dutch greeting. The many contradictory etymologies of w00t, of which the above are only a sampling, have baffled journalists and addled lexicographers since at least 2007, when the dictionary publisher Merriam-Webster announced that w00t was the Word of the Year. The term was chosen in a poll conducted on the Merriam-Webster website from a selection of the twenty most popular entries in the company’s user-generated Open Dictionary. In a public announcement the publisher was vague about the significance of the vote: “The word you’ve selected hasn’t found its way into a regular Merriam-Webster dictionary yet—but its inclusion in our online Open Dictionary, along with the top honors it’s now been awarded—might just improve its chances.” And in interviews with the media the Merriam- Webster staff seemed befuddled by the choice. “This is a word that was made up, has no classical roots, but has lasted,” the editor at large Peter Sokolowski told Newsweek. “I can’t say that w00t will stick, but it does show that sense of adventure in language that young people have.” In the absence of more authoritative information about the meaning of the word or where it came from reporters cobbled together whatever origin stories they could from the vast repository of lore on Wikipedia, the Urban Dictionary, and the web.
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Ahlskog, J. Eric. "Benefits of Regular Exercise: Disease-Slowing?" In Dementia with Lewy Body and Parkinson's Disease Patients. Oxford University Press, 2013. http://dx.doi.org/10.1093/oso/9780199977567.003.0031.

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Our culture has seen a generational shift in activity levels. In the 1950s everyone walked. How do I know? I grew up in the 1950s. Cars were typically reserved for day trips or vacations, except for people living in the country. Garages had one stall. Shopping malls had not proliferated and people walked to stores; children did not take buses to school, except for farm kids. Snow was removed with shovels, and grass was cut with push mowers. In a half-century, this scene has changed and we have adopted a sedentary lifestyle. Further contributing to this lifestyle is the proliferation of video games, multichannel TVs with remote controls, and computers. Blue collar work is increasingly done overseas. A sedentary culture should favor those with DLB or PDD, right? Lewy-related parkinsonism is physically challenging. With our cultural change, there is no longer a need to get up from the chair and walk very far. In fact, a lift chair with a motor will make it easy to stand. Ostensibly, this is all good. However, there is a dark side to this scenario, which is the focus of this chapter. As you have probably already surmised, we are going to enlarge on that old adage “if you don’t use it, you lose it.” It turns out that there is much truth in that statement, documented in scientific and medical journals. Exercising is easy when one is young and energetic, but it becomes increasingly difficult in middle age; it is downright hard during senior years, even with no neurologic or orthopedic conditions. Excuses and alternatives can easily sidetrack the best of intentions. Anything this difficult needs a compelling rationale. This chapter will summarize the scientific evidence suggesting that vigorous exercise has a biological effect on the brain that may well counter neurodegeneration and brain aging. The term exercise is used in a variety of ways. In this chapter, the focus is on aerobic exercise, which will also be referred to as vigorous exercise. This is exercise sufficient to induce sweating and raise the heart rate.
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9

Amoretti, Francesco. "Community of Production." In Encyclopedia of Multimedia Technology and Networking, Second Edition, 224–29. IGI Global, 2009. http://dx.doi.org/10.4018/978-1-60566-014-1.ch031.

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There is no universal agreement regarding the meaning of the term “social software.” Clay Shirky, in his classic speech “A Group is its Own Worst Enemy,” defined social software as “software that supports group interaction” (Shirky, 2003). In this speech, this scholar of digital culture also observed that this was a “fundamentally unsatisfying definition in many ways, because it doesn’t point to a specific class of technology.” The example offered by Shirky, illustrating the difficulties of this definition, was electronic mail, an instrument that could be used in order to build social groups on the Net, but also to implement traditional forms of communication such as broadcasting, or noncommunicative acts such as spamming. In his effort to underline the social dimension of this phenomenon, rather than its purely technological aspects, Shirky decided to maintain his original proposal, and this enables scholars engaged in the analysis of virtual communities to maintain a broad definition of social software. Heterogeneous technologies, such as instant messaging, peer-to-peer, and even online multigaming have been brought under the same conceptual umbrella of social software, exposing this to a real risk of inflation. In a debate mainly based on the Web, journalists and experts of the new media have come to define social software as software that enables group interaction, without specifying user behaviour in detail. This approach has achieved popularity at the same pace as the broader epistemological interest in so-called emergent systems, those that, from basic rules develop complex behaviours not foreseen by the source code (Johnson, 2002). This definition may be more useful in preserving the specific character of social software, on the condition that we specify this carefully. If we include emergent behaviour, regardless of which Web technologies enter into our definition of social software, we will once again arrive at a definition that includes both everything and nothing. Emergence is not to be sought in the completed product, that may be unanticipated but is at least well-defined at the end of the productive cycle, but rather resides in the relationship between the product, understood as a contingent event, and the whole process of its production and reproduction. A peculiar characteristic of social software is that, while allowing a high level of social interaction on the basis of few rules, it enables the immediate re-elaboration of products in further collective cycles of production. In other words, social software is a means of production whose product is intrinsically a factor of production. Combining hardware structures and algorithmic routines with the labour of its users, a social software platform operates as a means of production of knowledge goods, and cognitive capital constitutes the input as well as the output of the process. If a hardware-software system is a means of production of digital goods, social software represents the means by which those products are automatically reintroduced into indefinitely-reiterated productive cycles. This specification allows us to narrow down the area of social software to particular kinds of programmes (excluding, by definition, instant messaging, peer-topeer, e-mail, multiplayer video games, etc.) and to focus the analysis on generative interaction processes that distinguish social software from general network software. Moreover, following this definition, it is possible to operate a deeper analysis of this phenomenon, introducing topics such as the property of hosting servers, the elaboration of rules and routines that consent reiterated cycle of production, and the relationships between actors within productive processes.
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