Social Networks for the Next Media Literacy
Shin Mizukoshi: Chapter 1, 4*, Jerry Jacques: Chapter 2**,
Maxime Verbesselt: Chapter 2***, Keumhee Ahn: Chapter 3****,
Chang Geun Oh: Chapter 3****, Hyeon-Seon Jeong: Chapter 3.*****

1. Introduction
Shin Mizukoshi

This collection of papers is based on the

essays will then be presented in the following

report of the international seminar of the Grant-

order, according to their country of origin:

in-Aid for Scientific Research "The New Litera-

Belgium, Korea, and Japan. Following thecy for Media Infrastructure" project, which Shinsubmission rules of the Bulletin, this is formally

Mizukoshi led for three years, starting in 2018.

a single co-authored paper; however, in effect,

The content is based on the international

this is a collection of three articles. Each article

seminar "Social Networks for the Next Mediais the responsibility of a different author from

Literacy" report.

each of the mentioned countries. There was a

In the following articles, we first outline theaims and results of this research project. The

question-and-answer session at the internationalseminar, but we will not go into that.

1.1 The aims of The New Literacy for Media Infrastructure ProjectThis research project aimed to develop a new

infrastructure, not only from a technological but

theory and a learning program to foster media

also from cultural and social perspectives.

literacy (ML) and a critical understanding of

Subsequently, it aimed to develop a new theory

media infrastructures (from social networking

and learning program to foster ML.

services [SNSs], such as Twitter, to search

Traditionally, ML has been developed as theengines, such as Google) as well as information

art and science of critically reading and inter-and communication infrastructures, such as thepreting content (e.g., TV programs and SNS

Internet. First, the project examined media

messages). However, in recent years, it has*Interfaculty Initiative in Information Studies, the University of Tokyo, Japan **UCLouvain, Belgium***Action Médias Jeunes, Belgium ****Department of Art Education, Gyeongin National University of Education, Korea*****Department of Korean Education, Gyeongin National University of Education, Korea
Key Words：Media Literacy, Algorithm, Media Art, Digital Media, Interdisciplinarity, Media Ecosystem
Social Networks for the Next Media Literacy

1become clear that, unlike television, SNSwith ML of conventional content.

messages are inseparable from the infrastruc-

Therefore, this research project created ature that supports them. Moreover, the charac-

theoretical framework for media infrastruc-teristics of this infrastructure define and cause

ture-related ML and developed a learning

various communication phenomena. In otherprogram. An interdisciplinary group of scholars

words, in the media environment of thefrom the fields of media theory, pedagogy, infor-mid-2010s and beyond, it is not enough to tackle

mation design worked together in an interna-

media content-related ML. Instead, it is neces-tional network in collaboration with the ICTsary to develop media infrastructure-relatedindustry and cooperatives.

ML and take it into account comprehensively

1.2 Outline of the study
1.2.1 Research methodology
Theoretical research and development of

The development study involved the design,learning programs were carried out simultane-

implementation, evaluation, and analysis of four

ously. As for theoretical research, we traced thetypes of workshops (WS) learning programs

research trends in media theory, which haveaccording to the time required and the depth ofchanged drastically in recent years; subsequent-

the activities (the four types of WS model). Thely, we determined the ideal ML theory derived

purpose of the WS was to "defamiliarize" thisfrom them. We also surveyed foreign literaturesituation and give people the opportunity tooncritically consider media infrastructures insoftwarestudies,

platform

capitalism,

platform cooperativism, and ML-related academ-

everyday life from a different perspective.

ic societies in Japan and abroad.

1.2.2 Research contributions
Shin Mizukoshi was in charge of the entire

development research. In addition, Osamu

project. Atsushi Udagawa, Masahiro Katsuno,

Nakano (Japan Co-operative Alliance and Japanand Setsuko Kamiya (doctoral students at that

Workers’ Co-operative Union) supported thetime) acted as secretaries. Hajime Hasegawa

social(Professor of Meiji Gakuin University) participat-

Buckingham (UK), Trevor Scholz (USA), Hyeon-

ed in the theoretical research and Mami Komaya

Seon Jeong (Korea), and Jerry Jacques (Belgium)(Professor of Jissen Women’s University) inkindly collaborated internationally.

2

engagement

activities,

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[Figure 1.1] Sketch of the new literacy for media infrastructure (Mizukoshi, 2020)

1.3 Research results
In our theoretical research, we developed apublished in various conferences and journals.

model of what constitutes infrastructural litera-In the development research, we provided

cy and then synthesized a model with tradition-"Four Types of WS Model." According to it, four

al media content-related ML ([Figure 1]). In the"Type 1," two "Type 2," and one "Type 3" WS

end, the model was connected with a media

were developed, evaluated, analyzed, presented,

biotope concept in which people collaborate withand published. The design of "Type 4" willothers in their homes, communities, schools,

continue in the future.

workplaces, and online communities. People can

In connection with this, we have held four

become more resilient and secure their own

international research meetings, given presenta-

identities and communities by engaging with

tions to the government, industry, and local

the media biotope with a do-it-yourself mentali-authorities, and published information on ourty. These findings have been presented andblog (A New Literacy for Media Infrastructure).

1.4 The purpose and outline of the international seminarOnce again, this collection of papers is arevised version of the three papers presented atvideo recording of the seminar can be found on
the project website (Ibid.).

the international seminar "Social Networks for

Research teams from Belgium and Korea

the Next Media Literacy." This seminar wasattended the seminars. Both are among the few

held in a virtual format via Zoom on Saturday,

groups that are trying to conduct extensive

27 February 2021, from 4:00 pm to 7:30 pm

research on literacy education on digital technol-(Japan time). A total of 57 people participated. A

ogies and simultaneously develop these activi-

Social Networks for the Next Media Literacy3ties in a community with diverse members.

Udagawa

Mizukoshi et al. were in contact with bothsupport.

teams throughout the research project.

andKatsunoprovidedtechnical

Reference:

Mizukoshi gave an overview of the project,
followed by reports from Belgium, Korea, andMizukoshi, S. (2020). Media Landscape without Apple: A
Workshop for Critical Awareness of Alternative MediaInfrastructure. The Journal of Education, 3(2), 77-94.

Japan, in that order. Afterward, Yuko Tsuchiya(Hiroshima Keizai University) was the discussant, followed by a question-and-answer session.
Finally, Hasegawa provided a closing address.

Website:A New Literacy for Media Infrastructure
https://infra.mediabiotope.com

2. Bridging Research, Practice and Scientific Disciplines: the « In the Shoes ofan Algorithm » Media Education Project
Jerry Jacques, Maxime Verbesselt

This chapter provides an overview of the "In
the Shoes of an Algorithm" project which start-

research has been described in Jacques et al.
2020.

ed in Belgium in 2018 with the aim to develop

The precise aim of this chapter is to describe

an educational response to the issues raised by

the geographical and cultural context of thisrecommendation algorithms used in digitalproject, its birth, evolution, and the partners

media (YouTube, Google, Spotify, Amazon...).

involved in its creation with a focus on how theThis project led to the creation of a pen-and-pa-

team which is composed of researchers andperparticipants

media educators worked together. By telling theworking in teams have to design their own

story of the project and the partners involved,

recommendation algorithm and then discuss it

the aim is to share some lessons learned thatwith the entire group. This activity, as well as

might be useful for future media education

results of the first phase of the design-based

initiatives.

educational

game

where

2.1 A Team of Researchers and Media Educators
In the beginning, the partners involved in thequestions for media educators who like toproject shared questions about the growing roleemphasize critical analysis and creative produc-of recommendation algorithms in the current

tion of media in order to develop the media liter-media

acy (ML) of users of digital platforms. The

4landscape.

Thesealgorithms

raise

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challenges were numerous and many questions

The media educators participating in thiswere raised: How can we develop a concrete

project were all working for Action Médias

educational response to this issue of recommen-

Jeunes ("ACMJ"), a non-profit organization

dation algorithms in digital media? How can wecomposed of 13 workers that offers media educa-

developandtion activities in the French-speaking Communi-

connect our fields of expertise? How can wety of Belgium ("Fédération Wallonie-Bruxelles").

tackle such a technical and complex problem

The target audience of ACMJ are young people

with teenagers? The main challenge was to findbetween ages 3 and 35 with media education

a way to work meaningfully and effectively in a

activities offered in primary and secondary

team combining researchers and practitioners.

schools, but also in out-of-school contexts (youth

The researchers involved in the project were

centers, summer camps…). The philosophy of

all working at the University of Namur, in the

ACMJ is to avoid a top-down "best practices"

French-speaking part of Belgium. They were allapproach. Instead, educational activities areworking at the CRIDS, the research center fordesigned to offer teenagers an opportunity to

information, law and society, an interdisciplin-share and reflect about their own actual media

ary research center gathering scholars working

practices. By offering a space to create andin the fields of law, communication science anddiscuss media, the aim is to develop their criti-

philosophy. The rather limited size of the univer-cal reflection. The activities cover many differ-sity and the interdisciplinarity of the researchent themes such as the creation of video games,

center encouraged collaborative projects beyond

the production of short films or the analysis of

the frontier of disciplines.

digital advertising.

amultidisciplinary

approach

2.2 A Shared Context
When looking backwards, there are two main

Sharing a geographical context also means

contextual reasons for the birth of this collabo-

sharing a historical context, and in our case, aration. First, the partners shared the same

history related to media education and literacy.

geographical environment: the city of Namur

Media education is seen in the French Commu-

where the university and ACMJ are based.

nity of Belgium as a way to balance the power

Practical aspects of collaboration may soundof the relations at stake in our media rich world,

trivial, but this spatial proximity, on a very basic

as a means of empowering media users andlevel, facilitated the launch of the project sincecommunities, and as a lever to promote a

the partners knew each other's work before thecivilized use of media, which means using media

project started.

without manipulating/constraining other people.

Social Networks for the Next Media Literacy

5This approach is influenced by a history of
media education of almost 50 years (De Smedt,

three resource centers to help and train teachers.

2012; De Smedt & Fastrez, TBP), which started

During the 2000s, there were many develop-

in the 1970s with pioneering media education

ments in media education research, with a clear

activities created by school teachers to help andfocus on the study competences and ML. Thisencourage users to be active explorers of theirperiod was also characterized by a mover

media landscape. These initiatives focused on

towards greater institutionalization of media

the construction and deconstruction of movies,

education which was integrated in school’s

TV shows and radio programs that were creat-curriculum as a "transversal" topic to be

ed in an intuitive and spontaneous way, often

addressed in different disciplines. In 2008, thewithout clearly formalized objectives.

Council became the High Council for MediaIn the 1980s, teachers, professionals andEducation and was reinforced, with clearer

researchers inspired by UNESCO (Grünwald

objectives and more funding. Its missions are to

declaration, 1982) continued to create media

promote media education and ensure the consis-

education initiatives, but they were often

tency of the various existing initiatives.

marginalised from their respective communities

Finally, since the 2010s, there has been a

and accused of working on objects (media) which

two-fold movement. On the one hand, there iswere considered illegitimate.

now a common ground between researchers,

At the end of the 80's, a first structured social

practitioners, and the High Council for Media

network started to appear when La Médiathèque,Education: a model of competences of MLa multimedia library, created a think tank which

published by Pierre Fastrez (2010) has beenlaunched the first studies and published the firstwidely adopted as a shared framework whichdocuments on media education. In the 90's - ahelps to structure the field. A master’s degree

more structured media education network

inappeared in the French Community of Belgium

French-speaking Community of Belgium.

media

education

was

also

createdinin response to a political demand to prove theOn the other hand, there are still important

effects of media education. This led to a firstchallenges for media education in the Frenchlarge-scale study on the feasibility of integrating

Community of Belgium:

media education in schools and to the foundation

・of the Council for Media Education which wasCouncil, media education is still mostly

created to inform political decisions about media

composed of scattered initiatives. Many calls

education. At that time, a media education

for proposals and funding opportunities offer

network clearly appeared with the creation ofsubsidies for short-term projects on trending

6

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topics rather than promoting large-scale andurgent need to develop ML on a large scale.

long-term programs.

This brief history sheds light on the state ofMedia education is not a specific subject

ML at the time of starting our project. Mediain schools and is still considered as a transver-education was considered in the French Commu-

sal topic which prevents the development of anity of Belgium as a crucial topic with research-strongtheers, teachers and educators highly committed to

students. It also means that the teachers arework on this contemporary issue, although there

not sufficiently trained on issues and pedago-

was a lack of means and remaining difficulties ingies related to media education and ML.

developing a global and coherent approach・

without stronger political support.

・

andthoroughexpertisefor

There is thus a lack of means, despite therapid evolution of the media landscape and an

2.3 Bridging Education, Research and Scientific Disciplines
Designing a media education activity on ation and philosophy of science and technology.

recommendation algorithm was a challenge as it

This work required time, but the teamis quite a complex topic. Developing a basic

members were unable to find any funding at theunderstanding of the computational processes atstart of the project. On the research side,

work in recommendation algorithms requires

funding research projects is very competitive

time and commitment for non-experts. The

and only a very few numbers of funding instru-

recommendation algorithms of digital platforms

ments are oriented towards applied education

are also protected by trade secrets which means

and research projects. The project evaluationthat finding documentation about them is far

process also takes time, but it seemed to thefrom being straightforward. Thanks to in-depth

team that it was necessary to work on the

research and interviews with experts in comput-

subject as soon as possible. Action Médias

er science, the members of this project managed

Jeunes is financed by the French Community of

to develop an understanding of the main operat-

Belgium with multi-year subsidies. This funding

ing principles of these recommendation mecha-

method has the advantage of allowing the launch

nisms as well as of their potential effects onof recurrent training activities deployed overusers, their media consumption, and the broader

the long term. The downside is that these funds

society in general. This work was also possiblelack flexibility when it comes to rapidly develop-

because of the interdisciplinary expertise of theing activities on hot topics. It also forces educa-

members of the team, with members working intors to be mobilized in the field as often as possi-

the field of communication science, media educa-

ble, with a very limited time for the researchSocial Networks for the Next Media Literacy

7and development of new teaching materials.
Despite this lack of funding, the teaman educational tool that can be shared andused by the broader community of media

members were able to free-up time to work on

educators.

the project in early 2018. To do so, the team was・

inspired by the design-based approach tointernational levels.

the diffusion of the project on local andorganize its work (The Design-Based ResearchCollective, 2003; Wang & Hannafin, 2005). The

The main design challenge was to find aidea of this approach is to "depart from abalance between the complexity of the algorith-

problem and then pursue both knowledge andmic recommendation principles that the teaminterventions that address it" (McKenney andwanted to include in the activity and the need toReeves, 2013, p.4). The method consists of sever-create an activity that was suited to teenagers

al iterative steps, with several cycles of inven-(from fourteen years old and older) in a limited

tions and revisions. This approach is particular-

time (100 minutes, which corresponds to thely suitable for classroom experiments andtypical time frame for school activities in French

implies close collaboration between researchers

speaking Belgium). A first version of the gameand practitioners. This methodology was a great

was tested during approximately one year intool to organize the work together and to clarify

different classrooms and with teenagers withthe objectives of the different steps. It allowed

different learning curriculum and profiles.

for the creation of an educational intervention

During this test phase, the activity was also

and scientific results at the same time. Several

used as a focus group technique and all thesteps of the game were defined:

sessions were recorded and then transcribed to・

the design of the educational activity.

analyze the representations and experiences of・

the use of the activity as a focus groupthe participants. The result of this researchtechnique to identify key challenges for media

work was then used to improve the activity.

education

Some gameplay issues were addresse and thefocusedonrecommendation

algorithms.

final discussion, which is held at the end of each・game session, was structured with key questions

the improvement of the game according

to the results of the focus groups.

and issues to be addressed with the teenagers

・

to foster a reflexive stance towards their experi-

the analysis of the learning outcomes

induced by the activity.

ence of recommendation algorithms in digital・

media.

the fine-tuning of the activity according

to analyzed learning outcomes.
・8

the finalization of the activity to make itOnce the game was stabilized, it was used indifferent educational contexts (schools, youth

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centers, educational trips, universities, lifelong

dedicated training session was organized, andlearning activities). Data was collected during

an instructions manual was created for teachers

these sessions to analyze and document theto learn how to implement the activity in theirlearning outcomes of the game. At that time,classes. The challenge here was again to find athe project was also presented in various

balance between comprehensiveness and expla-

seminars and scientific events.

nations of a complex subject matter on one hand,

The final step was to transform the activity
into an actual educational tool usable by theand accessibility of the document and training
on the other hand.

broader community of media educators. A

2.4 An International Collaboration
Members of the team presented the project at

the importance of engineering decisions andthe Media Education Summit held in Hong Kong

entanglement with social issues.

in 2018. This was a unique opportunity to create・

an international partnership around the issues

more critical assessment of algorithms andraised by recommendation algorithms used by

the choices made by the digital platforms

digital platforms. This is when the collaboration

designing recommender systems.

with Professor Hyeon-Seon Jeong and Professor

These

in Belgium, the students focused on adifferencesin

engagement

wereShin Mizukoshi started with the identification of

explained by differences in classroom cultures,strong connections between research interests.

in the levels of institutionalization of media

As digital platforms are heavily used in different

education in the two countries and by the choic-

parts of the world, partners saw the opportuni-

es made to conceive the two versions of thety to launch an international collaboration ongames and especially by the need to find a

education to algorithms used in digital media.

balance between accessibility and adequacy to

In the following months, our South Korean

the recommender systems used by digitalcolleagues developed a version of the gameplatforms. This analysis clearly highlighted theadapted to the South Korean context and theimportance generated by different contexts on

two teams were able to compare the two

the media education projects and the effect theyversions of the game in a paper written altogeth-

produced. This reflection was enriched wither (Jacques et al., 2020). It was interesting tocontributions of Professor Mizukoshi duringnote that the engagement of participants wasseminars organized in Belgium and Japan.

different in the two games:・in South Korea, the students focused onSocial Networks for the Next Media Literacy

92.5 Taking a Step BackAt the end of this project, it seems important

the recruitment of participants to the study

to take stock and to identify the strengths andbecause the project was able to benefit from aweaknesses of our collaboration to pave the way

strong existing contact network. This has there-

for future collaborative educational projects

fore also greatly facilitated the collection of data.

focused on current ML issues in the post-covid

The constraint of proposing an activity thatworld.

could be used for media education and thatIn terms of strength, the fruitful collaboration

would have a practical impact was also a power-

between practitioners and researchers, both on

ful incentive to move forward with this unfund-local and international levels, is the greatest

ed project. The international collaboration alsoachievement of this project. From the point ofopened new perspectives with many opportuni-

view of Action Médias Jeunes, it made it possi-

ties to exchange with researchers from all overble to develop an innovative activity benefiting

the world.

from scientific expertise on a complex issue.

Despite these strengths, various difficulties in

researchers

this collaboration must also be highlighted. As

reduced the time usually needed to document

noted above, limited time and funding were theresearch when tackling a new theme but also tomost important obstacles. For example, several

push the reflections further thanks to theversions of the game could have been createdpooling of expertise. It also allowed the collec-

for different audiences or instructional videos

tion of data regarding the learning outcomes of

could have been created to make the gamethe activity, which can rarely be done due toeasier to use. Nevertheless, it can be also consid-lack of resources and time. In the long run,ered an opportunity to work on a longer project

media educators involved in the project devel-

timeline and to avoid the pressure of producing

oped skills and knowledge which will be useful

research deliverables. Action Médias Jeunes

for other projects. Finally, it was also a uniquealso needed to carefully communicate about theopportunity for the association to gain interna-interest of the project as demands received fromtional exposure.

schools and other partners did not always corre-

This

close

collaboration

withRegarding research, the project benefited

spond to the activities developed by the associa-

from field experience of media educators andtion. The game has also had a limited diffusion

their in-depth and up-to-date knowledge ofprobably due to the complexity of its implemen-young people's media practices and pedagogicaltation for the teachers. Another drawback is

preferences. The collaboration with a media

related to the sustainability of the data proposed

education organization also greatly facilitatedto the participants of the game. Music videos

10

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selected in 2018 might quickly become outdated

would be to allow educators to easily update andfor the teenagers playing the game in thechange the data by themselves.

coming years. An approach to solve this problem

2.6 Conclusion
This chapter covered some key insights(including its historical context and partners)
about the ‘In the Shoes of an Algorithm
project’. This presentation shows the need toactively build bridges between research andeducation practices, between disciplines andbetween local and international initiatives tomeaningfully work on the current media education challenges raised by the constantly evolving digital media landscape. Developing thesecollaborations requires precise planification as
well as excellent communication to build ashared vision of the addressed problem and its
possible solutions despite the sometimes different interests and work practices of the various
partners.
Referencesl 'é d u c a t i o n a u x m é d i a s , à l ' i n f o r m a t i o n e t a u
numérique (title to be confirmed). Villeurbanne: Presses
de l'ENSSIB.
Fastrez, P. (2 010). Quelles compétences le concept delittératie médiatique englobe-t-il? Une proposition dedéfinition matricielle. Recherches en Communication,
33, 35 52.
Jacques, J., Grosman, J., Collard, A.-S., Oh, Y., Kim, A., &Jeong, H.-S. (2020). "In the Shoes of an Algorithm":
A Media Education Game to Address Issues Related
to Recommendat ion A lgorit hms . Th e Jo ur n a l of
Education, 3(1), 37 62.
McKenney, S., & Reeves, T. C. (2013). Systematic Review of
Design-Based Research Progress : Is a Little Knowledge
a Dangerous Thing? Educational Researcher, 42(2), 97
100. https://doi.org/10.3102/0013189X12463781
The Design-Based Research Collective. (2003). Design-Based
Research : An Emerging Paradigm for Educational
Inquiry. Educational Researcher, 32(1), 5 8.
Wang, F., & Hannafin, M. (2005). Design-based researcha nd technolog y- enha nced learning environments.
Educational Technology Research and Development,
53(4), 5 -23. Educational Technology Research andD evelopment , 5 3 , 5 2 3 . ht t ps : //doi . org / 10 .10 0 7/
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De Smedt, T. (2012). L’éducation aux médias en Belgique:
Itinéraire et état des lieux. Jeunes et Médias. Les
Cahiers Francophones de l’é ducation Aux Médias, 4,
77–91.

Websites:
UNESCO. (1982). GRUNWALD DECLARATION ON

De Smedt Th. & Fastrez P. (to be published). Un demi-

MEDIA EDUCATION: http://www.unesco.org/new/siècle d’éducation aux médias, de l’homme imaginaire

fileadmin / M U LTI M EDI A / HQ/CI /CI /pdf /theme_

à la gouvernementalité algorithmique. In Delamotte E.

media_literacy_grunwald_declaration.pdf(ed.) Figures de scientifiques d’hier et d’aujourd’hui.
Formul at ion de point s de vu e en di alog u e s. Sur

Social Networks for the Next Media Literacy

113. GINUESIUM, Digital Art and Media Literacy: Multi-level Collaborations forMedia Arts Education in Local Community
Keumhee Ahn, Chang Geun Oh, Hyeon-Seon Jeong

3.1 Introduction
Since the 2000s, the demand for local

more active role in any given situation. As ismuseums and art galleries has increased due toalready stated in Museum & Art Museum

the increase in leisure and cultural demands,

Promotion Act, the university art museum as an

and the role of museums and art galleries has

important educational facility, should do not only

been expanded into complex cultural spaces

collecting, researching and exhibiting datathat provide education and various experiences

needed for research and education of professors

for more diverse audiences (Ministry of Culture,and students, but also supporting university

Sports and Tourism, 2020, p.644). Not only the

curriculum effectively. Also, its role of providing

roles of exhibitions but also the subjects, contents

cultural arts educational support has been

and methods of education are rapidly changing

emphasized. (Museum & Art Museum Promo-

in museums and art galleries. In addition totion Act, 2020).

programs for the culturally disadvantaged, the

GINUESIUM is an exhibition space located atchange to a complex cultural space is accelerat-

Gyeongin National University of Education anding, such as the use of digital exhibition

it is carrying out challenging practices on thetechniques or exhibitions seeking to fuse perfor-

various roles of the university art museum. We

mances with other genres.

will discuss the characteristics of exhibi-

University museums have a long history oftion-linked media education through the process

cultural property excavation and its studies

and results of media art exhibition in the univer-(Kim & Kim, 2012). Such a role has now beensity, encourages participation of local residents

greatly curtailed by the advent of specialist

and students, and examines the importance oforganizations. Since the roles of the university

enhancing creativity and potential through a

museumuniversity

convergence education approach. In particular,

museums should be for the introspection of the

we would like to discuss the meaning of the

new roles. Art museum founded in university, is

integration of university class and an exhibition,

responsible for research and education forand convergence of art and media education in

university and community members for increas-

the university art museum through collabora-

ing accountability of the university seeking thetion with artists and professors.

12

have

been

changing,

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3.2 Media Sensibilia, Curation & Realization a Media Art Exhibition in the University Gallery
Digital media were widely applied to import-

twenty century by abstract painters and sculp-

ant tools not only in the schools but also in art

tors in Europe. For an example, Marcel

galleries. Media art grew as a huge area whereDuchamp exhibited the first interactive sculp-

traditional media e.g., paintings, sculptures,ture Bicycle Wheel in Paris, 1913. Since theprintings, and graphics substituted by new

Duchamp’s attempt, spectators could moveequipment as like beam-projectors, monitors,

forward artworks closely and allowed to touchcomputers, and even loud-speakers. The term ofthem. Interaction, instead of observation, can"media art" derived from ‘new media art’ instimulate spectators to explore deeply into

the 1970s, but other relevant labels, for instanc-artworks and to participate in the art exhibition.

es: cybernetics, kinetic art, video art, electronic

End of twentieth century, computers evolved as

art also referred ‘new’ forms of artworks

a tool of the digital interaction which reacts

applied with electronic media. After pioneeringwith spectators continuously applying artistic

TV as artistic canvas by Nam June Paik and his

interfaces. Interactive art induced spectators tocolleagues, new media could extend in art fields

participate in the exhibition rather than staying

officially. However, media art encompassed all

as bystanders.

the field of arts from fine art and visual design

The media art exhibition, entitled as Mediaeven to performing arts – sound art, media

Sensibilia – extended perception, held late 2019

performance and stage plays. In the 1980s,

at the gallery of GINUSEUM in Gyeongin‘digital art’ was appeared by artists andNational University of Education in Incheon,graphics engineers attributed to the research

Korea. It was planned with the premise ofon user interfaces and computer graphics. The

considerations for children and visitors fromera of digital media gradually requested to learn

local district to participate in educational

computer techniques to artists, and now mostprograms along with the exhibition. In theartists are working with computers.

range from photography to machine learning

Media art had opened an opportunity of direct

algorithm, nine Korean artists had participatedinteraction toward spectators in the exhibition

with their works, showing the current state andspaces, whereas the traditional gravity ruled

diversity of digital art accepting the theme of

keeping silence and spacing from artworks.

embodied interactivity. The first artwork that

Traditionally, artworks represented specific

can be discussed the active interactivity in thestories or reconstructed objects, so that specta-

exhibition is the Yulyeo, which means musicaltors could only appreciate aesthetics of therhythm, by Chang Geun Oh. The artist present-

artifacts. This long tradition was broken in early

ed a kind of mirror effect using a camera in theSocial Networks for the Next Media Literacy

13[Figure 3.1] Children interact with artwork Yulyeo dancing in front of the screen.

middle of the motion graphic images in real-time,computer graphics and presented black patterns

which visual images aroused an atmosphere ofon the screen, and the interaction was updated

music video, and consequently, visitors could

each time with the shape of bubbles flowing intake a role as performers with fast beats. As athe direction in which the audience stood. While

singular result of this interactive artwork,

Minha

children and teenagers showed dancing gestures

technology and show black and white aesthetics

along with the image sequence. They could

as like oriental paintings, Jumi Paik's artwork P

perceive the delayed images from digital camera

to P clearly reproduced portraits of people

to the screen during continuous improvisation

connected to each other depicting networking

and enjoy the interaction with the artwork

relations. This video artwork temporarily stores

beyond the intention of the artist.

the camera images of a spectator approaching

Yang'swork

contains

cutting-edge

In the exhibition, artist Minha Yang projected

the blank screen, and then connects the lines ofVisual Reinforcement Activity which demon-

the two people with the flow of particles whenstrates a kind of machine learning algorithms

the next visitor approaches. ‘P’ in the title ofthat generated computer signs on the large

the work, means a person who exists individual-

screen to flow like black smoke followed by the

ly in the era of social network services, and at

audience's position. This interactive artwork

the same time, means ‘Peer’ as a visitor who

cited symbols used in the early experiments ofshares the works of the exhibition space.

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[Figure 3.2] Minha Yang’s media projection generated computer symbols and shadows following
spectators’movements(right), while Lee Lee Nam’s screens showed intervention among thefamous traditional paintings from the Western and the Eastern.

P to P was invited to the Community Mediachange current media contents beyond tradi-

Center in Incheon after the exhibition attional ML education biased towards broadcast-

GINUESIUM, because it produced images that

ing and public media. Broadcasting and Internet

differentiate from the limits of connectivity of

portals unilaterally provide the media content

broadcasting or traditional media. As an institu-

as they have edited to the majority, so it istion that educates residents on the media litera-necessary to grasp the messages and nuances.

cy (ML) and content creations, Community

On the other hand, interactive artworks such as

Media Center in Incheon provides various

digital installations reveal the characteristics ofopportunities to participate media installations

digital media and disassemble the mass media

in the Media Experience Zone on the third floor

environment. The transition to the new era ofof the building. In addition to P to P installation,

personal media, requires more creative expres-there are more digital contents of participating

sions and reactive communications.

as like in weather forecasts using blue screen’s

Many of media artists have frequently

chromakey composition, as well as digital books

prepared for the transitions from traditional

produced with augmented reality technology.

media to the new media experimenting withThis experientable exhibition served as an

unveiled possibilities. Their experiments provid-

opportunity to recognize how digital media

ed a foundation for multi-layered communication

Social Networks for the Next Media Literacy

15[Figure 3.3] Spectators interacting with media installation P to P which generates
relational lines and digital particles between two individual persons in the same space but
different moments.

with personal media. The educational effects ofexpands the user's senses as observed from themedia art experiences the embodied interaction

Media Sensibila exhibition and provides anin the exhibition spaces encouraging to exit

opportunity to perceive the future media beyond

from small screens. This is because media art

the conventional media.

3.3 Participation and Convergence in the University Gallery, GINUESIUM
Since 2018, it has operated exhibition anduniversity has diverse members such as theeducational programs based on participation,member of university and the member of local

convergence and collaborative approaches. It

community, it is important to think about whatplans exhibitions and educational programs,

they want and what we want them to experi-

asking continuous questions about the role ofence in GINUESIUM.

the university's exhibition space. Since the3.3.1 The key ideas of GINUESIUM
The condition of a university art museum

museum provides materials and spaces formakes us to think about the changing role of an

research and education for university members.

art museum. The one is that the university art

The second role of the university art museum is16

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that the university has to provide arts education

To this end, we wanted to develop educational

for local community. To achieve these purposes,

programs in a convergent way so that all visitors

we use two concepts, participation and conver-

could realize their creativity and potential. This

gence.

is important that we need help visitor not only

The first concept, participation comes from

who like art but also who doesn’t like art findNina Simon’s participatory museum (Simon,out their own interests or connection from2010). Recently, many museums tried to makeconvergent activities.

people participate in exhibition in many differ-

For developing and practicing the museum

ent ways. For visitor’s participation, theeducation program, we have the key ideas asmuseum should think visitors as prosumer who

educational goals of GINUESIUM. The follow-

can not only receive what the museum said, but

ing diagram shows the relationship between key

also make meaning of their own museums (Ahn,ideas. Our objective is participation and conver-

2019; Choi, 2006). To this end, we need to havegence. We use storytelling as a teaching andvarious exhibition and educational strategies tolearning method. Creativity and potential areencourage visitors to participate. In so doing,goals of GINUESIUM. As time goes by, we

visitors can enhance visual literacy.

realized that it is important for the visitor to be

The second concept, convergence, is alsoable to find out not only creativity but also theirconsidered more important in art museum

potential in participating and communicating at

education. Kim (2012) said convergence educa-

the convergence program.

tion should focus more on the creative aspects ofmaking new things, not just on connecting
knowledge from various academic disciplines.

[Figure 3.4] The relationship between key ideas in GINUESIUM

Social Networks for the Next Media Literacy

173.3.2 Participation
Recently, the interest about participation of

displayedtwoversionsofinterpretation,

visitors has been increasing in museums (Ahn,

museum’s version and local people’s version. If

2019; Choi, 2006). Also, GINUESIUM has

you read the text on the right, you can easilyemphasized the visitor’s participation in gallery

empathize to the text of the general public. It is

space and a unique participation program, ‘I

written by the owner of a small snack restau-

am an Art Critic’ program.

rant near university. In conversation with theThis is the first example that shows theowner, we knew that he likes art and sometimes

ongoing program of visitor participation. We

visited art gallery for his friends’ art show,[Figure 3.5] Gallery Wall Text (YoungWook Lee, What was the dream that the city had?
Photography, 2011)

Text of art gallery

Text of a local resident

Artist Lee Young-Wook has long recorded the

Beyond the wall, amusement parks are a world

appearance of the city around his studio… thefull of joy and joy, but the scenery on the other side

"scenery" is not an objective, unimpressed, stopped

between the walls is reflected in dizziness, sadness,screen, but a place where changes in time swept

and anger. If you climb high and come down with athrough the place are buried, and a living space thatdeep desire in your heart on a ride flying back to thecan constantly change and look different dependingsky, you will feel empty, empty, and sad that youon the viewer. Here, we stand in a desolate vacant

have not achieved your will. Living like a squirrel

lot like a ruins and look at the rides over the concrete

spinning its wheels, it seems to quietly express our

fence, and the artist is reproducing the experience ofdizzy lives, tangled and tangled like an electric wire.

feeling unfamiliar for a moment depending on thesurrounding background of familiar and welcoming
objects.

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and he wrote very hard. Later we heard that hetext the visitor prefers to read and sympathy.

asked other community member to read his

Later, we saw many visitors reading the text ofwriting and to get some comments. When he

the general public very carefully. They easily

visited the gallery, he was very happy and proud

understand the meaning of the text and image

to see his text on the wall.

and have big interest in the local resident’s

During exhibition, we wanted to know whattext.

3.3.3 Convergence education in museum
In convergence education, art plays a very

GINUESIUM, visitors do not only stay in appre-

important role in convergence with various

ciating art and understanding its meaning, but

fields. In particular, imagination, sensibility, andalso cultivate creativity through convergence ofvisualization principles inherent in art play an

art and science, or art and media education, as

important role in fostering creative convergence

well as convergence of art and life.

talent. Furthermore, art goes beyond conver-

The example of the volunteer program forgence between subjects, connecting viewers'

high school students shows the possibility oflives and education and connecting experienceart-based media education and a convergenceand learning (Kim, 2012). In other words, art

platform through collaboration with local insti-

plays an important role as a link in convergencetutions. We developed the volunteer programeducation. Art museum education is aimed atwith a graduate student and Incheon media

convergence education in GINUESIUM. In

center provided workshops for this program by[Figure 3.6] A high school student taking video

Social Networks for the Next Media Literacy

19

the

get motivation about the exhibition in advance.

understanding of the GINUESIUM exhibition

To make this video, they learned how to use

and the advertisement of the art museum, highcamera and edit video. After writing story-

school students made an advertising video ofboard, they took and edited video using edit

GINUESIUM exhibition from a teenager's

program and used music, too. Even though it

perspective. Professional instructors of Incheon

had been two-day workshop, they finally

Community

completed their mission.

professionals

collaboratively.

Media

CenterBasedonprovided

video

making workshops, and Eunseon Yu, a graduate

Another example is a program of ‘the story

student, in our university developed and operat-

coding with artworks’ in which many students

ed the program and wrote the master's thesis

such as university students, high school students

with this project. Since there are not manyand elementary school students participatedprograms for teens in art museums, we tried to

and worked collaborately. It is a kind of relay

provide volunteer programs in art gallery forteaching program in which after visiting theteens.

exhibition, the university students taught coding

One example, GINUESIUM Story made by

to high school students and the high school

three high school students for elementary school

students with some assist with university

students focused on what elementary school

students taught elementary school students.

students would experience when they visited to

The mission was that the elementary school

GINUESIUM. They made a kind of pre-visit

students made short videos using coding

video for future visitors who will experience andprograms based on their own stories with some

[Figure 3.7] Elementary students are sharing their story.

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images of artworks. At the end of programs,

each other and completed their project success-they share their video with other students. In

fully. They fused they experiences with art andthis program, diverse age groups communicatedtheir stories based on media competences.

3.4 Integrating media arts within university course on media literacy
Artists who participate in the exhibitions attions" and "Literature and Human Lives". The

GINUESIUM have been actively encouraged to"Digital Media and Communication" class aims

collaborate to provide workshops for regular

to foster ML for undergraduate students whocourses at the university with Professors who

train to be teachers of elementary education,

are willing to integrate arts into their lectures.

while the other two classes focus on under-

One of the successful examples is a photography

standing verbal and written communications orand video-making project that was conducted inliterary works.

the "Digital Media and Communication" class,

The integration of media arts within ML-fo-

which is a liberal arts course provided for the

cused course was intended to provide students

first year students at Gyeongin National Univer-with an experience of appreciating high-quality

sity of Education. As a selective course, thisvisual art works which explore the socioculturalclass can be chosen among three classes – themeanings of colors particularly in relation to theother two are "Language and Human Interac-

representation of gender. Representation is one[Figure 3.8] Students’participation through media projects for media literacy

Social Networks for the Next Media Literacy21

of the key concepts of ML education (Bucking-students actively engaged in the critical analysis

ham, 2003, 2019). ML education requires "activeof the ideologies, social values, and interests

inquiry and critical thinking about the messag-

involved in media representations, based on

es we receive and create" (National Association

their own creative activities of taking photo-

for Media Literacy Education, 2007, November),graphs of everyday objects. After the workshop

and it is "not about to ask IF there is a bias in awith an artist, the students were asked to makeparticular message (since all messages arevideos in small groups to reflect their experienc-

biased), but rather, WHAT the substance,

es of participating in the Arts exhibition assource, and significance of a bias might be"

audiences as well as what they learned through(National Association for Media Literacy Educa-

the workshop with an artist. In this way, thetion, 2021, June). It is important to critically

ML class tried to provide the students with an

explore how specific groups of people, objects,

opportunity to understand that all messages areand social phenomena and events might beconstructed - media messages are created by an

represented in the media which influence theauthor or media producers by constructing

audience’s thoughts, feelings, and social actions.

meanings rather than simply reflecting the

The students’ activities and the invited

world. The collaborative design of the students’lecture of the artist were carefully created andparticipation through media projects was madearranged through a series of dialogues for brain-by the partnership among university course,

storming between the lecturer and the artist,arts exhibition and local community, as it can be

developing core activities to be make thedescribed below in Figure 3.8.

[Figure 3.9] The workshop with an artist was integrated with the students’participation as
audiences of the arts exhibition at GINUESIUM.

22東京大学大学院情報学環紀要

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JeongMee Yoon, the artist who collaborated

from very early years when they might not be

for the ML course, is an internationally recog-

able to decide what to choose. She also showed

nized artist in the field of photography and a

how the colors of objects of the same persons

winner of many renowned awards including themight have changed as they grew by revisiting

Sovereign Asian Art Prize (Hong Kong, 2011).

some of the girls and boys after seven years andThrough the Pink and Blue Project, as it can be

taking pictures of their objects which were notfound on the artist’s blog (http://www.jeong-predominantly pinks and blues anymore.

meeyoon.com), she has investigated the colors,

The collaboration with the artist in the MLparticularly pink and blue that can be found incourse was comprised of three steps. Firstly, theyoung children’s everyday objects such as

students were asked to prepare ten photos thatclothes and toys. The photographic works draw

they took by choosing one color of their choice

the attention of the audience to the socialand chasing it with their own cameras whenconstruction of gendered colors of commerciallythey were walking by streets for a week.

produced children’s possessions which could

Students are asked to choose a color among red,define and affect their identities and agencies

orange, yellow, green, blue, purple, pink, white,[Figure 3.10] The collaborative collage of the photos‘Chasing Colors’

Social Networks for the Next Media Literacy

23

[Figure 3.11]“Meanings of Colors that You haven’t known”(https://youtu.be/kKdPqupf-xE)

grey, black, silver or gold to ‘chase colors’

videos about their experiences of working forwith their own choice of cameras with a device

the project of Chasing Colors. The planning wasof their choice: a smartphone, DSLR, or a digitaltaught and advised by the Professor of thecamera. The title of the project was named ascourse. The students learned how to make

Chasing Colors which was a simulation of thevideos with their smartphones from media

process of the methods that the artist often

educators who came from Incheon Community

applied to her own creation of photographic

Media Center which had an MOU with theworks. We hoped that this simple task could

university for collaboration of media education.

provide the students with opportunities to think

The whole project of "Chasing Colors" took

and act as an artist who explores the symbolic

seven weeks including the three parts of themeanings of colors that are embedded in histor-

students’ taking individual photographs, theical, social and cultural contexts.

artist-invited talk and the collective collage

The second part was the invited talk from theworkshop as well as the students' video-making

artist on her own works as well as on the

project as small groups. Figure 3.9 shows how

symbolic meanings of colors. The third part was

the artist’s talk took place and Figure 3.10 isthe students’ collective collage of the photos ofseveral scenes of the collective collage workshop.

diverse colored objects as a whole group. This

The place where the students’ Chasingcollage was led by the artist right after the

Color projects were exhibited was originally an

invited talk. After this experience of working

empty wall which was used for the place towith an artist, the students were asked to makedisplay the responses of the audience. The

24

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students participated in the collective collage of

one of the examples of the videos that thetheir photographs that they prepared, after the

students, as shown in Figure 3.11, is one of theartist’s talk was finished. The artist provided

examples of the students’ made videos, using

her own response as an audience of the student’s

the photographs they created along with thecollective collage, focusing on the symbolic

words and the objects that they found in themeanings of the colors that the students collect-process of exploring the symbolic meanings ofed, after it was completed. In this way, an

the colors that they chose, such as ‘passion’

audience-participated photographic collage wasfor red and ‘environment’ for green and thecreated and displayed as a part of the exhibition.

scientific information of these colors, including"Meanings of Colors that You haven’t known",

the wavelength of each color.

3.5 Conclusion
During last three years GINUESIUM has

sity people and local residents participate andplayed a role of a convergence platform throughmake creative meaning with their own story-

participation and convergence of university

telling. And at the same time the university art

people and local residents. Convergence platformmuseum should help people to discover theirserves as a hub for transportation and manyown potential as social meaning-makers whiletransactions and exchange of values occur

participating in gallery activities.

within it (Yoon, 2012; Ahn & Kim, 2021). It is aReferences

space where artists, visitors, curators, andAhn, K. (2019). A study on exhibition connected education

educators communicate, and it is a physicalprograms based on participation and communication.
Journal of Art Education, 58, 245-270.

space where constant participation and interac-

Ahn, K. & Kim, H.K. (2021). A university museum of art astion are made to meet their needs and values,

a convergence platform. Korean Journal of Culture andand it is also a virtual space and a service. By

Arts Education Studies, 16(2), 109-140.
Bentkowska-Kafel, A. (2015). Debating digital art history.

linking media production activities with an

International Journal for Digital Art History, (1).

artist’s workshop in a regular, ML class among

Black, J., & Browning, K. (2011). Creativity in digital art

university courses, it was attempted as a new
ML activity that provided the students valuable

education teaching practices. Art Education, 64(5), 1934.
Buckingham, D. (2019). The Media Education Manifesto.
Cambridge: Polity Press.

opportunities to work with an artist as produc-

Buckingha m , D. (2 0 0 3). Me di a E du c a t i o n: Lit era c y,ers of media works to consciously think throughLearning and Contemporary Culture. Cambridge &the messages that they construct and sharewith digital media. We think university art
museum should provide the space where univer-Social Networks for the Next Media Literacy

Malden, MA.: Polity Press.
Chang, Y., & Kim, H. (2013). Characteristics of Multi-User
Interface for Children—Focus on hand-on exhibition
with interactive media installations. Journal of Digital

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Design (KDDA), 13(2), 335-344.
C h a ng , Y. , O h , C . G . , & K i m , H . ( 2 01 3 ) . Sy mpat hy
Relationship with Mutual Participation in Interactive

Art Museum Promotion Act. Retrieved 12th June 2021.
https://www.law.go.kr/LSW/lsInfoP.do?efYd=20210101&lsiSeq=214345#0000.

Art and Interfaces—Focus on multi-user's interaction

Nat ion a l As so ciat ion for Med ia Literacy E duc at ion

in Interactive Artworks. Journal of Korea Design(November 2007). The core principles of media literacy

Knowledge, Vol.25, 249-258.

education. https://namle.net/resources/core-principles/Choi, S. (2006). The Visitor-Centered Museum: Interpretation

National Association for Media Literacy Education (Juneand Pedagogy. Journal of Research in Art Education,2021). Core Principles of Media Literacy Education in

7(2), 121-137.

the US.

Da lsg a a rd , P. , & H a n s en , L . K . ( 2 0 0 8 ) . Per for m i ng
perception—staging aesthetics of interaction. ACM

https://namle.net/wp-content/uploads/2021/06/CorePrinciples.pdf.

Tr a n s a c t i o n s o n C o m p u t e r -Hu m a n In t e r a c t i o nPaul, C. (2003). Digital Art. Thames & Hudson. London.

(TOCHI), 15(3), 1-33.

Quaranta, D. (2014). Beyond new media art. Lulu Press, Inc.

Dixon, S. (2015). Digital performance: a history of newm e di a in th e a t e r, d a n c e, p e r fo r m a n c e a r t, a n d
installation. MIT press.

Rush, M., & Paul, C. (1999). New media in late 20th-century
art. London: Thames.
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St reeck , J. , G oodwi n , C. , & L eBa ron , C. eds . (2 011).

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Culture, Sports and Tourism.

Student’s video, Meanings of Colors that You haven’tMuseum & Art Museum Promotion Act (2021). Museum &known: https://youtu.be/kKdPqupf-xE

4. The Media Biotope in the Digital Age
Shin Mizukoshi

In this essay, I will attempt to rework theconcept of the ‘media biotope’ (which I coined

improve their media literacy (ML) in a fully
digitalized environment.

nearly 20 years ago) as a space for people to

4.1 What is a media biotope?
I conceived the concept of the ‘media

autonomously create and manage small media.

biotope’ around the year 2000 and continued

This concept is part of a strategic vision toto develop it in the following years (Mizukoshi,

foster ML and allow independent creators to2005). In short, a media biotope is a small media

compete with mass media organizations withecosystem that encourages non-specialists tovast capital.

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I used the ecological term "biotope" as avarious scandals represented in the media

metaphor to change our understanding of the

spurred a debate over the ethics of journalism.

media landscape. This term originally emerged

Simultaneously, there was a growing interest inin Europe as part of a citizens’ movement forcomputers and the Internet, the use of which

environmental restoration. A biotope is "a small

was beginning to spread in earnest. Globally,

ecosystem suitable for the habitation of living

small local and online media outlets were set up

organisms" (Sugiyama, 1995). As such, biotopes

by non-specialist citizens to disseminate infor-

are not ecosystems found in the wilderness;mationrather, they can be small and ubiquitous places,

spread of the Internet, laptops, and small

such as the backyard of a house, a balcony, ahigh-performance video cameras were crucial

neighborhood park, a stream, a shrine, or ato this transition.

temple. In this context, biotopes are createdthroughalternative

channels.

The

I explored a theoretical framework to compre-

when places that form part of our daily lives arehensively

redesigned as porous spaces with many gaps

phenomenon wherein the mass media-centeredand holes suitable for creatures to live in. The

media environment, which had been prevalentidea behind the creation of biotopes is to create

throughout the twentieth century, graduallya network of such ecosystems, considering thebegan to change, giving way to ML, citizen

local environment as a geographical plane

media, and local media. Subsequently, I devel-

rather than a point, to enable citizens’ involve-

oped the concept of the media biotope, which

ment in environmental restoration.

posits activities aimed at preserving and restor-

ML in Japan received much attention in theanddynamicallyunderstanda

ing the media environment.

late 1990s and the early 2000s. This is because

4.2 The four elements of media biotopes and their application
Media biotopes have four essential character-Third, the media biotope does not originate

istics (Mizukoshi, 2005). First, a media biotope isfrom eschewing the larger media landscape;a small media ecosystem; this means that arather, it develops based on the daily-life

media initiative created by amateurs with noelements surrounding it. In environmental activ-

special skills can be maintained and managed

ism, a common strategy to protect the pristine

without

enterprise.

nature of vulnerable ecosystems is to make

Secondly, although a media biotope is a small-them inaccessible to humans; by contrast, thesystem, it does not exist as an isolated "point,"

creation of biotope networks is an activity that

but as a "plane" of interconnected elements.

does not reject humans’ interaction with the

becomingacapitalist

Social Networks for the Next Media Literacy

27

natural environment, as everyone can partici-

for people’s media expressions and digital

pate in environmental restoration through thestorytelling; Core Research for Evolutional

creation of these porous spaces. Similarly, a

Science and Technology (CREST) by Japan

media biotope is not isolated from the commer-

Sciencecialism, monopolistic control, surveillance, and2006–2012) and Storyplacing (co-design of ainvasion of privacy of contemporary media.

digital storytelling system with geographic

However, this does not preclude us from using

information in a Japan Society for the Promotion

existing services and software autonomously.

of Science (JSPS) and the Academy of Finland

Fourth, to create and run a media biotope, ease(AF) joint research project; JST, 2006–2012). We

of access to specific manuals and tools is essen-

produced various manuals and toolkits for thesetial. This requires that manuals are easy to

projects and created small media ecosystems inunderstand, and that tools and materials can bevarious parts of Japan where people can networkbought in mass-market stores. Furthermore,with each other.

andTechnology

Agency(JST),

textbooks on media theory and ML are needed,

For example, for Storyplacing, which has been

as well as manuals for running workshops.

operating since 2014, we developed a uniqueThus, media biotopes often use open-source

media system and workshops that enabled

software, open data from local authorities, PCs,

ordinary people to use simple digital devices tosmartphones, cameras, microphones, or a combi-

create stories about familiar events and sharenation of these.

them with their communities. However, not all

Based on these ideas, I have engaged in sever-of Storyplacing’s ventures have been success-al research projects throughout the 2000s andful, and only some elements of this project are

the 2010s, including the Media Expression,

still in operation. Nevertheless, the media

Learning and Literacy (MELL) Project (2001–

biotope has worked well as a bottom-up media

2006), Media Exprimo (an interdisciplinary

strategy.

research project on information platform design

4.3 Limitations and challenges
Nevertheless, the media biotope has revealed

networking

services(SNSs)

hasbecomeits limitations as a theoretical model due towidespread since the 2010s, leading to the rapidchanges in the media environment that havedevelopment of n×n communication. The media

become more pronounced since the 2010s. I willbiotope provides technical and social tools tolist some of these problems in this chapter.

encourage people to express themselves in theFirst, the use of smartphones and social

28

media. However, SNSs fulfill a similar purpose

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through a highly convenient service allowing

media, but they functioned in a similar way toeveryone to speak freely and enjoy networking

mass-media TV stations and large newspapers.

at will. Thus, at first glance, it seems that the

The shows broadcast by local independent

media biotope is no longer necessary.

networks differ greatly from those broadcast bySecond, the media biotope's vision of small

the NHK. However, the social function of televi-

media has become relatively outdated; smallsion, as an activity for families to gather around,media at the start of the millennium comprised

has not changed. The same is true for newspa-

cable TV, small local newspapers, municipal

pers and the radio. In other words, the smallinternet noticeboards, and community radio.

media around the year 2000 served a similar

These small media operated autonomously infunction to that of big media. Both small andlocal communities as an alternative to national

mass media were only a part of society; that is,newspapers, the Japan Broadcasting Corpora-

media was something to be consumed at specif-

tion (NHK), and commercial broadcast networks

ic times and places of the day.

with national coverage. However, these small

However, today, media is not merely an

media lost relevance with the rise of SNSs. In

element of society but an integral part of theother words, the media biotope is a pre-Web 2.0

social infrastructure (Srnicek, 2016). In the past,idea. However, the current media landscape inmedia was an entity with an independent

the early 2020s has led to the unprecedentedorganization and technological system withinpolarization of public opinion, excessive surveil-society. Today, everything is interconnected via

lance, and widespread privacy breaches. In light

digital networks, while media businesses areof this, we should ask ourselves the following

embedded in the services and applications thatquestion: has the current media landscaperun on them. The Twitter timelines and YouTube

renewed the relevance of the media biotope as avideos we access every day are juxtaposed on

solution to Web 2.0’s myriad problems? To

the same network as the systems that watch

answer this question, we must examine twoover our families at home and the navigation

points. The first is the changing concept ofsystems that we use in our cars. Thus, themedia, and the second is the discussion of

emergence of new media infrastructure has

media's social responsibility and public nature.

reduced the presence of small, independent

The small media of the 2000s and the SNSs

media. This change has forced us to change ourdeveloped since then are certainly very differ-

understanding of the concept of media funda-

ent; however, it is necessary to analyze exactly

mentally, from conceiving media as content to

how they differ. Cable TV and small local

conceiving it as a platform and as infrastruc-newspapers were alternatives to the massture.

Social Networks for the Next Media Literacy

29Second, the media biotope must have an inclu-

age of all SNS users are outspoken (Tanaka

sive philosophy, valuing social justice and2019, Tsuji, 2019). However, the overwhelming

respecting diversity. If such a philosophy is not

majority of quiet users tend to think that thetaken into account, then in a sense, the media

opinions of the minority represent the majority,

biotope has flourished dramatically in the age ofand they tend to only consume media on SNSs

Web 2.0 in evil ways. The online proliferation ofand the mass media.

conspiracy theories, racism, sexism, and other

Therefore, it is evident that developing a small

fanatical beliefs is rampant in SNSs. This divide

media network by a non-specialist public is notin public opinion is partially owed to the nature

enough to create media biotopes as I had initial-of search engine algorithms (Udagawa, 2021),

ly envisaged them. What is essential is to under-

which draw more attention to information thatstand the media's social responsibility and theattracts more online traffic, as well as to theidea that media activities should be carried out

echo chambers and filter bubbles that SNSs

with consideration for social justice, democratic

inevitably create (Bruns, 2019). Various studies

procedures, and inclusivity.

in Japan have shown that only a small percent-

4.4 Reintroduction of the media biotope
Therefore, it is necessary to clarify why I(Ministry of Education, Culture, Sports, Science

reintroduce the concept of the media biotope, inand Technology, 2019). Thus, ML is an urgent

spite of all its limitations. First, ML education isissue. However, ML in Japan has only just begun

essential, even as the media environment chang-

to be developed in primary and secondary

es. Expressing oneself freely over the Internet isschool curricula. Some courses in lifelong learn-easier than ever before; however, paradoxically,

ing, social education, and workplace learning

this has given a rise to social division. Addition-

have been developed, but no full-scale efforts

ally, the staggering advancement of photo- andhave been made. Moreover, it is important tovideo-manipulation

causedmention that the disparity between school

increasingly

education and other forms of education is acommon. Therefore, it is more necessary thancommon phenomenon worldwide. Facing theseever to have the skills and knowledge necessary

problematic situations, to develop ML education

to use the media critically and actively. Simulta-

outside of school, we need a series of individual

neously, the average life expectancy of people inpractices and a comprehensive strategic vision.

Japan is increasing, while the need to adapt to

To develop ML, people must understandsocietal changes in middle age is growing

media in an informal and emergent way, using

deep-fake30

technology

information

to

be

has

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everyday familiar things as learning material.

ties created by renovating closed schools also

Therefore, ML programs cannot be fully under-

appear as viable settings. Moreover, many

stood as one-way lectures on how to operate thelearning communities are emerging online.

media or manage content problems. Like manyMedia biotopes have the potential to address

other things, ML is nurtured and developed

the aforementioned needs. Considering the effec-

through constant communication within a learn-

tiveness of the original concept, it is possible toing community. In addition to schools, communi-

adapt its conceptualization based on the chang-ty halls, workplaces, and local cafés are possible

es that have occurred in the media environment

places to foster such communities. Public facili-

in recent years.

4.5 Revising the concept of media biotopes
In Japan, in 2019, the number of single-person

Similar to daycare centers for the elderly andhouseholds reached approximately 15 million,social welfare facilities for the disabled, we needaccounting for approximately 29% of all house-places where people can learn about the media.

holds (Ministry of Health, Labour and Welfare,

A new media biotope would be such a place.

2019). Particularly, many older adults live alone.
One of the main factors enabling and accelerat-

Let us compare the revised concept of themedia biotope with its original version.

ing people’s transition into living alone is the(1) Media concepts

spread of digital media. However, although

In the original concept, the term "media" wasdigital media are bringing people together, theyused to refer to small, independent media

are simultaneously isolating them. As manybusinesses, such as cable TV and local newspa-

previous studies have shown, ML is a collabora-

pers. In the 2020s, however, digital networks

tive

1989,

have become so pervasive in society that nearly

Buckingham, 2003). In reality, however, many

every artifact (ranging from smart household

people lose the opportunity to participate in thisappliances to cars) has acquired some sort ofprocess and become isolated, particularly older

media

people. However, there are very few opportuni-

concept should include all objects and systems

ties for casual discussions and learning aboutthat serve as media of communication, rather

the media, even among younger people.

than merely the small media of the past.

learning

process(Masterman,

Therefore, there is a need for social spaces

functionality.

Therefore,

the

media

(2) Alternatives

that enable individuals to learn to use media in

The original conceptualization of the media

their daily lives, discuss their significance andbiotope was part of a vision to create an alterna-characteristics, and criticize their content.

tive media ecosystem in contrast with mass

Social Networks for the Next Media Literacy

31media organizations with vast capital. The

aged new media practitioners who acquired ML

revised concept is also part of a vision of anand developed media practices that crossed thealternative media ecosystem where everythingboundaries between professionals and non-pro-functions as a medium. It is where people collab-

fessionals. It was, in a sense, an elitist view oforatively become aware of their existence andhumanity. However, the revised conceptualiza-

problems. They do not simply oppose media

tion of the media biotope includes people who

giants, but they appropriate the services they

are hurt and discriminated against in platform

provide (de Certeau, 2021).

capitalism, as well as those who are left behind(3) Human viewas participants, in the development of new

The paradigm of the media biotope assumes

media. It assumes that these individuals alsothat ordinary, everyday people can becomeneed a media biotope. In other words, theinvolved in the media. However, in the original

revised concept imagines that all people canconcept of the media biotope, this only included

acquire ML by creating their own media ecosys-

people who were good citizens and actively

tems and determining what constitutes goodparticipated in small media projects. It envis-

practice.

4.6 Setting up a new media biotope
Finally, we would like to discuss the prospects

on a joint project that combines workshopof the media biotope. I saw the reports of thepractices for people's digital storytelling with

Belgian and Korean teams at this international

community archive-building (Manabe et al.,seminar as both discussing the development of a2020). [Figure 4.1] is a sketch of media biotopes

new conceptualization of the media biotope. At

among three projects. We are surrounded by

the University of Namur, Belgium, the interdis-

media platforms and infrastructures run by

ciplinary team revealed the process of working

huge capitals. But if, for example, the media

with non-governmental organizations with abiotopes created in Namur, Incheon, and Bunkyo

local tradition to develop critical algorithmic

Ward could be networked with each other, it

literacy. The Korean team examined how

would be possible to secure a relatively autono-

universities, university museums, and communi-

mous media ecosystem within a capitalist media

ty centers in Incheon create a sustainable learn-

ecosystem. In this way, people could gain theing environment around media arts. As part ofresilience they need for the digital age.

our Storyplacing initiative, we are also working

If we want to adapt the concept of the media

with Bunkyo Ward, Tokyo (where the Hongo

biotope to the realities of our time, we should

Campus of the University of Tokyo is located),

scrutinize these cases and identify general32

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design principles. On this basis, we list thethis "media rehabilitation" possible, we must

required plans for the moment.

work on the development of a toolbox of ML

First, the new media biotope constitutes aplace of learning, especially outside of school,

materials

andworkshop-basedlearning

programs and tutorials.

where adults are rehabilitated in their engage-

Second, the new media biotope is a place

ment with the media, serving as a shelter andwhere the real and virtual intertwine. On the

sanctuary for the vulnerable. In other words, in

one hand, we should accept commercial services,

contrast to traditional ML, which has an active

such as social networking sites, and use them toand elitist tendency to develop a rational andmake the most of the advantages of virtual

critical intellect, new media biotopes should

communication. On the other hand, as withtransform the inflexible relationship between

physical rehabilitation and mental health care,marginalized individuals and media platforms.

ML can only be achieved through intensive

Therefore, the process of caring for theseface-to-face communication. To this end, it isindividuals is essential. As such, it is necessary

necessary to use social spaces rooted in tradi-

to gradually improve this relationship throughtional physical spaces. For example, in Japan,

media representation and storytelling. To makethere are three possible types of spaces for this[Figure 4.1] Sketch of media biotopes in the digital age

Social Networks for the Next Media Literacy

33purpose: those based on lifelong learning andsocial education organizations, those based in

ルアーカイブ学会誌 . (2020). Designing for participatorycommunity Archives: Fusion of Digital Storytellingand Participatory Machizukuri 参加型コミュニティ・アー

local high schools and universities, and those

カイブのデザイン：デジタル ･ストーリーテリングや参加型まfound in local media and cooperatives. Particu-

ちづくりの融 合 . 4(2), 113-116. https://doi.org/10.24506/

larly, lifelong learning and social education,
which have traditionally lagged in media-relatedteaching and learning, should be at the forefrontof media biotope network development.
In Japan and abroad, there are many citizen

jsda.4.2_113
Masterma n , L . (19 8 9). Teach i ng t he Media . L ondon :Routledge.
M inist r y of Educat ion , Culture, Sports , S cience a nd
Technology

文 部

科 学

省 . (2019). Shakaijin no

manabinaoshi no jittaihaaku ni kansuru chosa kenkyu"
hokoku sho「社会人の学び直しの実態把握に関する調査
研究」調査報告書 (Research report on "survey research

activities such as environmental conservation,on the actual conditions of re-learning for working

the revival of local communities, the enhance-

people) https://www.mext.go.jp/content/20200731-mxt_
syogai03-100000261_1.pdf

ment of workplace learning, the development of

Ministry of Health, Labour and Welfare 厚生労働省 . (2020).

third places, children's cafeterias, and practices

Kokumin seikatu kihon chosa no gaiyo『2019 年

to reduce the education gap. There is also a
growing interest in linking art with educationand society through a participatory design. The
idea of a media biotope could underpin all these
seemingly disparate movements. Communication drive all civic activities, from environmental issues to poverty alleviation. And learning
about the media that mediate that communication is fundamental to all of them.

国民

生活基 礎 調 査 の概 況 』(Outline of 2019 comprehensive
survey of living conditions) https://www.mhlw.go.jp/
toukei/saikin/hw/k-tyosa/k-tyosa19/dl/14.pdf
Mizukoshi, S.

水 越 伸 . (2005). Media Biotope: Media noseitaikei wo dezain suru メディア・ビオトープ：メディアの生態系をデザインする (Media biotope: Designing media
ecosystem). Tokyo: Kinokuniya Shoten 紀伊國屋書店
Mizukoshi. S. ed. (2016). Storyplacing: Co-design of digitalstorytelling system with Geographic Information 20142016 (final report)
http://mediabiotope.com/projects/archives/wp-content/
uploads/2016/09/storyplacers-booklet.pdf
Srnicek, N. (2 016). Platform capitalism. Cambridge &Medford: Polity

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杉 山 恵 一 . (1995). Biotope no keitaigaku:

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物理 的 構造（Morphology of biotope: physical structureof environments）. Tokyo: Asakura Shoten 朝倉書店 .
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実 践のポイエティーク (L’Invention du Quotidien: 1 Arts

Tsuji, D. (2019). Does use of the Internet make people morede Faire). Translated by Yamada T. 山 田 登 世 子 訳 .

racist? A causal analysis based on a synchronous effects

Tokyo:Chikumashobo 筑摩書房 .

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Manabe R., Mizukoshi S., Miyata M., Tanaka K., Mizojiri S.,

Human Sciences. Vol.5, 35-53.

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Lit era cy an d Polit ic s Web in ar. The I nstitute for

Anata no meisho monogatari あなたの名 所ものがたり

Creative & Cultural Entrepreneurship, Goldsmiths,(Your own storytelling about famous places):

University of London, June 9, 2021.

https://bunkyomm.tumblr.com

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Acknowledgement
This work is supported by“New Theories of Literacy for Media Infrastructures,”JSPS KAKENHI Grant-in-Aid for Scientific
Research(B) from 2018 to 2020: Grant Number JP18H03343, and“Community Archive Design for Local Sustainability,”JSPS
KAKENHI Grant-in-Aid for Scientific Research(C) from 2018 to 2021: Grant Number JP 18K11948.

Shin Mizukoshi（みずこし・しん、担当：Chapter 1、4）
［専門］Media Studies, Media Literacy［主たる著書・論文］‘Media Landscape without Apple: A Workshop for Critical Awareness of Alternative Media Infrastructure’,
The Journal of Education 3(2), pp.77-94, Dec. 2020.
水越伸・飯田豊・劉雪雁『メディア論』放送大学教育振興会、2018.
［所属］Interfaculty Initiative in Information Studies, University of Tokyo (Japan)［所属学会］日本メディア学会、International Communication Association

Jerry Jacques（ジェリー・ジャック、担当：Chapter 2）［専門］Information and Communication Sciences［主たる著書・論文］
A Method Combining Deductive and Inductive Principles to Define Work-Related Digital Media Literacy
Competences, J. Ligurgo, V., Philippette, T., Fastrez, P., Collard, A.-S., Jacques, J., Information Literacy in the
Workplace: 5th European Conference 810, 245-254, Jan. 2018.
［所属］Université catholique de Louvain (Belgium)［所属学会］Research Group on Knowledge Mediation (GReMS)

Social Networks for the Next Media Literacy

35

Maxime Verbesselt（マキシム・ヴェルベッセルト、担当：Chapter 2）［専門］Socioculturel Development and Continuing Education［所属］Action Médias Jeunes (Belgium)

Hyeon-Seon Jeong（ジョン・ヒョンソン、担当：Chapter 3）［専門］Media Education［主たる著書・論文］
Learning Beyond the School: International Perspectives on the Schooled Society, (co-author), Routledge, 2019.
［所属］Gyeongin National University of Education (Korea)［所属学会］The Association of Korean Language Education Research, Korea Reading Association

Chang Geun Oh（オ・チャングン、担当：Chapter 3）［専門］Media Art, Robotics［主たる著書・論文］‘Digital Art & Media Literacy -on the Exhibition in GINUESIUM and Collaboration with Community Media
Center Incheon’, The Journal of Education. 3(2), pp.125-134, 2020.
‘From Mechanical Metamorphosis to Empathic Interaction: A Historical Overview of Robotic Creatures’,
ACM Transactions on Human-Robot Interaction. 3(1), pp. 4-19, 2014.
［所属］Gyeongin National University of Education (Korea)［所属学会］IEEE Robotics & Automation Society, IEEE Communication Society, Korea Society of Basic Design& Art, Seoul Sculptors Society, etc.

Keumhee Ahn（アン・クンヒ、担当：Chapter 3）［専門］Art Education［主たる著書・論文］
Art Education and Culture, (co-author), 4th edition, 2020
［所属］Gyeongin National University of Education (Korea)［所属学会］Korean Museum Education Association

36

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Social Networks for the Next Media Literacy
Shin Mizukoshi*, Jerry Jacques**, Maxime Verbesselt***, Keumhee Ahn****,
Chang Geun Oh****, Hyeon-Seon Jeong*****

This collection of papers is based on the international seminar "Social Networks for the Next Media
Literacy" report. The seminar was held in February 2021, and the final event of the Grant-in-Aid for
Scientific Research "The New Literacy for Media Infrastructure" project, which Shin Mizukoshi led
for three years, starting in 2018.
In the following articles, Mizukoshi first outlines the aims and results of this research project.
According to their country of origin, three pieces will then be presented in the following order:
Belgium, Korea, and Japan.
First, Jacques and Verbesselt examined the "In the Shoes of an Algorithm" project, whichstarted in Belgium in 2018, intending to develop an educational response to the issues raised byrecommendation algorithms used in digital media. The project provided a pen-and-paper educational
game in which participants work together in teams to design their recommendation algorithm.
Second, Ahn, Oh, and Jeong discussed the possibilities and challenges of using the University
Gallery, GINUESIUM at Gyeongin National University of Education for media art and literacy
education. They found the space has been played a role of convergence platform through participationand convergence of university people and local residents. GINUESIUM is a space where artists,
visitors, curators, and educators communicate, and it is a physical space where constant participationand interaction are made to meet their needs and values.
Finally, Mizukoshi reexamined the concept of the media biotope, which he coined around the year
2000, as a space for people to improve their media literacy in a fully digitalized environment. Under
the digital transformation of media, the new media biotope should be a shelter and sanctuary oflearning, caring, where adults are rehabilitated in their engagement with the media. It will be a place
where the real and virtual intertwine.
These results demonstrate the effectiveness of considering the next generation of media literacy
education community-based and advocating the significance of these communities' collaboratory
development.
*Interfaculty Initiative in Information Studies, the University of Tokyo, Japan **UCLouvain, Belgium***Action Médias Jeunes, Belgium ****Department of Art Education, Gyeongin National University of Education, Korea*****Department of Korean Education, Gyeongin National University of Education, Korea
Key Words：Media Literacy, Algorithm, Media Art, Digital Media, Interdisciplinarity, Media Ecosystem
Social Networks for the Next Media Literacy37