By Tara McPherson
Younger people's use of electronic media may end up in a variety of techniques and unforeseen results, from using videogame applied sciences to create motion pictures to the influence of domestic electronic media on relations existence. This quantity examines the center concerns that come up while electronic media use ends up in unintentional studying stories and unanticipated social encounters. The individuals learn the complicated mixture of emergent practices and advancements on-line and somewhere else that empower younger clients to operate as drivers of technological switch, spotting that those new applied sciences are embedded in higher social systems--school, family members, associates. The chapters examine such issues as (un)equal entry throughout fiscal, racial, and ethnic strains; media panics and social anxieties; coverage and net protocols; media literacy; citizenship vs. intake; creativity and collaboration; electronic media and gender fairness; moving notions of temporality; and defining the public/private divide. participants: Steve Anderson, Anne Balsamo, Justine Cassell, Meg Cramer, Robert A. Heverly, Paula okay Hooper, Sonia Livingstone, Henry Lowood, Robert Samuels, Christian Sandvig, Ellen Seiter, Sarita Yardi.
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Additional info for Digital Youth, Innovation, and the Unexpected (John D. and Catherine T. MacArthur Foundation Series on Digital Media and Learning)
Sample text
The cultural capital of digital literacy reflects its origin in the middle-class home, taking its place alongside other forms of cultural capital, such as knowledge of music and art: The “inimitable character” of the bourgeois relation to culture derives from the fact that they are acquired, pre-verbally, by early immersion in a world of cultivated people, practices, and objects. When the child grows up in a household in which music is not only listened to but also performed, and a fortiori when the child is introduced at an early age to a “noble” instrument—especially the piano— the effect is at least to produce a more familiar relationship to music, which differs from the always somewhat distant, contemplative and often verbose relation of those who have come to music through concerts or even only through records .
Usually, in the highly disciplinary environment of today’s public schools, such access would be hard to gain, and janitors would chase out any child caught playing a school piano after hours. Home computers are smaller and more portable than pianos, but present similar obstacles to ownership based on family income. Procuring the device itself is the smallest—and in many ways the easiest—part of access provision, keeping up with the accelerating rate of planned obsolescence of computer products has nearly eradicated the benefit gained from falling hard-drive prices.
But the likelihood of gaining strong digital literacy skills on this type of machine is much slimmer than on a home computer. In other words, learning to use computers at school is like the music education class in which you have forty minutes to hold an instrument in your hands once a week, along with thirty other kids. The chances of success are not even remotely comparable to the experience of a kid who learns to play on his or her own instrument, at home, with lessons from a private instructor.