Difference between revisions of "Digital Youth"
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The Digital Youth Project had also implemented the participatory perspective as part of its analytical framework. In Hanging Out, Messing Around, and Geeking Out (2010), Ito et al. use the concept of "genres of participation" as a way for understanding and categorizing youth engagement with media cultures. According to them, there are two high level genre categories : friendship-driven and interest-driven. The former is related to the everyday negotiations with friend s and peers and involve practices that grow out of friendships in specific local worlds. The latter is related to hobbies, specialized activities, niche identities, and career aspirations. It focuses on practices that expand an individual social circle based on interests. As Ito et al. explain, "these genres represent different investments that youth make in particular forms of sociability and differing forms of identification with media genres." (18) The two high level genres of participation correspond to different genres of youth culture, social network structures, and modes of learning. For instance, in relation to genres of youth culture and online participation, interest-driven corresponds to geeking out, and friendship-driven correspond to hanging out. Ito et al. also identify a third genre of youth culture and online participation, messing around, that could be associated with the both interest-driven and friendship-driven. In fact, messing around could act as a transition or bridge between the two high level genre categories. The question of transition between genres is of crucial importance for understanding process of learning that bridge formal and informal contexts. In this book, Ito et al. focus on the informal contexts and leave unresolved the questions of how to the transitions between genres can happen. However, the authors are able to provide a detailed and comprehensive account of how these genres of participation happen across different contexts in which youth engage with digital media such as friendship, intimacy, family, gaming, creative production, and work. After analyzing each context, Ito et al. conclude that young people has diverse learning opportunities through their engagement with digital media and their interaction with peers, and offer some recommendations to educators and policy makers. They point out that, “educators and policy makers need to understand that participation in the digital age means more than being able to access ‘serious’ online information and culture; it also means the ability to participate in social and recreational activities online”(p. 347) | The Digital Youth Project had also implemented the participatory perspective as part of its analytical framework. In Hanging Out, Messing Around, and Geeking Out (2010), Ito et al. use the concept of "genres of participation" as a way for understanding and categorizing youth engagement with media cultures. According to them, there are two high level genre categories : friendship-driven and interest-driven. The former is related to the everyday negotiations with friend s and peers and involve practices that grow out of friendships in specific local worlds. The latter is related to hobbies, specialized activities, niche identities, and career aspirations. It focuses on practices that expand an individual social circle based on interests. As Ito et al. explain, "these genres represent different investments that youth make in particular forms of sociability and differing forms of identification with media genres." (18) The two high level genres of participation correspond to different genres of youth culture, social network structures, and modes of learning. For instance, in relation to genres of youth culture and online participation, interest-driven corresponds to geeking out, and friendship-driven correspond to hanging out. Ito et al. also identify a third genre of youth culture and online participation, messing around, that could be associated with the both interest-driven and friendship-driven. In fact, messing around could act as a transition or bridge between the two high level genre categories. The question of transition between genres is of crucial importance for understanding process of learning that bridge formal and informal contexts. In this book, Ito et al. focus on the informal contexts and leave unresolved the questions of how to the transitions between genres can happen. However, the authors are able to provide a detailed and comprehensive account of how these genres of participation happen across different contexts in which youth engage with digital media such as friendship, intimacy, family, gaming, creative production, and work. After analyzing each context, Ito et al. conclude that young people has diverse learning opportunities through their engagement with digital media and their interaction with peers, and offer some recommendations to educators and policy makers. They point out that, “educators and policy makers need to understand that participation in the digital age means more than being able to access ‘serious’ online information and culture; it also means the ability to participate in social and recreational activities online”(p. 347) | ||
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Revision as of 08:05, 9 May 2013
The Digital Youth Project had also implemented the participatory perspective as part of its analytical framework. In Hanging Out, Messing Around, and Geeking Out (2010), Ito et al. use the concept of "genres of participation" as a way for understanding and categorizing youth engagement with media cultures. According to them, there are two high level genre categories : friendship-driven and interest-driven. The former is related to the everyday negotiations with friend s and peers and involve practices that grow out of friendships in specific local worlds. The latter is related to hobbies, specialized activities, niche identities, and career aspirations. It focuses on practices that expand an individual social circle based on interests. As Ito et al. explain, "these genres represent different investments that youth make in particular forms of sociability and differing forms of identification with media genres." (18) The two high level genres of participation correspond to different genres of youth culture, social network structures, and modes of learning. For instance, in relation to genres of youth culture and online participation, interest-driven corresponds to geeking out, and friendship-driven correspond to hanging out. Ito et al. also identify a third genre of youth culture and online participation, messing around, that could be associated with the both interest-driven and friendship-driven. In fact, messing around could act as a transition or bridge between the two high level genre categories. The question of transition between genres is of crucial importance for understanding process of learning that bridge formal and informal contexts. In this book, Ito et al. focus on the informal contexts and leave unresolved the questions of how to the transitions between genres can happen. However, the authors are able to provide a detailed and comprehensive account of how these genres of participation happen across different contexts in which youth engage with digital media such as friendship, intimacy, family, gaming, creative production, and work. After analyzing each context, Ito et al. conclude that young people has diverse learning opportunities through their engagement with digital media and their interaction with peers, and offer some recommendations to educators and policy makers. They point out that, “educators and policy makers need to understand that participation in the digital age means more than being able to access ‘serious’ online information and culture; it also means the ability to participate in social and recreational activities online”(p. 347)
