This paper explores the marginalized practice of sportswriting to demonstrate the limited ways in which the question "who is a journalist?" has been answered within the profession. Following John Dewey and Raymond Williams, we offer an alternative view of democratic culture that values narrative as well as information. We also discuss how "New Journalists" (and other writers since), in their quest for fresh, sophisticated storytelling strategies, turned to sports as a cultural activity worthy of serious examination. Our goal is (...) to demonstrate that sportswriting fundamentally resembles other forms of reporting and that journalism should not use sports as an ethical straw man against which to defend the virtue of its serious work. This suspension of our usual ethical judgments would deepen our sense of the moral significance of sportswriting and allow us to rethink journalism's relation to democratic culture in productive new ways. (shrink)

Many Americans don't hold journalists in very high regard these days, and sports journalists are often viewed in the least favorable light. The general public does not perceive any visible, unified, and concerted effort among sportswriters to practice their craft in a consistently ethical manner. Efforts to upgrade the craft include the Associated Press Sports Editors ethical guidelines, which cover freebies, moonlighting, community involvement by sports journalists, and commercial sponsors of sporting events. This study examines the APSE (...) code and suggests additional, more specific, and enforceable guidelines in ten areas: freebies, moonlighting, newsgathering methods, news sources, direct quotes, privacy, gambling, special interests, self?interests, and involvements. Sports journalists should be as ethically accountable as any other journalists, the author concludes. (shrink)

This study investigates the portrayal of five female journalists on the Aaron Sorkin television series Sports Night. The women were depicted as acting unprofessionally, displaying motherly qualities, choosing their personal lives over work, being deferential to men for ethical decisions, and showing a lack of sports knowledge compared to the male characters. The researchers use social responsibility theory to suggest why these portrayals were ethically problematic.

This book provides new perspectives on endurance sport and how it contributes to a good and sustainable life in times of climate change, ecological disruption and inconvenient truths. It builds on a continental philosophical tradition, i.e. the philosophy of among others Peter Sloterdijk, but also on “ecosophy” and American pragmatism to explore the idea of sport as a voluntary attempt to overcome unnecessary obstacles. Since ancient times, human beings have been involved in practices of the Self in order to work (...) on themselves and improve themselves, for instance by strengthening their physical condition and performance through sport. In the contemporary world, millions of individuals engage in endurance sports such as running, swimming and cycling, to get or keep themselves in shape. This study focuses on the ethical dimension of long-distance sport, notably cycling, as a way to become better citizens, but also to contribute to a more sustainable society and healthier planet. Dominant world-views are challenged and an alternative vision is presented. Discourse analysis and conceptual analysis are combined with phenomenology and self-observations of a dedicated practitioner of endurance sport. This book is a great source for philosophers, sport philosophers, environmental philosophers, sport scientists, policy makers, sport journalists, and endurance sport practitioners. (shrink)

The sports media landscape has shifted to favor outlets with inside access to sports organizations, teams, and athletes. This study interviews 21 NFL in-house reporters working at 19 official team websites to determine how they view their roles as sports journalists, including ethical standards and shifts in media boundaries. Qualitative interviews uncovered that cultivating a positive team image and protecting the interests of stakeholders supersede the production of objective news stories, even from those who started their careers (...) as external sports reporters. Internal reporters are often conflicted with their roles in the sports media ecosystem. Additionally, interviews reveal their efforts to maintain a balancing act between the established ideals of journalism with the positive spin that accompanies public relations. The present study illuminates how such positions both mirror and diverge from the expectations typically placed within sports journalism, while offering fruitful avenues for subsequent scholarly investigation. (shrink)

In February 1992, The (Portland) Oregonian announced it would no longer use sports team names that readers may find offensive, such as Redskins, Redmen, Indians, and Braves. Many journalists have criticized The Oregonian's decision, calling it an abandonment of the journalistic principles of objectivity and neutrality. This article addresses the ethical/political issues involved in the controversy through an examination of commentaries by journalists published in newspapers and public comments made by journalists critical of The Oregonian. After evaluating the explicit (...) and implicit assumptions behind those criticisms of The Oregonian, a defense of the newspaper's decision that relies on more overtly political arguments than the paper's managers used will be offered. (shrink)

Since the end of the 19th century, three combat sports – Boxing, Muay Thai, and Mixed Martial Arts (MMA) – while different from the point of view of their respective regulatory frameworks and of their technical specificities, have alternately become the target of analogous waves of criticisms, even of “moral crusades.” These are a product of converging discourses of stigmatization coming from policy-makers, from sport managers, as well as from journalists. In a recurrent way, these activities have been accused (...) of being extremely brutal and contrary to the values of sport, and, more so, of degrading human dignity. Formerly deemed to be illegitimate and immoral, Boxing and Thai boxing have been, however, each in its turn, progressively accepted in society, recognized as sports disciplines, and considered as having educational potential. Nowadays, the diatribes mainly focus on MMA. The objectives of this contribution consisted of specifying the socio-historical circumstances of these denigration campaigns against combat sports, between permanence of criticism and periodic reconfigurations of the targets, as well as understanding the social factors underpinning this. In this respect, we formulated the hypothesis that the successive focus of condemnations on these three disciplines could be understood at the interface of an effect of social stigmatization of their participants coming from the most marginalized social backgrounds and of the necessity to define, in a context of axiological crisis, a consensual standard of moral monstrosity. (shrink)

Developments in information and communication technologies have created change and transformation in news production and reading habits, and the use of artificial intelligence in the journalism sector has become inevitable as the process transforms society. With artificial intelligence journalism, news can be produced and edited quickly. However, this speed and automation can create problems for readers in terms of accuracy and detail in consuming the news. In this context, the roles of journalists are also changing, and they are (...) effective in checking the accuracy of news and developing public awareness. Automated news production has developed with the use of artificial intelligence-based software. In the automated news production process, which has come to the agenda through artificial intelligence, the automated creation of news through a number of algorithms and software and its rapid presentation to consumers has taken its place in the new generation journalism. Therefore, with the use of artificial intelligence in news production, public awareness should also be taken into consideration. This study investigates public awareness in the context of automated news production and news reliability, objectivity, confidentiality, employment problems of journalists and ethical rules. The independent variables of the study are the gender, age, education and occupation of newspaper consumers, while the dependent variables are the public opinion on the characteristics of the news in the face of news produced with artificial intelligence. The population of the study consists of individuals who use social media, read digital newspapers and are over the age of 18, while the sample consists of 400 people who voluntarily responded to the study. In the study, half of the participants are aware of the concept of artificial intelligence and that news is sometimes produced with artificial intelligence. Most of the participants think that weather news is produced by artificial intelligence, as well as economy, earthquake, weather and sports news are all produced automatically. The majority of the participants think that they are concerned about the reliability of the news produced by artificial intelligence, that these news are more qualified and more reliable than the news produced by the traditional news production process. Some of the participants also think that their news needs should be met through news produced by artificial intelligence today. It has been also found that there were significant differences between the gender, age and occupational groups of the participants and their attitudes towards news produced by artificial intelligence. (shrink)

This paper surveys some of the innovations introduced by USA Today during its first three and one?half years of publication. It finds that USA Today's innovations in design, market research, and news have not been widely accepted because these approaches have raised significant ethical dilemmas to many journalists. Professional reservations about USA Today are discussed as well as some of the newspaper's advances in color reproduction, use of information graphics, promotion, and sports coverage.

On the subject of football, Serge Mésonès, former French international turned journalist, wrote that ?the true miracle remains the birth of a great team; everything which could contribute to this deserves consideration. Whatever happens, the coach and his group will always form that tandem which Bella Guttman used to compare to a symphony orchestra and their conductor: there is a significant difference between the performance when Toscanini is conducting, and that when the conductor is mediocre? (Mésonès 1992, 12). With the (...) aim of better understanding the issues of such an assertion, in this article we will develop the theoretical elements that we began to tackle in the book Teaching Collective Sport in Schools (1999).1 This will involve clarifying, and going into detail on, some conceptions relating to the long journey that is the formation of a sporting group, exploring one scenario at a time. (shrink)

Football supporter violence in Indonesia is a significant issue exacerbated by sensationalist media coverage that often emphasizes conflict and negative stereotypes. This study analyzes how media framing influences football supporter behavior and public perception, using Galtung's peace journalism theory as a framework. Employing a qualitative research design, data were collected through semi-structured interviews, participant observations, and content analysis of media reports. The findings reveal that sensationalist reporting and negative portrayals of supporters contribute to increased tensions and aggressive behaviors. Conversely, (...) though rarely used, peace journalism techniques potentially de-escalate conflicts and promote positive interactions. The study highlights the critical role of cultural and socio-economic factors in shaping media narratives and supporter behavior, suggesting the need for context-sensitive peace journalism. These results advance the theoretical understanding of media framing and conflict resolution and emphasize the importance of ethical journalism. Practical recommendations include adopting balanced reporting practices, collaborative campaigns between media and sports organizations, and further research into the long-term effects of media framing. By promoting responsible journalism, stakeholders can help mitigate violence and foster Indonesia's more inclusive and peaceful football culture. (shrink)

The purpose of the article was to explain how the communicative specificity of the digital social media environment is changing the traditional Lasswell’s linear model. The changes that occur in the structural units of the model were explored. This complex was examined based on the material of 18 successful YouTube blogs dedicated to football. It was found that the modern ecosystem of sports journalism is undergoing significant transformations in terms of content and structure. And the fact that modern (...) digital journalism is already perceived by users as a part of everyday life changes the roles of content creators and those who consume this content. The element “With What Effect?” remains relevant and the closest to the classic one, which, due to interactivity and the ability to maximally objectify the effectiveness of content in social media, in modern sports journalism can become the main conceptual factor of digital narrative. (shrink)

Media in Question sets the agenda for a revitalized debate on the hybrid communicative practices that constitute the postmodern media landscape: practices that cross the boundaries between fact and fiction, information and entertainment, public knowledge, and popular culture. In this challenging and provocative collection, the individual contributors rethink key issuesùthe meaning of the public interest, the quality of media performance, and deregulation. In the process they raise questions rarely addressed in normative media theories, for example, the ethics of sports (...) reporting, the moral reasoning in popular culture, and the required professional standards for infotainment genres such as reality television and gossip journalism. Accessible and wide-ranging, The Media in Question will be essential reading for students in mass communication and political communication studies. (shrink)

Comment combattre la langue de bois ? Ce devrait être la première préoccupation des commentateurs politiques, chargés de commenter, d’analyser et d’éditorialiser. Mais, comme celle des hommes politiques, la langue de bois des commentateurs a pour objectif principal de ne pas tout dire. Elle est faite pour leur permettre de s’adresser au plus grand nombre, sans choquer, souvent même en délivrant à l’auditeur ou au lecteur une pensée dans laquelle il peut se reconnaître. Il existe aussi une autre sorte de (...) langue de bois, plus problématique dans les métiers de commentateurs : une langue de bois réflexe, faite de formules creuses, de poncifs et de métaphores . Par ailleurs, l’une des tendances les plus spectaculaires de ces dernières années est l’avènement de ce que l’on peut appeler le « parler cash », façon de rejeter la langue de bois. Une parole cash devient un acte politique en lui-même, un acte creux, et les journalistes en sont coresponsables puisque travaillant à jet continu avec Internet et les chaînes tout-info. En revanche, le numérique permet de conserver et de classer ce qui se dit. La mémoire politique s’est démocratisée et Internet met à la disposition de chacun l’ensemble des propos des hommes politiques. Cette évolution du rapport entre le discours et son commentaire est bienvenue après des décennies de consanguinité entre les politiques et les commentateurs.How do you fight doublespeak? This ought to be the main concern of every political commentator, whose job is to comment on, analyse and editorialise what politicians say. But, like politicians, commentators use a language whose main purpose is to not say everything. It is made for them to address the widest possible audience, without giving offence and often by offering listeners or readers thoughts they can recognise as their own. This sort of language also exists in another more problematical form among commentators, as a kind of reflexive newspeak made up of clichés, commonplaces and metaphors involving warfare, sports or cookery. One of the more spectacular trends in the last few years is the advent of what the French call « parler cash », meaning « rude straight talk », as an antidote to doublespeak. « Talking rude and straight » then becomes a political – and hollow – act in itself, for which journalists are equally responsible since they are constantly working live with the Internet and 24-hour news channels. On the other hand, everything that is said can now be stored and classified on digital media. The archives of politics are becoming available to all and anyone can use the Internet to access anything a politician has ever said. This is a welcome development for the relationship between discourse and commentary, after decades of blood relationships between politicians and political commentators. (shrink)

En décembre 1897, la journaliste Marguerite Durand a fondé le journal La Fronde. Conçu d'après les quotidiens de masse de l'époque, La Fronde embrassait les domaines de la politique, des sports et de la haute finance. Mais le journal se distinguait plus particulièrement des autres quotidiens par le fait que la publication, la rédaction et aussi la typographie étaient exclusivement faites par des femmes. Dans leur effort d'imiter un quotidien bourgeois, les frondeuses adoptèrent le reportage comme style journalistique. Cette (...) imitation répresentait un double défi lancé par les frondeuses aux rôles attribués à leur sexe. Tout d'abord, en s'engageant dans la vie publique contemporaine, les frondeuses allaient au-delà des limites domestiques conventionnelles établies pour les femmes. Deuxièmement, pour être de vraies reporters, les frondeuses devaient s'aventurer dans le dur monde des faits. Se faisant, elles mettaient en question la notion répandue que les femmes étaient des créatures de fantaisie plutôt que de raison. (shrink)

When the 2022 FIFA Men’s World Cup was awarded to Qatar, it raised a number of moral concerns, perhaps the most prominent of which was Qatar’s woeful record on human rights in the arena of migrant labour. Qatar’s interest in hosting the event is aptly characterised as a case of ‘sportswashing’. The first aim of this paper is to provide an account of the nature of sportswashing, as a practice of using an association with sport, usually through hosting an event (...) or owning a club (such as Newcastle United, owned by Saudi Arabia), to subvert the way that others attend to a moral violation for which the sportswashing agent is responsible. This may be done through distracting away from wrongdoing, minimising it, or normalising it. Second, we offer an account of the distinctive wrongs of sportswashing. The gravest moral wrong is the background injustice which sportswashing threatens to perpetuate. But the distinctive wrongs of sportswashing are twofold: first, it makes participants in sport (athletes, coaches, journalists, fans) complicit in the sportswasher’s wrongdoing, which extends a moral challenge to millions of people involved with sport. Second, sportswashing corrupts valuable heritage associated with sporting traditions and institutions. Finally, we examine how sportswashing ought to be resisted. The appropriate forms of resistance will depend upon different roles people fill, such as athlete, coach, journalist, fan. The basic dichotomy of resistance strategies is to either exit the condition of complicity, for example by refusing to participate in the sporting event, or to modify one’s engagement with the goal of transformation in mind. We recognize this is difficult and potentially burdensome: sports are an important part of many of our lives; our approach attempts to respect this. (shrink)

Driven by the desire to fill newspaper pages with sensational images, press photographers shot everything, day and night: automobile accidents, fires, murders, all the cop news that fought for a hot spot on the Front Page. And they covered uncounted numbers of social affairs -- pictures called 'grip-and-grins' in the trade: school events, sports, celebrities, oddities both of nature and humanity. Veteran journalist and mystery writer Larry Millett has unearthed over 200 of the best photos from the archives of (...) the St Paul Pioneer Press and the St Paul Dispatch for 'Strange Days, Dangerous Nights'. Included are the sensational stories behind the photos and biographies of some of the top press photographers of the day. An evocative look at another time, this is a visual history like no other, a feast for fans of photography and photojournalism, crime buffs, and urban historians -- and a testament to the craft of those photographers who documented their era one shot at a time. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Pairing breaths:Rabah Ameur-Zaïmech's Terminal Sud (2019)Marion Froger (bio)Translated by David F. BellAsphyxiaNever had I felt such a sense of suffocation watching a film by Rabah Ameur-Zaïmeche.1 The poisoned atmosphere of Terminal Sud (2019) recalls the atmosphere of the Algerian War (1955-1962) and that of the decade of darkness (1991-2002) in that country. The filmmaker chose not to make a historical film, however, but rather a dystopia that fuses together (...) periods and places. The story appears to be contemporary, in a country bathed in the colors of southern France, apparently in the grip of all the violence that French and Algerian memories are nowhere near forgetting.2 Bandits wearing combat uniforms, policemen wearing outfits sporting an acronym that strangely resembles one used by Islamist Algerian groups,3 and generals evoking the French putschists of 1961 all fight against each other—ransoming, threatening, kidnapping, killing, and torturing the local population. Meanwhile, out in the countryside, guerrillas (maquisards4) try to care for their dying leader, like North African freedom fighters (fellagas) were doing before them, and this in turn evokes French Resistance fighters in the 1940s. The film's work on confused memories, which, according to Thierry Kuntzel, is related to the condensation, overdetermination, and displacement of dreamwork, transforms being out of breath into a symptom that hounds the doctor, played by Ramzy Bédia ("Inhale…Exhale…Inhale again…Hold your breath…Exhale"), a state of the world in the form of a trap that threatens to suffocate him—and launches the quest for a filmic poetics of calm through the pairing of breaths.Peeling façades with tightly closed doors, lowered metal shop shutters, narrow and tense streets: the doctor, his wife Hazia, and their family slip outside in fear of kidnapping and gunfire, climb up stairs breathing heavily, anxiously await by the window, their bodies obscured in starkly contrasting shadows cast by glaring light, hug each other with endless sighs. As they share their grief, they have barely enough breath left to sing to the memory of someone who has disappeared,5 as if after an argument, [End Page 244] when everything has been said and all that remains is a strangled sob serving as last farewell.The film opens with an attack on a minivan used for public transportation: bandits, who could be soldiers, steal everything from the passengers and driver. The doctor sees his patients in a rundown hospital, treats a woman whose breathing is raucous, her voice taut with anxiety, and who speaks about the disappearance of her husband. Back home, he finds anonymous letters containing death threats and, to calm down, he searches for his breath by taking a deep drag from a cigarette and a swig of whiskey. "I can't take it any longer, I can't even stand up, I can't do anything, I'm at the end of my rope, I'm tired […] Is that what our country has become?" he confides to a friend several hours before losing, in the emergency room, his wife's brother, a journalist assassinated in front of his house. "Stay with me," he says as he runs beside the stretcher calling for help, "Breathe, breathe."The spasmodic breathing of Ramzy Bédia, provoked by the fear, effort, and pain that define his character, intensifies as the film progresses. He barely breathes in the car taking him to treat the rebel leader; he is running out of breath beside the leader's bed as we hear the death rattle and as Bédia shouts to the leader's comrades, "Give him some air, everyone get out!" Later, one of the policemen standing guard at the entrance to the hospital will be mortally wounded by a kamikaze attack and will die on the operating table despite the doctor's exhausting reparatory manipulations. Asphyxia will ultimately directly threaten the doctor after his arrest. Tied to an old bedspring, he will be tortured by electroshock,6 will attempt one last time to justify himself to a soldier who wants to know everything about the rebel leader the doctor has treated, and will nearly suffocate in his... (shrink)

Rooting, defined as a spectator’s demonstrative encouragement of a contestant’s effort, ideally has the morally positive aspects of benevolent concern and helpfulness but in practice strains against reasonable standards of conduct by being rude, excessively biased, exploitative, fanatical, and superstitious. Rooting may activate an atavistic, morally cogent sense of fighting for one’s group that is at odds with the universalism of civilized morality. The ‘merely play’ excuse can cut both ways, deflecting moral objections but also removing moral credit from rooting. (...) Although rooting is often not humane, humane rooting can occur and is supported by humane commentary by sports participants, broadcasters, and journalists. Humane rooting supports the premise of benevolence theories (Mengzi, Hutcheson) that morally ideal benevolence has a foothold in an innate general benevolence – seen in this area especially in benevolence toward efforts. Being partisan, excited, and demonstrative, rooters cannot perfectly embody ‘universal calm benevolence’, but they can consciously minimize the inhumane aspects of rooting and achieve a more fully prosocial satisfaction. (shrink)

This brief paper reviews language and presentation in a match report by Oliver Yew, senior football journalist for Sky Sports. I praise the bullet point summary, I note inconsistency in tenses used, and I ask after the definition of a consolation goal, presenting my own understanding.

The object of the study is the works of the American doctor, journalist, marathon runner, popularizer of running and thinker George Sheehan (1918-1993), first introduced into scientific circulation by Russian researchers of the philosophy of sports: "Running and being: a complete experience" (1978) and "The main thing with Sheehan: 30 years of running wisdom of the legendary Dr. George Sheehan" (2013). The subject of the study is the cultural content of amateur stayer running, its personality-creating potential, explicated from these (...) works. The achievement of the cognitive goal is connected with the comprehension of the life path of Dr. Sheehan, his philosophical authorities, anthropological views, the phenomenology of running experience, as well as the social effect of the ideas he propagated. Recognized as the founder of the emerging philosophy of running, J. Sheehan considers amateur stayer running as an activity during which a qualitative transformation of the athlete's personality occurs, associated with the possibility of achieving religious and mystical contact with the primordial and deep dimensions of his being, providing creative impulses and insights. Using the example of his own life, the American researcher describes the bodily determined basic contradictions of the aspirations of an amateur stayer and the social environment, and also sees in running activity and the effects generated by it the foundations of their conjugation. Stayer running is understood by Dr. Sheehan as an environment of moral and volitional formation of an individual, aimed at comprehending his originality and affirming the personal meaning of existence, gaining ideological competence. The researcher fruitfully reveals the humanistic dimension of running on the basis of such concepts and existentials as "body wisdom", "game", "heroism", "running experience", "connection with the Absolute", "unique potential". Dr. Sheehan believes that the usual health-related arguments in favor of running are "pathetic ideas" compared to gaining the ability to live at your true level, to hear the "call of being" addressed to the individual, to achieve your "original splendor", to become the best version of yourself. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Re-examining Empirical Data on Conflicts of Interest Through the Lens of Personal NarrativesEmily E. Anderson and Elena M. KrausIntroductionThe personal stories submitted by physicians and researchers for this symposium add much–needed dimension to conversations on conflicts of interest in medicine and research. Narratives from individuals living with conflicts of interest can serve as a unique lens through which to consider psychological and economic theories and survey data on physician (...) and patient views. In our reading of these personal narratives, we identified four primary themes that will serve as springboards for our commentary. We aim to triangulate clusters of meaning drawn from the narratives with relevant data from published empirical studies and identify gaps in knowledge where more research is needed. These themes are: the unique environments of medicine and research; weighing the potential benefits of conflicts of interest against the risks; conflict of interest management; and the roles and responsibilities of diverse stakeholder groups.The Unique Challenges of the Medical and Research EnvironmentsThe reflections of the narrative authors draw attention to many of the unique environmental aspects of medicine and medical research that make physicians and researchers especially vulnerable to conflicts of interest. Conflicts of interest may be more ubiquitous in medicine than in any other industry (Kassirer, 2006). As the narratives demonstrate, conflicts of interest emerge across a range of health care delivery and research activities. Surveys have shown that 94 percent of physicians have some kind of relationship with industry (Campbell, Gruen, Mountford, et al., 2007). There is also evidence that physician interactions with medical industry begin early and are a regular part of a physician’s professional practice along the career continuum (Wazana, 2000).Medicine as a profession is distinct from banking or law. It is often said that medicine is an art; in treating patients, creative individualized solutions and gut instinct are as (if not more) important than the application of scientific knowledge. Uncertainty surrounds medical decision making. There is limited precision with respect to diagnoses and prognoses, limited data regarding the effectiveness of many treatments, and a range of patient values and preferences. Because of this uncertainty, rules about practice standards, especially with respect to avoidance and management of conflicts of interest, cannot be as explicit as they are in law or business. As demonstrated by the story presented by Sal Cruz–Flores, research and practice often intersect. And, there is no system in greater need of reform—and no system about which there are more divergent opinions as to what shape that reform should take—than the United States health care [End Page 91] system. The narratives of Tony Mikulec, Govind Nagaldinne, and David M. Zientek demonstrate how various aspects of the structure of healthcare service provision and third–party payer arrangements have the potential to harm patients. Conflicts of interest comprise more than relationships with pharmaceutical and medical device manufacturers.The narratives of Laura Jean Bierut and David M. Zientek also discuss examples of conflicts of interest that arise from factors beyond relationships with industry or the direct potential for financial gain. This may be somewhat unique to the medical milieu. Non-financial conflicts such as a desire for the prestige bestowed upon scientists who make key discoveries, a requirement to publish for tenure and promotion, the need to maintain one’s license or other privileges, or simply the pressure of a competitive environment can influence physician and researcher behavior. As noted by Bierut, more research on how to identify and manage non-financial conflicts is needed.The Potential Benefits and Harms of Conflicts of InterestConflicts of interest are usually presented in a negative light, particularly those that involve physician relationships with the pharmaceutical industry. To “have a conflict of interest” is to be in a situation or role where there is potential for personal interests to be prioritized over professional responsibilities. However, in terms of public perception, it seems that conflicts of interest have become almost synonymous with wrongdoing. Perhaps this is due to the barrage of media reports during the last decade on significant harms caused by financial conflicts of interest in business, journalism, and sports as well as in medicine (Steinbrook, 2004). Amidst... (shrink)

Since 2008 I have been closely following the conceptual/performance/video work of Daniel Peltz. Gently rendered through media installation, ethnographic, and performance strategies, Peltz’s work reverently and warmly engages the inner workings of social systems, leaving elegant rips and tears in any given socio/cultural quilt. He engages readymades (of social and media constructions) and uses what are identified as interruptionist/interventionist strategies to disrupt parts of an existing social system, thus allowing for something other to emerge. Like the stereoscope that requires two (...) identical images to create an illusion of a three-dimensional image, Peltz sometimes visualizes two separate elements to create an object or moment that requires space and depth to focus on its varied layers. They say your brain has to process and make meaningful sense out of all that visual information before it can accept the illusion. I say your brain has to do a similar thing when looking and seeing the divine, magical, and faithful (social) art making of Daniel Peltz. Daniel Peltz is Associate Professor of Film/Animation/Video at RISD. He divides his time between Rhode Island and Sweden and is currently at work on an exhibition at Botkyrka Konsthall, Stockholm opening February 2013 and a new project to be included in the IASKA: Spaced Biennial (Australia) in 2014. This interview took place on Skype and is part one of a two-part interview. Feliz Lucia Molina: Are you in Providence, RI? Daniel Peltz: I’m at my house in Providence. I’ve been back for six days teaching winter session at RISD and doing this workshop series—these investors’ drum circles with a group of wealth managers. a client of the firm, 2013, photo Shirin Adhami FLM: The wealth managers were all drumming together? DP: They were all drumming in response to the performance of their retirement portfolios. FLM: Is this part of the “Unrealized Gain/Loss” piece? DP: Yes, it’s part of a show I’m working on in Sweden. I can show you because it was just today. I’ll show you some of this. Lets see—share screen [click, click, click]. This is the room. I’ve been using the camera system that’s already installed in the conference rooms to record them. So the video is being recorded directly by the wealth management office’s tech staff. These are the people I worked with in the last workshop. This conference table is less wondrous. They’ve been learning to drum in response to their retirement portfolios. I started by bringing in my little bit of wealth for them to propose a management strategy, I came to the follow-up meeting with a counter proposal, which was this workshop. So they agreed to do this series of workshops instead of managing my wealth. FLM: Does everybody in the room manage your wealth? That’s kind of a lot of people. DP: That woman in the back there and Craig —they handle new client business. So when you come there with your wealth, they sit down with you and suggest to you how they would manage it. They’re very nice, responsible people. FLM: And where is this? DP: This is in Providence and the one I was showing you is in Waltham, where I was today. Then I’m going to Newport for the last one on Friday. So I will have done four of them. This is the group in Waltham that I just played with today. I played directly with the two groups in Providence and I’m working with an ethnomusicologist at Brown, Asha Tamarisa, who is facilitating the last two. She’s helped develop the workshop in terms of figuring out how to train a group to do this and thinking about the compositional challenges of working in response to retirement portfolio data. FLM: Screensharing helps me to figure out tiny bits here and there about the project. DP: I might even be able to play you a little of the audio I’ve also been working with a group of professional percussionists on what will become a quarterly public investors’ drum circle event. Their stuff was really nice, but I want you to hear what we sounded like in the workshops. They’ve all been recorded by the a/v system in the offices. We use a simple structure where the drummer investors interpret the sensation of gain or loss as embellishments to a base heartbeat rhythm. The group holds the heartbeat and, as each person experiences gain or loss, they embellish that rhythm. "Screensharing helps me to figure out tiny bits here and there about the project" FLM: Is the process all very spontaneous? DP: Its actually quite structured. We produce a custom stock ticker that shows the performance of their collective portfolios. In advance of the workshop each participant submits assets in their retirement portfolio. Then we make a stock ticker that shows the real-time performance of their assets so that they can respond to almost live data. FLM: Are they reading the stock ticker projected up on the screen in the room? Do people drum in correspondence to the visual live data of the performance of their assets? DP: Exactly. They’re looking at the stock ticker as opposed to each other, so it’s a slightly shifted drum circle. They’re looking at the ticker but they’re listening to each other—that’s what we’re practicing. For example, NVO—the price is 172.08 but it’s down -1.16 and as that moves across the screen, the person who’s retirement is invested in that asset starts to embellish when that arrow first appears, based on their experience of loss. They stop when it exits the screen and return to the heartbeat. You could have one ticker for each retirement portfolio, but the way the workshop is constructed is that we just isolate one asset from each person’s portfolio so that everyone in the group is represented in a single ticker. So they’re drumming and looking at the ticker, but they’re hearing each other experience gain and loss. We’ve removed direct visual engagement from the social structure of a drum circle but the oral engagement is still there. FLM: So they had their own sound interpretation of gain and loss? DP: Yeah and that part is quite spontaneous as you were saying. In some of the preparatory exercises we’ve been working to give the participants more strategies for interpreting the sensations of gain and loss. We’re trying to develop their capacity to embellish a heartbeat or base rhythm but I’m not invested in having a melodious result. I’m quite curious about what this kind of structure will result in without any desire for a particular result. FLM: For context, can you talk about the project you did a couple years ago in Bali, “Unrealized Gain/Loss” in relation to this current wealth management project? DP: The workshops I’ve been doing use a similar strategy to the other components in this project. It started in Indonesia on my sabbatical and I was really trying to understand where I was physically and where I was being on sabbatical—this kind of strange jubilee structure where every seventh year you’re supposed to renew your self. And it was around the time of the global financial crisis. I was on sabbatical for the global financial crisis. I remember watching my father, in particular, respond to the financial crisis by monitoring his retirement portfolio and trying to make sense of it. I realized on a visit to their home that he checked his retirement portfolio every single day and I was really struck by that because in some way our parents are mysteries to us as children, especially their moods. We know how important their moods are but we don’t know what governs them. And somehow it was like I’d figured it out, it’s the performance of the DOW! So I think there was something in that. Then I was in Indonesia and I had been drawn there by an interest in their highly ritualized Hindu culture, where so much of life is driven by a ceremonial calendar. I was interested in Bali as this predominantly Hindu pocket within a predominantly Islamic country and life there being organized by this ritual calendar functioning as a kind of resistance to the dominant global religion of free-market capitalism. So I started to explore that correlation between the ways in which this culture that I was living in was sort of “living for the afterlife” and this idea within certain segments of American society of “living for the afterwork life”. The idea that your wellbeing in the “afterwork life” is tied to forces that are unseen and largely beyond your control has strong similarities to many religious understandings of the universe. So I started to explore that and the crafts and materials that were around me were primarily Batik and percussion. Percussion is a huge part of daily life in Bali. These gamelan troupes were everywhere. And I also happened to be there for Nyepi, the day of silence, which is preceded by a very elaborate procession and construction of demonic statues. These were the things that were around me and I started studying Batik with one of the Batik artists there and also started a conversation with two master Batik artists, one who is American and her Indonesian husband. I developed these patterns that were based on symbols from the performance of my retirement portfolio and worked with the batik artists to produce two sarongs. d. peltz - 2012 In producing the designs, I treated the performance of my retirement portfolio since my arrival at RISD [7 years] as a significant interval and then I looked at the ways in which decisions are made within retirement portfolios as having an extension outwards from the individual assets that underlie the retirement portfolio, which are kind of like the base elements of the retirement world. Then there’s the allocation of your assets, which is a global way of understanding an individual according to typologies, which are often referred to in terms of risk—this notion of a ‘risk profile’. What type of ‘person’ you are is determined by your attitude towards risk, or potentiality, and I found that to be a really fascinating way of understanding the universe. I remember looking at the tabs in my retirement portfolio and finding this one for viewing ‘Unrealized Gain/Loss’ and that’s often how I work—is just going through the Cambridge Parking Code, for example, and finding this section of the code that was called ‘Crossing Non-Signalized Locations’ and just feeling “I can’t do any better than that,” you know? That’s what I was talking about in terms of ready-mades that exist in the social sphere. So I found that tab, actually, a long time ago, and I pulled it out of a journal when I was there [in Bali] working on these pieces and I wound up making these two sarongs and later on a series of porcelain vessels for holding one’s unrealized gains and losses. At the time, I knew that I wanted a performance to come out of them, but I wasn’t sure what it was. I was inspired very much by this sort of thing: Pulls out a TIAA-CREF brochure with a man in a suit seated at a table. This guy is probably an actor, and [the brochure] says “TIAA-Cref announces “Individual counseling sessions at the Rhode Island School of Design. Individual counseling sessions at no additional cost to you. You can discuss your personal financial situation with an experienced TIAA consultant on a confidential basis. We are available to help you discuss how to achieve your financial goals by investing in financial solutions such as mutual funds, brokerage, life insurance, and annuities...etc....What retirement benefits best fits your situation?” Often I encounter this and I think O.K., this is one way to prepare for the after-work life and it seems inadequate to me. But, I also find it really inspiring. I really like the visual language of it. I kind of want to be that man. I’d like to see if I could maybe buy his clothes. FLM: What it is about the man on the brochure that interests you? DP: He’s offering personalized objective advice and a detailed evaluation of everything you need to know and do. Who wouldn’t want that? But he’s also something of a contemporary priest or priestess, mediating between the unseen all-powerful universe of global capitalism and the common worker. So I started off developing Unrealized Gain/Loss directly from the charts that represent the performance of my retirement portfolio. Then I came home and I wanted to use those. I had this word in my journal “unrealized gain/loss vessel.” I had this notion of vessels that would contain unrealized gains and losses. That felt really important to me that they would have somewhere to go. I had been thinking a lot about altars and making offerings—that somehow this really fickle, massive, difficult-to-comprehend-universe of the financial world—that somehow it might be nice if you could making an offering to it. [In Bali] they made such beautiful elaborate offerings. So I studied offering making as well with one of the women there and she taught me some of the standard forms created by folding leaves and the significance of the floral arrangements. I started working in clay and then moved to porcelain and I made these unrealized gain/loss vessels. I made a few of them, they have holes on either side that you can’t get your fingers in. But something can go in there and something can go out of there. It’s a nice size for putting on an altar. Then I got this commission from Artists in Context who was interested in my doing something for this project “Artists Perspectives for the Nation” project. I proposed initiating these investors’ drum circles as a new public performance form. I’m interested in bringing together those two symbols—the symbol of the djembe and the drum circle. unrealized gain/loss vessel - d.peltz - 2012 FLM: I can imagine the public digital stock ticker performing like a soft fleeting stream of information, a kind of (meaningless) illusory comfort blanket. DP: In some way you have to understand its relevance outside of the obvious, right? Because the obvious is illogical. Nobody is actually using that data to day trade, for example. People aren’t sitting there with their computers watching the market data in Times Square or setting up an outdoor office and being like “OK it’s up 3 points or it’s up 1.56, trade! Ok now buy, Ok now sell!” That would be a kind of a nice performance, actually. But actual day traders would want more up to date data than that. To understand what that data is doing is really important. And that’s something I’ve realized—that I’m interested in a particular kind of data visualization, which is not about what data can tell people, but what data can tell people who are visualizing it. For example, in the Cambridge Project “Crossing Non-Signalized Locations” I was interested in the 10,000 excuses archive of data recording five years worth of excuses for why people thought they shouldn’t have received their parking ticket. I was not interested in making that excuse wall so that the public could see and understand this data. Inevitably the data will be seen by others but I was really interested in what the action of visualizing the data told those who were visualizing it. The parking attendants themselves were writing those excuses on the wall—I was interested in what that kind action of writing the excuses on the wall told them about the data. Similarly, I’m interested in designing a way to allow people to pass this data from the unseen universe of the market, through their own bodies, which happens through the merging of the drum and the stock ticker. I’m interested in those two also as symbols; the drum as this symbol of the earth, the body and a pagan counterculture, and the stock ticker referring to the ethereal world of global markets—bringing those two together and making them dependent. I’m often drawn to conceptual propositions that I become invested in testing in a sincere way—at first they often they sound humorous to others, but I have to remember that there is humor in them. I don’t sit around and laugh about these things. I stop finding them funny at all. I’m interested in the proposition that we could know something about the after-work life by drumming in response to our retirement portfolio. So then I become really interested in how to craft that into a viable performance form for myself and others. FLM: The aspect of using sound in “Unrealized Gain/Loss” as a way of embodying the information to the asset holder is really intriguing—using sound as a means of embodying the asset data. Was sound a medium that made sense to use immediately or were you considering other means of attempting to embody it? DP: Well I do use other mediums within the project like textile, ceramic, and batik patterns. I was first drawn to the history of Batik patterns as a socio-economic stratification system and the vessels as a way of embodying or manifesting this data of unrealized gain and loss. My first approach was to work with meditation actually—a meditation workshop with my colleagues. I was going to offer this “Unrealized Gain/Loss” workshop where you would explore the sensations of gain and loss by adapting the way yogi-nidra brings you into contact with your physical surroundings and stretches your perception. FLM: At Naropa University there are/were business & compassion workshops—a sort of mash-up of business and compassion and how compassion could be incorporated into a business model. This process and engagement of “embodying data” also has to do with “Participatory Democracy and the Future of Karaoke” you created at the DNC in Denver in 2008. DP: That kind of appropriation and instrumentalization of spiritual practice could be disturbing and thus compelling as a strategy. For various reasons, I’ve come to be drawn to both the form of a quarterly public performance and the established performance form of a drum circle. Its something I’ve seen myself do before, that is to mess up a really good functional social system like a drum circle or karaoke. I remember I was developing language for the karaoke project and started calling it “Participatory Democracy and the Future of Karaoke” and one of my assistants on the project, who’s an incredible artist, said, “but don’t you think the future of karaoke is guitar hero?” and I realized that maybe he thought I was trying to improve the form. I’m just trying to get people to have this shifted embodied experience, I need to craft the performance context so that they can do that. In the case of the karaoke project, for example, what did I need in order to be able to do this [a person to stand up in front of a bar and deliver a karaoke speech]? I realized that the body is very vulnerable so I built a podium so that the speaker can feel secure enough to do this, otherwise you couldn’t get to this state achieved by passing these speeches through the body. Then I was, like, well you need to be able to practice the lyrics because you don’t know all the “songs” by heart, which became an insert to the massive track books carried by most karaoke VJs. And then sometimes the crowd in the bar isn’t there with me, so I needed to extract the voice of the crowd cheering from the original venue and I needed the local audience to cheer if they wanted to. I’m interested in both where the form succeeds and fails. In particular, one of the most interesting things is this auditory gap between the space where you are, the reduced scale of applause in your own little bar, and this grand scale of applause at the convention center where the speech was originally delivered. FLM: How did the concept of “Participatory Democracy Karaoke” come about and why did you use karaoke as a means of engaging what was happening at the DNC in 2008? DP: I was looking at a lot of different readymade media infrastructures within the city at the time. I was interested in the emergency broadcast systems and I developed a proposal to repurpose that system and karaoke became an important symbol because it was this populist form that was already engaged in exploring the sensation of celebrity but also visualizing the gap between ourselves and those with more power and influence. So it had this readymade capacity to play with power and celebrity and I felt like the Obama presidential campaign, the first one in particular, had some very curious overlaps with this culture of celebrity. Obama of course rose to power partly based on his oratory abilities and I was interested in how karaoke as a vehicle was so adept at offering people all that was left of authentic expression in a political speech. Managing a politician and constructing their identity is such a developed practice that it becomes, kind of automatically, a metaphor for the way that our own identities are constructed. Of course the Obama campaign was very hip and savvy and deploying this notion of grassroots. It was really pioneering in its use of social media and this deployment of notions of populism. I was interested at that time in the capacity of karaoke to track speech patterns, precise tempos of anyone’s delivery, and that to me was a way of thinking about what might be left of the authentic self. I was interested in karaoke’s capacity to extract that authentic component and offer it to others. So not just to stand up and be them, but to [literally] pass their speech patterns through your own body. A long time ago, it started to strike me as odd that one would make media at all. It struck me as a kind of un-contemporary way of going about making art in an age of media overflow. That logic extended into my thinking on delivery devices and installation as well. Why would one buy a screen or even set one up when there are so many out there? And the way in which these media displays function in karaoke bars and bars in general is very interesting to me. I’m drawn to this passive consumption of media where your primary social interaction is with the bartender or a few other individuals but these screens are around you and your attention is shifting back and forth between these spaces. So much political rhetoric is spoken to a half-listening audience. I was interested in what was happening in the slippage and that karaoke was a kind of slippage amplifier. So if you put people in a bar and they are delivering a Kucinich speech and Kucinich comes up on a screen then your getting a sound bite of Kucinich and an image of Kucinich and your friend is talking to you— FLM: A kind of magic takes place in that incongruency between sound and image and the karaoke participant who’s relaying the speech-text at the same time. DP: Exactly and there’s some kind of truth in that experience of reality. FLM: Yeah, there’s something uncanny about seeing the body close-up like that as though it can’t lie to you in that moment or context. It’s a weird moment of luminous clarity. The work you’ve done and all of what you’re saying about karaoke is so very interesting to me. Growing up, my dad and uncles sang karaoke a lot (and still do) and being first-generation Filipino American is a different cultural subtext entirely. I’m also seeing it from the position of witnessing family members who are carriers of these stories and songs. And seeing them cherish these Tony Bennett, Frank Sinatra, Elvis Presley songs so much, I also see how their bodies are literal vessels of popular music that signifies something greater—it signifies their cultural and socioeconomic place in the world. The way that they cherish these American 1950s and 1960s pop songs is similar to having a certain kind of reverence for their spiritual faith or Catholicism. It’s a similar kind of care, focus, and attention exerted in karaoke and Catholicism—that these two structures and systems give something to focus on. Setsuko, Seiji and Hitoshi in Obama, Japan as Obama in Indiana — d. peltz — 2008 DP: Sure there something about the relationship we have to our candidate or the way we go about choosing a candidate, which is very similar to a deity or idol. I learned a lot about karaoke culture through this project. I’d never done karaoke. I’d never been interested in it as a form and then I travelled to Japan as part of the project when I made “Setsuko, Seiji and Hitoshi in Obama, Japan as Barack Obama in Indiana” and it was quite fascinating because my image of karaoke had always been this very public forum in a karaoke bar and then I discovered there’s this whole other world of karaoke where people even go on their own, they go and rent a room or cubicle and sing, or they go on a date—just the two of them go and sit in a room and do karaoke together. FLM: I’m interested in issues that take place within or as a result of specific karaoke culture(s). In the Philippines within the last several years there’s been occurring the “My Way Killings” phenomenon. Apparently baklas or gay men are employed by karaoke establishments to help “smooth over conflicts over karaoke singing”—these social forms of conduct, or lack thereof that arise out of the infrastructures of this social sport. In this one rural part of the Philippines there’s a village karaoke machine that the whole village shares—the Aeta indigenous people have an appointed “keeper” of the karaoke machine. I also see karaoke as a proxy to the confessional box in Catholicism where one goes to pour out their sins (minus the penance and redemption). The karaoke machine enables one to literally sing out whatever’s going on internally, but through highly saturated popular song lyrics. While karaoke is a public and social sport, it can also be a private one. Karaoke is a means of communion with each other. DP: Right, this preference for this kind of mediated communication. In Japan I was trying to organize people to work on this project and I was talking about throwing a party and they were like, well, we have to rent a karaoke machine because what else are we going to do? And I think its kind of serving that function of surrogacy—emotional surrogacy. FLM: And karaoke tools can be read as ritual tools—the magic mic that holds everything. There’s got to be some overlap at some point—between religious ceremony and devotion to the karaoke machine. DP: The way I designed the piece was so that it could slip right on top of the ready-made karaoke infrastructure. There was a flat-packed podium and it was made of a single sheet of plywood with no fasteners that slotted into itself. Those were sent out to a network of karaoke bars that I invited to become “karaoke convention centers.” The local VJs downloaded our custom-made, speech-extracted tracks that were designed to play on their existing equipment. In this sense the piece is a permanent installation. If you go to Denver today, some of the VJs still have the tracks in their library of offerings, the Ramones and Romney. It was this notion of re-purposing readymade infrastructure to create a distributable populist form. Obama was coming and the convention was in the Pepsi Center and 30,000 people were coming including 10,000 journalists. The impetus behind the larger art project that commissioned international artists to make works in Denver, was that local people weren’t going to have much access to this convention. It was like an invasion, the city was being descended upon, but if you lived a block away from the site, you had the same access as people in Zimbabwe&mash;30 second media bits excerpted from the speeches. So it seemed to me that the fundamental gesture was how do I take that signal, which was travelling out of the convention center, and create a local interruption? FLM: Is that what you mean by ‘intervention’? The term is frequently used to help describe your work. DP: It depends on the day. Around that karaoke project I had a conversation with Krzysztof Wodiczko and he was proposing that maybe rather than intervention, we should consider the word interruption. Because intervention is kind of an overused term in the field of art and it has militaristic and therapeutic associations outside of the art context. Fundamentally, the idea of intervening speaks to the readymade social world as your primary material. So it’s basically suggesting a kind of subtractive process, which gets back to this question: what is the role of the contemporary media artist in a world that’s so saturated with media? You can’t work additively in a saturated field. If you want to make a visible mark you have to work subtractively. That’s what intervention is about to me, just another way of saying “to work subtractively.” FLM: So the interventions or interruptions aren’t necessarily adding or subtracting, but are they putting orange cones there? What are they doing exactly? DP: I think you’re right about that, they’re not really subtracting. They’re adding to the scope of possibility. I’ve been thinking (with this exhibition I’m mounting next month) about the work as explorations and expansions of social possibility. Maybe it’s more insertion. I started calling the pieces ‘insertions’ that I was making in Rejmyre—a small town in Sweden where I’ve been working for six years now. My favorite site to install there is the tourist bureau. I started calling the video pieces that I made for the tourist bureau, video insertions. This idea that you’re inserting something into the readymade media infrastructure of the world resonates with me. Insertion leverages a context, creating a possibility that the inserted object might be naturalized in the process — that someone can encounter my video in Rejmyre as tourist information. And then all of a sudden tourist information can include some American guy prostrating through town and it can include really bad relationship advice. Maybe insertion is a better word. tourist information – d. peltz 2009-present  . (shrink)

This paper is a qualitative empirical study of the perceptions of web editors and moderators about reader comments. Drawing from the insights provided by nineteen in-depth interviews with newsroom staff, we contend that reader comments have so far made little impact on the practices of traditional journalism in Turkey and that their promise to foster more constructive online public deliberation is largely unfulfilled. Reader comments continue to be an underestimated and neglected feature of online news. Online journalists’ perceptions of (...) reader comments are not based on any solid information of their readers but on their own personal observation and experiences. Moreover, freedom of expression in reader comments in mainstream newspapers is very limited due to legal and political pressures and prevalent self-censorship. Online journalists define politics and sports as the main categories that receive the highest number of comments most of the time. They also observe in reader comments the manifestation of a current political polarization in Turkey and point out the existence of majority pressure and a spiral of silence in relation to the Kurdish issue. (shrink)

A primer on legal issues relating to cyberspace, this textbook introduces business, policy and ethical considerations raised by our use of information technology. With a focus on the most significant issues impacting internet users and businesses in the United States of America, the book provides coverage of key topics such as social media, online privacy, artificial intelligence, and cybercrime as well as emerging themes such as doxing, ransomware, revenge porn, data-mining, e-sports and fake news. The authors, experienced in (...) class='Hi'>journalism, technology and legal practice, provide readers with expert insights into the nuts and bolts of cyber law. Cyber Law and Ethics: Regulation of the Connected World provides a practical presentation of legal principles, and the book is essential reading for non-specialist students dealing with the intersection of the internet and the law. (shrink)

It is no longer hidden that the press plays a prominent role in political, economic, and sports fields, while it has taken a limited role in social aspects in some weekly and monthly magazines. Social journalism does not occupy enough space in our Iraqi society. However, it is considered one of the most major areas that should receive sufficient attention considering the developments and changes that Iraqi society is experiencing. Since social journalism concerns the community in general, (...) both young and old, it is necessary to maintain this type of journalism as it is an important means of intellectual nourishment for human minds. It informs them about the most important daily issues in their lives and the social problems that members of the community face, aiming to find the best ways to address and resolve them. This research sought to identify the journalistic arts that Iraqi newspapers focused on in their treatment of social issues. This study is considered one of the descriptive-analytical social studies, starting with the content analysis methodology as the basis for the research, and the quantitative method as an auxiliary tool to count the frequencies and indications of the research data through content analysis, which focuses on the apparent and quantitative description of the content of social issues. In line with what has been mentioned, the research was divided into three sections: the first section (the methodological framework of the research), the second section (the theoretical framework of the research), and the third section (the practical framework of the research). The main findings of the research were: the category "Increase in cases of domestic violence, especially against women and children" had a percentage of 39%, the category "Increase in the number of drug users" had a percentage of 26%, the category "Spread of some unacceptable behaviors that conflict with societal values" had a percentage of 17%, and the category "Deterioration of the reality of many families due to lack of adequate healthcare" had a percentage of 14%. The research concluded with a set of results, the most important of which are: it was found that there are ten main categories of social issues, ranging from cases of domestic violence against women and children to the increase in the number of drug users, etc. As for the recommendations, the most important one is to pay attention to investigative journalism for its role in monitoring and analyzing various journalistic topics. (shrink)

Bourdieu once commented that what was needed was a 'new gaze' on the social world - a metanoia. This book describes this view and how to do it. Based on biographical detail and the socio-political contexts, which surrounded him, it sets out his vision of society and culture. Grounded on the distinction between traditional and modern worlds, it shows how ethnographic experience led Bourdieu to an intellectual epiphany. It shows the growth of his conceptual tools and the emergence of 'field (...) theory' in various contexts: Law, Religion, Fashion, Sport, Culture, Fine Art, Philosophy, Literature, and Politics. The book offers an up-to-date, extensive account of Bourdieu, his work and its significance. It centres on philosophical questions of social experience and intellectual practice. Based around his entire oeuvre, it features recent posthumous publications in French, providing important insights for the first time into his way of viewing the world. Including issues of the State, Neoliberalism, and resistance this book explores how the social, philosophical and political came together for Bourdieu to shape how we see ourselves, and our place in the contemporary world - a metanoia. As both an introductory and advanced text, it is a valuable resource for both the newcomer to Bourdieu and the experienced researcher. It will be of interest to undergraduates, postgraduates, researchers of Bourdieu's work in the areas of Sociology, Media, Philosophy, Religion, Economics, Architecture, Cultural Studies, Education, Music, Journalism, Gender Studies, Politics, the Law, Fine Arts, and Linguistics. (shrink)

The article is devoted to the Roman Kurkiewicz essays. He is a philosopher, but is also a wellknown newspaper, radio and television journalist. The publication Klapsy polskie contains selected essays printed in ‘Przekrój’. They are alphabetically arranged and concern many issues important for Poles at the time. Political, economic, sporting and cultural events are the starting point for general discussions on the human and the world. Kurkiewicz writes about difficult and controversial topics. The article describes selected examples of different kinds (...) of essay titles. The author refers to the literature, press and TV movies. Selected examples demonstrate the richness of the author’s ideas. (shrink)

Au cours de cette recherche, nous réfléchissons à la question de la couverture médiatique du domaine sportif. Nous nous concentrons sur l’impact de la présence des médias sur la construction de l’information sportive elle-même. Nous discutons de la position de l’analyste du discours vis-à-vis de ce contexte de production de discours ; production fortement influencée par l’outil technologique. Par exemple, nous montrons que le placement de microphones sur les acteurs de la rencontre sportive pousse l’analyste à considérer ces participants comme (...) des objets et des producteurs de la couverture médiatique. Par l’analyse de ce type de corpus, nous proposons donc d’étudier ces questions de positionnement de l’analyste au sein de ce double contexte de production. (shrink)

Lying and dysfunctional impression management have been identified as two serious forms of deviant behavior in organizations. One manifestation of such behavior is distortion of one's résumé. In 1981, Janet Cooke lost American journalism's highest honor, the Pulitzer Prize, and her job when her work was exposed as a hoax. The revelation surfaced after it was discovered that she had lied on her résumé and her biographical record. Twenty years later, football coach George O'Leary resigned from one of the (...) most coveted jobs in college sports when it was discovered that he had falsified his academic and athletic accomplishments decades earlier. This paper summarizes the two cases - their similarities and differences - and places them in the context of organizational deviance. The case studies provide discussion points, practical advice and instructional material for students in business ethics and management classes. Lessons include the importance of preparing accurate, unvarnished résumés and the morally bankrupt nature of allegedly minor distortions that can later cause huge trouble for the individuals and the institutions involved. (shrink)

À l'heure où le débat sur la fin de vie resurgit, Bernard Sportès nous ouvre de nouveaux horizons, dépasse les arguments simplistes et nous aide à comprendre tabous et angoisses. Son analyse, ancrée dans son expérience des fins de vie, nous rappelle que cet accompagnement ultime doit bien rester un soin. Sa vision humaniste se refuse à ces morts administrées selon des critères médicaux prédéfinis, auxquelles il oppose une mort accompagnée, assistée jusqu'aux derniers instants. Cette proposition, nouvelle dans ce vieux (...) débat, prend acte de l'évolution de nos mœurs et place le respect de la volonté au-dessus de toute autre considération. Prééminence d'une volonté trop souvent confondue avec de simples opinions. Émerge ainsi la possibilité qu'une aide à mourir s'inscrive dans la poursuite d'une prise en charge. Le législateur devra l'organiser dans la confiance en la maturité des soignants et des patients, s'éloigner du réglementaire, encourager une pensée collective et supervisée. Nos fins de vies réclament une République fraternelle qui n'abandonne personne, une médecine d'équipe qui résiste au modèle industriel où on l'entraine. Bernard Sportès nous livre finalement un message simple : nous ne mourrons pas mieux tant que nous n'aurons pas bâti cette médecine de la personne qu'il décrit et propose."--Page 4 of cover. (shrink)

Volume 18, Issue 2, May 2024, Page 123-125.

Question: Where, when and under what circumstances did the two of you get to know each other?Fischer: It was in the early seventies, in Frankfurt, after the dissolution of the gauche proletarienne and while there were still leftist groups in Germany. It must have been 1972. Question: Was that a private visit?Glucksmann: We had private discussions. We also participated in rallies and demonstrations.Question: That was in the late phase of the student movement.Fischer: We kept in contact through my old room-mate, (...) Daniel Cohn-Bendit. He was our link to France, so to speak.Question: And was this the link between the French and the German Left that existed then? (shrink)

Volume 24, Issue 11, November 2024, Page 24-26.

Vietnam, with a geographical proximity and a high volume of trade with China, was the first country to record an outbreak of the new Coronavirus disease (COVID-19), caused by the Severe Acute Respiratory Syndrome Coronavirus 2 or SARS-CoV-2. While the country was expected to have a high risk of transmission, as of April 4, 2020—in comparison to attempts to contain the disease around the world—responses from Vietnam are being seen as prompt and effective in protecting the interests of its citizens, (...) with 239 confirmed cases and no fatalities. This study analyzes the situation in terms of Vietnam’s policy response, social media and science journalism. A self-made web crawl engine was used to scan and collect official media news related to COVID-19 between the beginning of January and April 4, yielding a comprehensive dataset of 14,952 news items. The findings shed light on how Vietnam—despite being under-resourced—has demonstrated political readiness to combat the emerging pandemic since the earliest days. Timely communication on any developments of the outbreak from the government and the media, combined with up-to-date research on the new virus by the Vietnamese science community, have altogether provided reliable sources of information. By emphasizing the need for immediate and genuine cooperation between government, civil society and private individuals, the case study offers valuable lessons for other nations concerning not only the concurrent fight against the COVID-19 pandemic but also the overall responses to a public health crisis. (shrink)

Barger and Barney (2004/this issue) offered a number of reasons for the public, the news media, and journalism to develop special, mutually supportive standards of conduct. However, they imbedded these reasonable suggestions in an argument that claims far more than can be delivered. In explaining what is wrong with their argument, I place journalistic ethics within a general theory of professional ethics.

The rapid development of digital technologies has transformed the world but can be a double-edged sword. We study the interaction of important variables that affect individual news reporters’ performance in which digital technology is the dominant feature. A multilevel model illustrates how transactive memory and job competence affect individual performance. The empirical study includes data from 19 teams of news reporters and 211 valid survey responses, applying hierarchical linear modeling to analyze the data. The results indicate that transactive memory and (...) technology competence help to improve a reporter’s job performance. More importantly, teamwork competence fully mediates the relationships. Our findings thus suggest that teamwork competence is the core skill. Neither technology competence nor transactive memory alone translates directly into enhanced individual performance. (shrink)