فهرست مطالب

مجله جهانی رسانه - نسخه فارسی
پیاپی 23 (بهار و تابستان 1396)

  • تاریخ انتشار: 1396/06/30
  • تعداد عناوین: 7
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  • سید یحیی اسلامی *، محمد گرامی صفحه 1
    این مقاله نقش معماری در ایجاد حس غوطه وری در فضاهای بازی های رایانه ای را مورد مطالعه قرارمی دهد. موضوع این پژوهش از اهمیت بسیاری برخورداراست چراکه رایانه و رسانه های جدید تاثیر بسیار مهمی بر تصور انسان از گذشته، حال و آینده گذاشته و فرایند طراحی معماری در فضای واقعی را نیز دستخوش تغییر نموده اند. روش تحقیق این پژوهش از نوع بنیادی و توصیفی-تحلیلی است، که با مقایسه انواع بازی های رایانه ای دهه اخیر به دسته بندی آنها می پردازد. مطالعه یافته ها نشان می دهد که سه رویکرد مختلف در ایجاد حس غوطه وری در فضاهای مجازی بازی های رایانه ای قابل مطالعه است که در هر کدام از این رویکردها، معماری نقش مهمی در باورپذیری فضاهای مجازی ایفا می کند. نتایج این تحقیق نشان می دهد که با شناختی بهتر از عملکرد این رویکردهای مختلف می توان به الگوهای ذهنی و بصری انسان در مواجهه با تصاویر و فضاهای مجازی پی برد و از آن در ارتقاء طراحی معماری، چه در فضای مجازی و چه در دنیای واقعی استفاده نمود.
    کلیدواژگان: معماری، بازی های رایانه ای، رسانه، واقعیت مجازی، غوطه وری
  • سیده زهرا اجاق *، سپیده واعظ صفحه 21
    هدف این پژوهش تشخیص جایگاه سواد رسانه ای در حل تعارض نقشی- هویتی کودکان 3 تا 7 ساله در مواجهه با ابرقهرمان «مرد عنکبوتی» است. در این مقاله از مدل سه وجهی سواد رسانه ای فیث روگو و رویکرد کیفی پدیدارشناسی استفاده می شود. بدین ترتیب که با استفاده از تکنیک مصاحبه ی عمیق، تفاسیر و تحلیل های کودکان از کنش های مردعنکبوتی به دست می آید. سپس از روش تحلیل چارچوب برای تحلیل این تفسیرها، به منظور شناخت وجوه سه گانه سواد رسانه ای و فهم تعامل یا تعارض نقشی هویتی کودکان استفاده می شود. نتایج نشان می دهند که اغلب کودکان با دیدن کارتون مرد عنکبوتی، تعارض نقشی هویتی را تجربه می کنند. این نتایج روشن می کنند که کودکان در سطح اول سوادرسانه ای یعنی «فهم داستان» توانمند بوده و در سطح سوم یعنی «فهم زبان رسانه» مهارت نسبتا خوبی دارند. از این رو، با ارائه چهار نوع جایگزین منطقی می توانند تعارض نقشی- هویتی شان را مدیریت کنند که عبارتند از: انجام حرکات مهیج اما ایمن، شبیه سازی جنگ با همسالان، استفاده از پوشش مشابه و تغییر روایت.
    کلیدواژگان: سواد رسانه ای، هویت، چارچوب بندی، ابرقهرمان، خردسال، مردعنکبوتی
  • مهدی خبازی کناری *، صفا سبطی صفحه 39
    تعامل با رویداد هنر تعاملی اعم از تعامل فیزیکی و یا تعامل از طریق رسانه های جدید مجازی، صرفا دیدن اثر هنری نیست. در این رویارویی، مواجهه بدنی مخاطب با کار، نقشی اساسی، هم در درک و هم در تعامل ایفا می کند. این تفاوت اساسی شیوه ای متفاوت را برای تحلیل هنر تعاملی طلب می کند. شیوه ای که اساس آن بر تحلیل کنش بدنی مخاطب در آمیختگی با فضای رویداد تعاملی و فضای مجازی باشد. با این توضیح، «بدنمندی» نقشی اساسی در تحلیل کنش مخاطب ایفا می کند. در این مقاله بر آن بودیم تا تعامل مخاطب با چیدمان تعاملی «باران متن» را با چنین رویکردی تحلیل کنیم. بدین منظور تلاش کردیم تا ارتباطی بین مفاهیم فلسفی «مرلوپونتی» و تعامل در چیدمان تعاملی «باران متن» برقرار کنیم. «بدنمندی»، یکی از مفاهیم بنیادین فلسفه مرلوپونتی است. به زعم وی، سوژه پیش از اینکه در صدد شناختن و اندیشیدن بر آید، در هم تنیدگی بدنی او با محیط است که درک او را از جهان و کنش های او را در جهان شکل می دهد. نتیجه پژوهش حاکی از آن است که در چیدمان مزبور نه بدن مخاطب ابزاری برای کنش اوست و نه ذهن او واسطه ای برای شناخت رویداد است، بلکه به جهت درهم تنیدگی حسی و حرکتی مخاطب با رویداد، درک و تعامل بطور همزمان اتفاق می افتد. مخاطب در فضایی وهمی-تخیلی در هم تنیده با رسانه مجازی به تعامل می پردازد، اما نه فقط با نگریستن بلکه او با تمامی حسیت و حرکت وارد رویدادی آمیخته از وهم و واقعیت می شود که به واسطه حضور بدنمند او متحقق می شود. این به منزله کنشی بر اساس ارتباطی بدنی بجای قضاوت زیبایی شناسانه است.
    کلیدواژگان: تعامل، مرلوپونتی، بدنمندی، مخاطب، اینستالیشن تعاملی باران متن
  • محمد سرافراز، سید ابوذر خوش بیان *، غلامرضا غلامی صفحه 59
    پژوهش حاضر بر آن است که با ارائه راهبردهای مطلوب برای شبکه تلویزیونی «هیسپن تی وی»، آن را در رسیدن به اهداف خود یاری بخشد. این پژوهش به صورت کیفی صورت پذیرفته است و روش گردآوری اطلاعات در آن، از طریق مطالعه کتابخانه ای و اسناد بالادستی به همراه مصاحبه با نخبگان بوده است. تجزیه و تحلیل داده ها توسط ماتریس سوات2 انجام شد. از آنجا که تعیین اهداف جزئی از پژوهش بوده است، ابتدا با مطالعه اسناد بالادستی و نظر مدیران مربوطه، اهداف راهبردی شبکه مشخص و سپس توسط کمیته راهبردی که متشکل از مدیران شبکه مذکور بود، نمره دهی و اولویت بندی شدند. «تامین منابع مالی مورد نیاز شبکه و فقدان کسری بودجه» و «کسب جایگاه معتبرترین، سریع ترین و دقیق ترین منبع اخبار مربوط به خاورمیانه در میان شبکه های اسپانیایی3زبان دنیا» دو هدف اول شبکه از میان اهداف 9 گانه بودند. سپس از طریق مصاحبه با کارشناسانی که با روش نمونه گیری هدفمند انتخاب شده بودند، قوت ها، ضعف ها، فرصت ها و تهدیدهای شبکه مشخص و اولویت بندی شدند. با تناظر عوامل داخلی و خارجی در ماتریس سوات، راهبردهای مطلوب احصا و اولویت بندی شدند. «داشتن موضعی فعال در جذب نیروی انسانی متخصص برای شبکه و تدوین سیستم آموزش ضمن خدمت مناسب برای پرسنل» و «همکاری با شبکه های همسو در منطقه هدف و انجام تولیدات مشترک با آن ها» و «افزایش وجهه خبری شبکه» به عنوان سه راهبرد اولویت دار شبکه از میان 16 راهبرد احصا شده، مشخص شدند.
    کلیدواژگان: راهبرد، صداوسیما، هیسپن تی وی، ماتریس سوات، برنامه ریزی راهبردی
  • احمد شکرچی*، شمیم شرافت صفحه 85
    در حرفه روزنامه نگاری قوانینی نوشته شده وجود دارند که تحت عنوان قانون مطبوعات بر فعالیت روزنامه ها نظارت می کنند. قوانین نانوشته نیز با توجه به گرایش سیاسی روزنامه و هنجارهای اجتماعی موجود در محیط روزنامه نگاری بر محتوای تولیدشده و حضور زنان روزنامه نگار در این فضا تاثیرگذارند. در این پژوهش که مبتنی بر دو روش «تحلیل محتوای روزنامه ها» و «مصاحبه با روزنامه نگاران» است، تاثیر دولت ها و هنجارهای شغلی روزنامه نگاری بر حضور زنان در روزنامه ها مطالعه می شود. یافته های این پژوهش نشان می دهد دولت های روی کار آمده بر محتوای روزنامه ها تاثیرگذارند و بدین طریق بر حضور نویسندگان زن و بازنمایی زنان در روزنامه ها نیز تاثیر می گذارند. زنان روزنامه نگار به نشر مطالب پیشرو درباره ی هم جنس خود می پردازند اما مردان روزنامه نگار در این مورد متفاوت اند. مردان اصلاح طلب بیش تر تحت تاثیر دولت ها قرار می گیرند و مردان محافظه کار در دولت های مختلف به بازتولید کلیشه های جنسیتی می پردازند. همچنین هنجارهای جامعه می تواند محیط کار و متقابلا وضعیت زنان و ارتقاء آن ها را تحت تاثیر قرار دهد.
    کلیدواژگان: زنان، مطبوعات، قوانین غیررسمی، زنان روزنامه نگار
  • امید علی مسعودی *، غزال بی بک آبادی صفحه 104
    هدف این مطالعه شناخت جایگاه روزنامه نگاری چاپی والکترونی ایران درآینده است.تحولات فناوری ارتباطی واطلاعاتی باعث تضعیف روزنامه چاپی وتقویت روزنامه الکترونی شده است.
    آیا روزنامه و روزنامه نگاری به شکل امروزی همچون تلکس و تلگراف از میان می رود یا نه؟ جایگاه روزنامه نگاری الکترونی چیست و اینکه برای آینده روزنامه نگاری چه خصوصیاتی را می توان برشمرد؟ اینها نمونه هایی از پرسشهایی است که در این پژوهش به دنبال پاسخ به آن هستیم. از این رو شناسایی ویژگی ها و مولفه های روزنامه نگاری و همچنین چالش های احتمالی آنها در آینده بیست ساله ایران را با روش دلفی و ابزار مصاحبه عمقی طولی تا حصول توافق نظر در میان سرآمدان ارتباطات، دنبال کرده ایم. این تحقیق در سال1394 انجام شده و با افق بیست ساله نمایی از روزنامه های ایران در سال 1414 است.
    در پاسخ به پرسش های مطرح شده، یافته ها حاکی از آن است که روزنامه های چاپی در برابر روزنامه های الکترونیک از بین نخواهند رفت و بر غنای رسانه ای خود تاکید خواهند کرد. از طرف دیگر عنوان می شود تاثیر مسائل جهانی بر رسانه ها بیش از امروز و بیش از فرهنگ بومی خواهد بود. همچنین تحقیق نشان می دهد نقش مخاطب در همه بخش های روزنامه ها افزایش قابل توجهی خواهد یافت تا حدی که رسانه های مدنی- اجتماعی متعددی شکل گرفته و رشد خواهد کرد. در کنار اینها نقش اقتصاد و موضوعات اقتصادی در آینده روزنامه های ایران افزایش می یابد.
    کلیدواژگان: آینده نگری، روزنامه نگاری، جامعه اطلاعاتی، دلفی، روزنامه نگاری سایبر، نظریه غنای رسانه ای
  • جعفر میرزایی پرکلی *، سیما محمدی کشکولی صفحه 120
    هدف این پژوهش، مطالعه عوامل پیش برنده و بازدارنده ی روایت در تصاویر به صورت ساختاری است. در مطالعات میان رشته ای در حوزه ی روایت شناسی، آثار مصور همچون روایت های زبانی قابلیت روایت پردازی دارند. تصویر با ابزارهای ویژه (رنگ، خطوط، اشکال، ژرف نمایی و غیره) فضایی مناسب ولی متفاوت برای روایت پردازی ایجاد می کند. نلسون گودمن از جمله فیلسوفانی است که آراء وی در زیبایی شناسی به بسط حوزه ی روایت شناسی انجامیده است. گودمن با تکیه بر ویژگی های ساختاری در آثار مصور و مطالعه ی عنصر زمان و رابطه ی میان «ترتیب وقوع» و «ترتیب روایت کردن» رویدادها، روایت های تصویری را به چهار گروه عمده تقسیم می کند: 1) «آنی بی زمان»، بازنمایی رویدادی واحد در لحظه ای واحد؛ 2) «زمان دار خطی»، نمایش سلسله ای از رویدادها در رابطه ای جهت دار؛ 3) «زمان دار تاب خورده»، بازنمایی رویدادهای «دوره ای» با ساختاری «تاب خورده»؛ 4) «غیرزمانی/ضدزمانی»، بازنمایی رویدادهای «جاودانه» و «نمادین». در نظریه ی او، دو ترتیب یاد شده لزوما ساختاری روایت محور را تشکیل نمی دهند و گاهی به جای روایت داستان، یک «توصیف»، «مطالعه»، یا «سمفونی» خلق می شود. در این مقاله نخست به تبیین زیبایی شناسی گودمن و ارزیابی جایگاه ارزشمند نظریه ی او در خوانش روایت های تصویری برای نخستین بار در ایران خواهیم پرداخت. نویسندگان مقاله تلاش کرده اند با ارائه ی تحلیل نقاشی های مورد بحث گودمن از یک سو، و سه نقاشی از علی اکبر صادقی و یک نقاشی از محمد فراهانی از سوی دیگر، عوامل پیش برنده و بازدارنده ی روایت در تصاویر را به صورت ساختاری مورد مطالعه قرار دهند و شیوه ی بکارگیری مفاهیم و دسته بندی های نظریه ی زیبایی شاسی گودمن را مدل سازی کنند.
    کلیدواژگان: نلسون گودمن، عنصر زمان، روایت پردازی مصور، علی اکبر صادقی، محمد فراهانی
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  • Mohammad Gerami, S.Yahya Islami * Page 1
    Introduction and statement of the problem: It was not long after the appearance of a game entitled “Space war!” in 1962 that computer games were considered as a significant and profitable sector of the media industry. The 800-million-dollar record sale of “GTA 5” in its first day of release, showed how a successful game could be so popular and profitable. Statistics show that the gaming industry has had the fastest growth and is becoming the primary rival of the film industry. These facts show that computer games are not just entertainment for children, rather they are virtual environments for people of all ages that have spawned a serious multi-million-dollar industry. Many researchers have studied computer games from different perspectives, however, the role of architecture in the success and believability of computer games requires further study.
    Theoretical
    Background
    In the electronic era, the proliferation of images dispersed through digital screens has sparked numerous discussions about the nature of reality. One of the authors who have written extensively about the relationship between image and reality in contemporary times is the French philosopher and cultural critic, Jean Baudrillard. By categorizing different stages of image, Baudrillard concludes that images can lose their relationship to reality and become simulacra. When simulacra and simulations proliferate, reality is replaced by virtual reality, resulting in a condition which Baudrillard calls “hyperreality”. Although Baudrillard proposes that images can have no relationship with reality, his theories nevertheless define images in relationship to reality, meaning that images need to be believable to be effective.
    One of the important characteristics of many successful computer games is their ability to immerse the gamer in their narrative. Immersion is a significant part of the gaming experience, which allows the user to engage with virtual environments. This immersion is also found in other arts and media, but in computer games, it finds more developed expression. Jonathan Frome categorizes four emotions that are created in the player when playing computer games: game emotions, narrative emotions, artifact emotions and ecological emotions. He argues that a key component of the emotions experienced by the players depends on which role they take when they engage with videogames: observer-participant or actor-participant. It is in the latter role that the player determines what is shown on the screen and becomes immersed in the gaming experience. Thus, game emotions and the actor-participant role increase the believability of the virtual environments of games.
    Methodology
    This research is a result of a descriptive and analytic study of different types of computer games that have been critically and commercially successful in the past decade in order to determine the role of architecture in the believability of computer games. The goal has been to categorize the different approaches with which computer games simulate their environment and how architecture has been critical in each approach.
    Results And Discussion
    At first, it is established that computer games have developed a significant industry and are a great expression of the power of virtual reality in the contemporary world. It is also argued that architecture is a powerful anchor in reality, the role of which is undeniable in the simulation and believability of virtual environments. The necessity of using architecture in games is linked to the different emotions that a player experiences in a game. The two keywords of “believability” and “aesthetics” that are engaged in “ecological emotions” and “artefact emotions” are the root cause of why architecture is used in the creation of virtual environments in games. These concepts are further strengthened via interactivity and the creation of the “actor-participant” roles within these virtual environments.
    The influence of architecture in the believability of computer games can be described in four categories. In some games, it is the “Creation of Architecture in Time: the 4D Approach (Bird’s-Eye View)” in which interactivity occurs in the direct control and manipulation of buildings and cities. In this approach, the bird’s-eye view gives the player complete dominance over architecture and cities and by manipulating time, the player experiences an almost Gold-like control over the virtual environment.
    In other games, the strategy is “Discovering and Interacting with Architecture: 3D Approach (Human Perspective)”. In these games, the player can enter the virtual environment and assume the role of the main character through which the story unfolds. In this context, the sense of sympathy with the main character, the human perspective and the highly detailed 3D modelling adds to the believability of the virtual environments. This approach can be itself subdivided into three categories: realistic approach, futuristic approach and mythical approach.
    In other types of games, a two dimensional approach towards creating the virtual environment is evident. This approach is called “Illustrating Architecture and Place: The 2D Approach (Sectional Perspective)”. These games utilize graphic and animation techniques to bring 2D worlds to life. Here, the virtual environment is cut open through a sectional view and the player experiences spaces from an architectural perspective.
    Conclusion
    The advent of computer games and their rapid development has indicated their significance for our lives and the media industry. As was discussed earlier, computer games rely on different methods to immerse the player in their virtual environments. These methods all rely on anchoring the virtual imagery in lived reality. This is where architecture plays a prominent role, since it is one of the most fundamental aspects of our reality. However, the relationship between architecture and computer games is not one sided, since architects are beginning to use the technologies developed for creating the virtual environments of games to design real buildings. In this context, architects are going beyond their traditional tools and have begun using computer visualization and animation to create much more accurate representations of architectural designs. It is foreseeable that clients will be able to walk and interact with architectural projects just like a gamer would be able to do the same in the virtual environment of a game.
    Considering the advent of computer games and their increasing interaction with other arts, it is important that the relationship between architecture and computer games is studied and developed in more detail. Although this subject matter is relatively new and often overlooked, it is important that we consider the virtual environments of games as a significant testing ground for architectural imagination and creativity. Moreover, the technologies used in the gaming industry can greatly benefit the architectural profession. Further still, an analysis of the visual and cognitive patterns of players in the virtual environment can offer important clues about our experience of architecture in the real world.
    Keywords: Architecture, Computer Games, Media, Virtual Reality, Immersion
  • Seyedeh Zahra Ojagh *, Sepideh Vaez Page 21
    Introduction and Problem Statement: This paper attempts to provide an understanding of the role-identity conflict among children who watch Spider-Man superhero cartoon.  The paper will also provide an analysis of some sample children’s media literacy skills and how they apply it to overcome such conflict. Since children use their media experiences in their everyday lives, it seems that Superhero cartoons play an important role in shaping children’s identities and thoughts.
    Conceptual Framework: to deal with the problematic of the research the paper looks at the process of media framing which involves “salience” and “selection” in two stages of production and consumption.  It seems that the frameworks of media products play a role in constructing the personality/identity traits of the individual children.  When an individual/child highlights and selects some particular media products, he/she indicates that the individual tends to experience such products.  According to Goffman (1963), the identity that individuals define themselves with are “virtual social identity”. The personality type that manifests itself in everyday interactions and practices of the individual is in fact his/her “actual social identity.” These two personalities/identities are not always the same.
    Not only does a child's attempt to imitate superheroes reveal how they frame the story but also they show their virtual social identity; i.e. what a child would like to see in cartoon characters and how he/she would want to be like them.  In other words, the actual social identity is the attributes that can be proven in reality.  The inconsistency between these two identities in children can cause a role-identity conflict.
    It seems watching superhero cartoons intensifies such conflict.  Children’s skill in understanding the media framework is critical in overcoming this conflict.  Faith Rogo’s media literacy model is useful in studying and analyzing how children are exposed to manipulation of the media and their realities and conflict management.
    Faith Rogo suggests three areas from which to start educating children in media literacy: a) understanding stories; b) identifying storytellers; and c) learning the language.
    Methodology
    Methodologically, this research is carried out with a qualitative approach, using phenomenological methodology and conducting in-depth interview technique to collect data.  Interview questions based on the trio model of Faith Rogo that includes understanding stories, identifying storytellers, and learning the language was designed after watching ten episodes of “Final Spider-Man” cartoon series and the first Spider-Man movie.  To ensure the correctness of interview questions, they were approved by Rogo.  By analyzing children’s responses, we expect identify the existence or lack of children’s media literacy skills based on Rogo’s model dimensions.  In addition, children’s interpretative frameworks are identified using Entman’s method.
    The selection of sample interviewees is based on three criteria:A) ages 4 to 7 years,
    B) watching Spider-Man Cartoon,
    C) participating in art, creativity and storytelling classes.
    Results And Discussion
    Some of the findings of data analysis indicate that children have a relatively good performance at the first level of media literacy, i.e., understanding stories.  The results also show that children have a good understanding of the plot of the story.  They follow three stages of the plot including exposition, climax and denouement in their retelling the story of Spider-Man.  Another aspect is that most children perceive the unreality of Spider-Man and do not consider his actions and behaviors as real ones.
    However, the results of the interview with the children show that none of the children performed any necessary skills at the level of identifying narrators, and this can be considered to be set in children's media literacy training programs.
    Three children had inquiry regarding the meaning of the scene in response to the question “What is your favorite scene?” But seven others talked about their favorite scenes well and even represented them with their facial expressions and body language.  In the case of the genre, all of them used the words “bump” and "horror" something that shows the meaning of the genre at their perceptual level.
    This study shows that children have a little skill in detecting visual effects of films and cartoons.  This issue can be considered to be added in teaching media literacy to this age group.
    Conclusion
    Regarding children’s interpretations of Spider-Man cartoons, it's important to understand how Spider-Man affect children’s perception of themselves.  It seems even though the children know Spider-Man is not real, they reconstruct an ideal and virtual identity similar to Spider-Man through watching the superhero and interpreting his reality or unreality.
    This situation can lead to a conflict between the children’s actual identity and their virtual identity which is unreal but as lovely as Spider-Man.  In order to achieve a balance in such a situation, the children present alternatives which transform superhuman behaviors into human behaviors.  The children's responses to the questions based on their media literacy show four “logical alternatives”: (a) doing exciting movements in a smaller and more secure scale such as climbing furniture at home instead of climbing high buildings, b) simulating war and fighting with their peers instead of fighting enemies who have super-powers; c) using the Spider-Man-costumes such as mask, clothes and rope to look like him; and finally d) presenting a new narrative in which children play the heroine and they regulate various aspects of Spider-Man role in terms of their actual abilities.
    Keywords: media literacy, identity, framework, superhero, children, Spider, Man
  • Mehdi Khabbazi Kenari *, Safa Sebti Page 39
    Introduction and statement of the problem: The origin of the formation and development of interactive art can be traced where the audience finds a way into art event.  Nevertheless, inviting the audience to interact, is not an idea or a designed game set by the artist.  Interactive art can neither be evaluated as a new style in the world of art, nor can it be considered as a change in aesthetic tendencies taken place through time.  Interactive art is not a tendency towards changing the form or mode of expression.  Rather, it hints at active participation of the audience on the art work, something that has brought about fundamental change in art.  In fact, the audience pervades into closed borders of artwork and fundamentally brings the art and the integrity of the work of art under question.
    In analyzing the interactive installation of "Text Rain" our objective is to understand how the audience communicates with this interactive event.  The question here is whether the audience who is looking at the event that is happening in front of him, is also taking a deep look into that event? Is the interaction a result of the aesthetic judgment and thinking? or the audience is part of an event that is progressing and she/he only interacts bodily with the event?
    Theoretical
    Background
    Such a fundamental change in the art world has instigated numerous analytical attempts.  Many theorists of art, focusing on the analysis of ontological have tried to define or categorize this field of art.   Interaction is not an ontological feature.   however, interaction is a situation in which totality of art work and the aesthetics tenets encounter a gap.  This cannot be reduced to an abstract aesthetical concept.  Some researchers have also paid attention to the historical roots of interactive art, so to explain that the development of the interactive art has close relationship with technology.  Undoubtedly technology has created a platform for interaction in various levels in virtual space, digital space and Internet-based communication.  It is true that technology enables audience to interact easily and in a short time.  In fact, these possibilities have helped expanding the field of art, but in the current study we are not looking for how to provide a platform for development of interactive art.  Rather, we seek to understand how the audience communicates to interactive art event.   Following we will discuss the methodology of dealing with such dilemma.
    Methodology
    Encountering an interactive art event including physical interaction through bodily proximity or corporeal interaction through virtual media is an exposure that is different from seeing a work of art.  Since the encounter with an interactive art event is not limited to vision, reflection or judgment, "embodiment" plays a crucial role in understanding and interacting with interactive event in the virtual space and virtual imaginary space.  To provide an analysis of interactive art, such fundamental difference needs a different approach.  Such approach needs not to be based on aesthetic judgments, rather, it should be based on an analysis of physical contact that is interwoven with interactive event space.  According to the description that was given, embodiment plays a key role in the analysis of audience interaction.  Here and instead of judging the artwork based on its visual features, we attempt to analyze the interaction with the interactive installation "Text Rain" from the audience corporeal point of view in the interactive event.  To reach such objective we establish a dialogue between Merleau-Ponty's concepts and interaction in the installation "Text Raining".  "Embodiment" is a key concept in understanding Merleau-Ponty's philosophy.  In his view, the body is our perspective towards the world.  That is, our bodies are not the means for unclear sensory experiences.  Perception is not a simple and passive exposure of our eyes or other sensory systems that would be based on judging the data details, rather it is an immersive and all-inclusive experience which enables us to access the world through "embodiment".  That means, our bodies use sensation, movability and interactive capabilities with the world so to enable us to understand the things and the world.
    Results And Discussion
    Audience of the interactive art is not only a viewer or judge of the artwork, i.e., someone who only looks at it from outside.  viewing the work of art that is limited to vision and assessment of aesthetic features of it, entails a limited perception to the visual details of artwork.  However, in the interactive art, the audience is invited to engage in an interactive event.  Before trying to understand or judge, the audience has to respond to the event.  The relationship occurs through the embodiment, and it is through this encounter that all of the senses non-separable from each other become active.  Interactive action is essentially an action based on "embodiment" and bodily engagement.  Emphasis on embodiment shows that “understanding” the artwork is not the same as the "perception" gained through the interactive action, which is always associated with the "embodiment".  This shift from judging the object to activate process of interaction necessarily requires new approaches to the analysis.  Due to this necessity, we analyze the interactive art from physical and bodily activities aspects of audience.
    Conclusion
     The results shows that, in this installation neither audience's body is the tools for action nor his/her mind is the means for cognition, rather the audience's perception is intertwined with sensation and movement with the event.  At the same time that the audience sees himself in the mirror, she/he grasps the letters coming down to her/his body.  In this way, “seeing” is not distinguishable from moving.  Audience enters into the events of imaginary space intertwined with virtual media and reality not only by looking at the event, but also by all sensation and physical motion.  The accompaniment of image of body in the mirror (similar to the real event that people have faced repeatedly) and to fall down the words, opens up a fancy- imaginative space for the audience's experience, which is somewhere between reality and imagination.  The audience in this space is not faced with the lack of sensory experience, but with a kind of bodily presence within this space.  She/ he constantly comes and goes, between the perceptual presence in the world and the powerful atmosphere of the fantasy- imaginative space that has tied to the real image of his body in the mirror.  As a result, the interactive art event is realized by the presence of audience and her/his "embodiment".  This constitutes an act based on corporeal communication with interactive event, which is the basis of interaction in the interactive art instead of thinking or aesthetic judgement of interactive art event. 
  • Mohammad Sarafraz, Abouzar Khoshbayan *, Gholamreza Gholami Page 59
    Introduction and statement of the problem: Competition in the domain of the media has become more and more difficult nowwadays. Consdering the fact that there are hundreds of TV stations and countless active media in cyberspace, it is very difficult work for a television network to attract the audience.   A television network needs to have specific goals and strategies in order to overcome rivals and survive in the field of competition.  In fact, it is impossible to achieve success without having a strategy. 
    The objective of this paper is to help Hispan-TV network to achieve its long-term goals through providing optimal strategies.    Discovering these strategies can make the future of this TV network to be forward-looking.  Identifying long-term goals and then presenting the strategies that will help this network to accomplish their goals is a main point of the research.
    Theoretical
    Background
    This research is based on the ideas of David's strategic management.   In this style of strategic planning, the goals, vision, and mission statement of the company are first defined.  Then, based on the collected data, the strengths, weaknesses, opportunities and threats of the company are identified.  Afterwards and based on internal and external factors, the SWOT matrix is ​​formed and the strategies are identified in four main situations.
    Methodology
    The methodes of collecting information in this research were based on library research study and upper level documents, along with an interview with the experts.  After that, the information were analyzed and by the formation of SWOT matrix, the strategies were obtained.  The ranking and prioritization of internal and external factors as well as strategies were done by a strategic committee consisting of chief Hispan-TV managers.
    Results And Discussion
    The first part of the study's findings aimed at defining strategic objectives, vision and mission statements.  In this section, nine main goals were identified for the Hispan-TV.  Two main goals and top priorities of this television network are as follows:  1- providing funding resources needed for the network as well as taking measures to avoid budget deficit, 2- reaching the level of the most trusted, fastest and most accurate source of Middle- East news vis-vis Spanish-language networks in the world wide.  The second part of the findings included identifying 12 strengths, 11 weaknesses, 18 opportunities and 12 threats, as internal and external factors that affect this television network.  After placing these factors in SWOT matrix, 16 main strategies were identified based on the network priorities.  The the Hispan-TV prioritized strategies among the 16 strategies obtained based on the Strategic Committee's grade consist of: 1- Having an active position in recruitment of specialists for the channel and outlining an appropriate in-service training system for the staff; 2- cooperating with the TV networks which have the same objectives in the targeted region and trying to produce joint projects; and 3- promoting news image of the channel.
    Conclusion
    The final strategies proposed for the Hispan-TV network can be found in 4 categories of production, content, technology and infrastructure, human resources and distribution.  In fact, the strategies provided for this network cover four main areas related to the activities of this TV network and provide strategies in each field.   It should be noted that three of the four prioritized strategies were in the field of opportunity-weakness, which means Hispan-TV network should use its existing opportunities to overcome its weaknesses in order to achieve its goals.
    Prominent
    Results
    The major achievement of this research paper is that it provides forward-looking strategies to Hispan-TV network administrators in order to better understand the path ahead of them and to move based on planning which may lead to the network success.  The results of this study showed that the most important strategy that is vital for the Hispan-TV network concerns the issue of human resources.
    Keywords: Strategy, Strategic Management, SWOT matrix, Hispan, TV Channel, IRIB
  • Ahmad Shekarchi *, Shamim Sherafat Page 85
    Introduction and statement of the problem: there are some written rules in the profession of journalism under the title of press law that aim at monitoring the activity of newspapers. In addition, it is assumed that the unwritten rules affect the content produced.  These rule also affect how women journalists are represented.  This representation usually takes placed in according to the political orientation of the newspaper and the social norms in the journalistic sphere. Under the formal press law, there is no limitation on the gender of the editor or the journalists, nor is there any reference to the issues of whether women can participate in production of the newspapers’ contents unless it is against ethical codes of public decency.  However, unwritten rules in the form of social norms can prevent women from progressing.  These rules can even reproduce a stereotyped image of women.
    Theoretical
    Background
    According to the views of women in the field of media, the journalism pieces produced by men in the media are more important, and women are generally represented in the form of gender stereotyped images, such as motherhood and sexuality.  The media according to their economic and ideological tendencies, can present a news story in various formats.  They can reproduce gender stereotypes, or correct them, or critique them.  Media scholars such as Lizbeth van Zonen and Margaret Gallagher argue that the increased presence of men in the production of media content makes the content look like a masculine one, and therefore there is a need for women to be content producers and decision makers.  There are two kinds of barriers in the media atmosphere that prevent women to reach such goal: the first one is the glass roof according to which women cannot upgrade to higher positions. The second one is the wall of glass which makes the female and male journalists who are working on the same job but have different responsibilities.  This means soft news such as women's fashion and art news are handed over to women, while hard news stories such as political and economic news are handled by men.
    Methodology
    In this research we used two methodologies, i.e. “content analysis of the newspapers” and “interview with journalists”.  Using such methods, we tried to examine the effect of the state changes and official journalistic norms on women’s participation journalism.  In content analysis, the content of the newspaper is characterized by quantitative and qualitative content analysis. In the interview method, the findings from interviews with journalists are categorized and converted into endpoints after coding, open source and selective coding.
    Results And Discussion
    According to the analysis of the content of newspapers, conservative governments are more likely to reproduce gender stereotypes than reformist governments, something that contributes to how women in newspapers are being represented. Also, the elected governments can also contribute to an increase or decrease in the number of women writers.  The number of women writers declined during the conservative government.  In addition to the effects of the element of government, we also the political trend of the newspaper.  In the conservative newspaper, women have been portrayed more as stereotyped and cliché images that they were portrayed in the reformist newspapers.  Journalist's gender also affects the reproduction or non-reproduction of gender stereotypes. Accordingly, women are more likely to produce progressive content about their gender than men do. The work environment of the conservative newspapers generally provides conditions for the glass ceiling and the lack of promotion.  Such condition is less apparent in the reformist newspapers.  In general, conservative journalism is more respectful to women.  This is while work environment reformist journalism is so that permits sexist jokes that sometimes is accompanied by sexual harassment.  These issues are also discussed more openly than they are in conservative journalism workplace.
    Conclusion
     Some of the findings indicate that the nature of the elected governments affects the content of the newspapers and therefore affect the presence of women writers and the representation of women in newspapers. Women journalists produce progressive materials about their gender priorities, while male journalists act differently.  The male reformists are more affected by the governments, while conservative men produce gender stereotypes in various governments regardless of the nature of the elected government.  The norms of society can also affect the work environment and, alternatively, the status of women and their promotion.
    Prominent
    Results
    gender is a latent variable and regardless of the political tendency of the elected government and the newspaper, it plays its own role.  It has a major role in reproduction of gender stereotypes or in preventing its reproduction.  women continue to disseminate progressive articles about their gender priorities regardless of the political orientation of the newspaper, and the restrictions or freedoms that various governments may apply.
    Keywords: women representation, press law, office norms, women journalists
  • Omid Ali Masoudi *, Gazelle Bibak Abadi Page 104
    Introduction and Statement of problem: The main objective of this paper is use existing data in order to identify and predict the status of Iranian journalism in the next few years? Will today’s newspapers and journalism disappear? What is the status of electronic journalism and what is the status of printed newspapers against its growing growth?  Therefore, a Delphi method was used to identify the features and components of journalism as well as their possible challenges in Iran over the next 20 years.  To reach such objective, a long-term in-depth interview was used so to let interviewees to reach an agreement among themselves.  This study was conducted in 2014 and it explains the 20-year perspective of the Iranian newspapers, i.e., 2034.  Journalism in Iran has faced many challenges since its inception, and has gone through ups and downs causing Iranian bizarre journalism to become even more complicated.  Therefore, some experts predict that written journalism will be disappeared in the next few years.  This is while some believe that Iranian journalism will only undergo some changes but does not disappear.  The above points make the study more relevant.  In this research, an overview of the future of journalism in Iran will be provided with the views of experts in this field to assess the future of the world of print and electronic newspapers and their interaction, as well as to predict and propose appropriate solutions for equipping and modifying the infrastructure and related superstructures that would possible help sustain the Iranian tradition of journalism.
    Theoretical Framework: Considering that the research has been exploratory, the theoretical domain of this study is only based on research literature and no definite theory is proposed here.  Nonetheless, since each scientific research must be consistent with some theoretical framework, two areas are explained in this section at first; the concepts of futurism is dealt with, and theories of information society is considered as the closest and most relevant existing communication theories although futurism is considered as the basis of research.
    The richness of media is defined by Daft and Langel (1986) as "the ability to change intelligence over a period of time."  Media richness theory says communication media will be able to enable users to communicate and change. The degree of this ability is known as the "richness of the media." The media richness criticizes all communication media based on their ability to create a complicated message. Media that can overcome different frames of reference and turn on conflicting issues become richer, while communication media that require more time to understand the message are less expensive
    The main criterion for choosing a communication medium for a specific message regards the question of whether the ambiguity or possible mistakes in the message can be reduced.  This is because if a message is not clear enough, it may be difficult for the audience to decode it.  The more ambiguous the message is, the more signs and data the audience needs to interpret the message.  For example, a simple message intended to arrange the time and place of a meeting can be done in a short email, but a more detailed message about job performance and the expectations of a person can communicate better than email if it happens through face to face communication and interaction among people.
    Research
    Method
    Delphi's futuristic approach is used in this research.  Delphi is a method for collecting expert opinions and it is one of the most relevant techniques for integrating insights, experiences, evaluations, and practices of individuals. Since this research is an exploratory research, and the goal of the researchers is to identify, explain and define the unknown phenomena of journalism in Iran, therefore, instead of the hypothesis, the research questions are answered, i.e., a method that helps to predict the future. It should be noted that we used the term "newspaper or journalism" in this research to refer to a print or electronic newspaper or journalism.
    Statistical population: The statistical community here is made of Journalists, professionals and managers working in the field of press and journalism in Iran, provided they have more than 10 years of journalism experience.  They include professors and specialists in the field of social communication and journalism who work in news offices.
    Sampling: Delphi method expert sampling is used which is a purposeful and snowball sampling.  In such a method, a number of (n = 3) of specialists from 18 experts were selected.  This research was conducted in two series of interviews and two rounds in a panel form.  However, the process was slow and hard because of the interviewers’ business. The experts and professors who helped us as our snow ball samples are as follows: Hasan Namkodost Tehrani, Hamid Ziaei Parvar, Hossein Ghandi, Ali Akbar Ghazizadeh, Mehrdad Kheidir, Hossein Entezami, Reza Moghaddasi, Alireza Farahmand, Fahad Fardnia, Mohammad Ghoochani, Mostafa Ghavandloo Qajar, Mohammad Mehdi Forghani, Mahmood Sadri, Majid Rezaiean, Bahareh Nasiri, Bahareh Bashi, Hamid Reza Hosseini Dana, Majid Yousefi
    Method of data collection: The main technique of Delphi for collection of data is interview. We prepared some questions that were taken from expert's opinions and construct a questionnaire. Experts were asked to express their agreement or disagreement with the terms. Shared terms were extracted as predictions and less subscribed items were reassessed with changes.  After that, the controversial comments were valued with the Likert scale to measure the amount of agreement or disagreement and to obtain the final terms.
    Findings: some of the results indicate that paper and print newspapers will remain in the future and will not disappear, and print press challenges will remain and will not be eliminated.  Nevertheless, most experts believe that these challenges are much less common in electronic newspapers.  On the other hand, the impact of global issues on the media will be more than today and more than indigenous culture. The research findings also show that print newspapers use different content based on the rich media theory of the future, and the role of the audience in all sections of the newspaper will increase significantly, to the extent that many social media are formed and will grow. In addition, the role of economics and economic issues in the future of Iranian newspapers will increase.
    It should also be noted that the share of electronic journalism in the future will increase as technology grows and print newspapers are forced to have electronic versions.  At the same time, they rely heavily on their strengths.  In this way, they must come to the investigative reports and fascinating writings in terms of media richness and the analysis and interpretation become more important than news quotes.
    Therefore, they are affected by images, graphics, and content changes created by the web.  Of course, they also use loose trust in the audience on the Web and they make the audience less misguided by visiting them through orthography and trusteeship. This suggests that the interaction of these two types of journalism will be high, and in spite of their difference in terms of form and content, they will not eliminate one another at least in our 20-year- perspective assessment.  Therefore, we found out that considering the two types of electronic and print journalism as separate medium was a right research choice.
    Keywords: Futurism, Journalism, Information Society, Delphi method, Cyber ??Journalism, Media Richness Theory
  • Jafar Mirzaee Porkoli *, Sima Mohammadi Kashkooli Page 120
    Introduction and statement of the problem: In interdisciplinary narratological studies, pictorial works of art, such as linguistic narratives, are capable of making narratives.  Pictures with their own specific devices (colors, lines, shapes, perspective, etc.) employ a different and appropriate space for narrative-making.  Nelson Goodman is a philosopher who developed his aesthetic theories and interdisciplinary concepts in narrative studies.  In “Twisted Tales; or, Story, Study and Symphony” (1981), he opts for diverse pictorial examples to meticulously examine the dynamics and devices of narrative-making in pictures.  He strongly rejects any generalizations about the assumption that pictures can make narratives under any circumstances.
    Ali Akbar Sadeghi is one of the distinguished modern Iranian artists who has created a considerable number of artworks.  In his paintings, the rich traditions of Iranian art and surreal elements are combined to form extraordinary spatial relations on the basis of Persian symbols and myths.  In most of Sadeghi’s paintings, mythological, historical, mystical, and romantic motifs are represented artistically to make their particular and proper narratives.  Mohammad Farahani is an Iranian painter in Qahveh Khaneh or Coffeehouse style whose works portray well-known religious, historical, and epic themes and meta-narratives.  The present research opts for three paintings of Sadeghi and one of Farahani's paintings to introduce and exemplify Goodman's examination of pictorial narratives.  Goodman’s aesthetics provides unique promising concepts and categories for a systematic exploration of the driving and preventive factors in pictorial narratives and representations.   
    Theoretical
    Background
    The essence of narrative has been always a subject of significant consideration.  Classical/traditional approaches in the field of narratology were mainly limited to textual/linguistic narratives, but the current scholarship has led narrative studies to a “cross-disciplinary concern with stories and storytelling” (Herman, 2009, p. 23).  The new theories investigate features of narrative in various modes of representation – such as pictures, sculptures, films, computer games, dance, music, etc.  Theorists assert that in recent decades “a narrative turn” has linked narratology to other fields of study.
    Narratologists have been trying to present a comprehensive definition of narrative which includes all essential elements and qualities.  The element of time has been approached as one of the fundamental conditions to make a narrative; on the other hand, Goodman in his examination of pictorial and linguistic narratives comes to this conclusion that this element is not indispensable for making pictorial representations.  His exploration of the question of pictorial narratives provides a systematic study with four well-discussed categories.  No doubt, his aesthetic theory equips readers with concepts and categories which lead to deep understanding of narrative pictures and paintings.
    Methodology
    By considering the specifics of pictorial-narrative structure, examination of the element of time, and relationship between “the order of occurrence” and “the order of telling,” Goodman explores the particulars of narrative-making in different pictorial representations.  He claims that, both in verbal and pictorial narratives, it is not always mandatory for the order in which the events are represented to follow the order in which they occur.  This possibility of disagreement between these two orders makes Goodman to ask whether any arrangement of the orders of telling and occurrence in pictures lead to a narrative.  His analytical approach shows that not any ordering of events makes necessary grounds for pictorial storytelling.  By the same token, pictorial narratives can be put into four broad categories in accordance with the relation they bear to temporality and ordering: 1) Timeless Momentary, a single event in a single moment; 2) Temporal Linear, a series of events in an oriented relationship between the orders of telling and occurrence; 3) Temporal Twisted, “episodic” events with “twisted” structure in their narrative-making; and 4) Atemporal\Antitemporal, the events as “eternal” and “emblematic.” According to Goodman's theory, the distinguishing feature of narrative lies in the relation between “the order of occurrence” and “the order of telling” and if ordering is twisted too much there would be no narrative anymore, only other types of representation like "description," "study," or "symphony."
    Results And Discussion
    An examination of various pictures, in light of Goodman’s aesthetic theory demonstrated the applicability and richness of his method to analyze and interpret pictorial examples beyond the restrictions of formal elements, styles, artist's life, culture, etc.  Instead of elucidating what is told in pictures, Goodman's approach provides a deep understanding of how something is represented in a picture.  His analysis stops concluding “too hastily from the evidence considered that narrative under any transformation whatsoever of the order of telling is always still narrative” (1981, p. 111).  Like verbal examples, the ordering of events in pictures can be arranged to represent a story, to describe something, to report on psychological, religious, or biographical topics, or to simply show aesthetic qualities.  By the same token, this study made a comparative understanding of verbal and pictorial narratives possible as well.
    Conclusion
    The temporal effect is not a fundamental factor in making a distinction between story and other types of representations in pictures.  The highlighted point in pictorial narrative-making is the function of the orders of occurrence and telling.  The discrepancy between these two orders is not unexpected in different forms of narrative, but not every ordering or twisting will maintain the essential narrative qualities.  It is impossible to determine a certain degree of twisting that can destroy a narrative because every picture has its own singular structure.  In each of the selected paintings of Sadeghi and Farahani, the narrative-making is achieved by the ordering of events to tell a story.  Moreover, enough twisting in these pictures makes Persian themes and stories to be represented in new structures.   
    Prominent
    Results
    Exploring the features of narrative-making such as in cinematic, verbal, and oral forms of representation is feasible in pictures.  Pictorial works of art have a close affinity with verbal/visual and oral forms of storytelling.  In all of these forms, the relationship between the orders of occurrence and telling plays a prominent role.  Despite the formal elements, the highlighted distinction of pictorial narratives is that the absence of temporal elements is not a hindrance to a narrative.  Applying Goodman's systematic analysis of narrative-making to Iranian paintings illustrates the practical essence of his approach.
    Keywords: Nelson Goodman, The Element of Time, Pictorial Narrative, making, Ali Akbar Sadeghi, Mohammad Farahani