Media Psychology is a new and emerging field, so the early entrants have the excitement and burden of defining the path. What is media psychology? It’s a field with no consensus definition, no clearly-defined career paths, and no easy answers. In spite of that, it can add value anywhere human behavior intersects media technologies. Here’s why: Media technologies are everywhere People of all ages use media technologies a lot Young people use them most Older people worry about younger people Technology is not going away We all worry if this is good or bad or somewhere in-between Psychology is the study of people of all ages Media psychology is using #7 to answer #6 because of #1 through #5 Psychology is key to understanding the implications of technology. Consequently, it seems like it should be pretty straightforward to define media psychology. For some reason, though, it’s not. I have had discussions with colleagues for hours (or at least it seems like it) about what constitutes media, mediated communication, and technology and what we mean by psychology in the context of media—and we’re not even philosophers. In this and the following two posts, I will discuss my definition of media psychology and why I think media psychology is so important. Both media and psychology have made major contributions to western culture throughout the 20th century. ? The term “media, ” however, used to be confinable to a bucket labeled “mass media.” Our awareness of media, however, has reached the collective consciousness, as if we all woke up yesterday, awakened by our programmable alarm with the iPod attachment, and over our coffee made automatically by our coffeemaker, checked our blackberry for emails and headline news and then looked up shocked to see that our kids are doing much the same. This awareness is leaving people clamoring for a new level of understanding. There is an infiltration of media applications and information technologies into nearly every aspect of our lives. What does it all MEAN? Just like Mighty Mouse (or maybe Underdog), media psychology emerged in a time of need. The goal of media psychologists is to try to answer those questions by combining an understanding of human behavior, cognition, and emotions with an equal understanding of media technologies. Unlike some types of media studies, media psychology is not just concerned with content. Media psychology looks at the whole system. There is no beginning and no end. It is a continual loop including the technology developer, content producer, content perceptions, and user response. Just as Bandera describes social cognitive theory as the reciprocal action between environment, behavior, and cognition, so does media psychology evaluate the interactive process of the system. There is no chicken, no egg to this system. They all coexist and coevolve with each other.

Raven-Symone just ruffled a lot of feathers after revealing to Oprah that she doesn’t consider herself gay or Black. But Raven isn’t the only celebrity who doesn’t want to be labeled as African-American. Prepare to be surprised by the celebrities who don’t think they belong on the Black list. Devyn Abdullah When The Face model Devyn Adbullah told Wendy Williams, “I don’t really consider myself as a black girl model. I know what my ethnicity is, but I’m fair-skinned and I feel like I have an international look” she not only took the audience by surprise but her mentor Naomi Campbell was shocked as well. She famously quipped, “What the f*ck does she mean? That’s a disgrace! She’s a Black girl.”

The former English cricket captain beat sentimental favourite Chrissie Swan on the first Australian season of Im A Celebrity Get Me Out Of Here! The final three ... Barry Hall, Chrissie Swan and Andrew “Freddie” Flintoff. Source: Channel 10 BRIT Andrew ‘Freddie’ Flintoff is king of the jungle. The former English cricket captain beat sentimental favourite Chrissie Swan, who copped flak last week for leaving her one-year-old daughter at home during the series, and AFL great Barry Hall to secure the crown on the first Australian season of I’m A Celebrity … Get Me Out Of Here! “It is a bit strange because an Englishman wins something Australian, ” Flintoff said. “I tried for years and I’m used to going home with absolutely nothing and finally I have won something.” He’s the man ... Freddie Flintoff has been named king of the jungle. Source: Supplied He added: “I’m shocked. I’m stuck for words a little bit. I never expected to get this far, geez. It is a lot to take in really. I’m shocked, surprised, pleased; I’ve got a lot of emotions going round at the minute. I’m humbled.” Flintoff, 37, entered the camp as an intruder three weeks into the six week competition and never expected to make it to the final three. “Right up until the last minute of coming in, I wasn’t sure if I was doing the right thing, ” he explained. “The hardest thing for me is, I don’t think it was the show, it was me. I’m probably more pleased than I’ve let on that I’ve done this. Support squad ... Chrissie Swan’s partner Chris Saville and son Leo, Freddie Flintoff's wife, Rachael, and Barry Hall's mates Gavin Langborne and Aaron Broomfield. Source: Channel 10 Flintoff’s win secures $100, 000 for his chosen charity, the McGrath Foundation. His wife, Rachael, flew in to be with him for the final. The couple’s three children – Holly, Corey and Rocky – are back home in the UK and have been keeping on top of his progress online. “I’m so proud of him being himself, ” Rachael said of her husband. “He is a sensitive person. He never ever expected to get this far in it and when he reads all of the lovely comments from people, he will be so made up.” Earlier, show favourite Chrissie Swan was placed third in the competition. Shock result ... Chrissie Swan has come third in I’m A Celebrity … Get Me Out Of Here Source: Supplied The television and radio presenter, was expected to take out the title. Of her experience, Swan said: “I think I’m stronger. Looking back on the first week here, I could never have imagined being here on the very last day. I’ve really thrown everything into this experience. I’m thrilled I stuck it out. I would have missed out on a whole lot of lessons if I’d gone early, that’s for sure. Six weeks down the track, I see the point. It is all about getting to know yourself a bit better, remembering what important, stripping away everything unnecessary is so that you can work out what is necessary.”

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The Sunday New York Times Magazine focuses on everything from politics to social matters, arts to entertainment. Throughout the year, a variety of brand extensions also caters to the interests and passions of Times readers. They include T, The New York Times Style Magazine and Key, The New York Times Real Estate Magazine. The New York Times Magazine reaches one of the most desirable audiences anywhere: affluent, educated professionals. NYTimes.com offers high-impact advertising solutions whether your marketing goal is to launch a new product or service, drive traffic in-store or online, or build brand awareness.

This week, producer Stephanie Foo tells a story about dating online that is unlike any we've ever heard before. The Facts Our theme song is by Breakmaster Cylinder. Our ad music is… Craigslist is the internet’s classifieds section, but it’s also one of its more shadowy corners, where the ads are anonymous and ephemeral. So we found ourselves wondering - what would… Blog In our latest episode, Favor Atender, we asked a question: You’re the one person in the country with the knowledge that in 24 hours, aliens will invade Earth. Your only… In the United States, the idea of having a conversation with the President is pretty outlandish. But in Latin America, it's a regular occurrence. The most accessible president on Latin… This week, we conclude Shulem Deen’s story. In part I, we heard how the internet led him on a path where he ended up being exiled from his community and…

'Purity' can be defined as an untainted and desirable object or reality. In art and art criticism, particularly during the time of Abstract Expressionism , the concept of 'purity' was applied to mean an unmixed medium or singular style. Some prominent examples of media purity in Abstract Expressionism include the paintings of Pollock, Hofmann, Newman and Rothko, whose works strived to create "pure" abstractions, void of context, figuration or definitive meaning. Breakdown of Basic Ideas Throughout the 1930s and 40s, New York artists experimented with increasingly abstract imagery. By removing any familiar or descriptive subject matter, the paint and canvas itself became the subject. Critic Clement Greenberg did not consider abstraction to be merely an artistic style, but an actual medium itself. By the early 1940s, Greenberg was promoting the work of artists such as Jackson Pollock and Hans Hofmann, championing their work as pure abstraction. According to Greenberg, if a painting depicts some form of narrative content or figurative form, then it is impure by the fact that two mediums have been combined, painting and literature. A work of complete abstraction is wholly pure because the canvas maintains its nature as a flat surface, and the paint maintains its nature by not representing anything other than paint. Origins in "Art for Art's Sake" Greek philosopher Plato spoke about the concepts of Truth, Beauty and Love as concrete and pure ideas that are unencumbered by outside forces. From this philosophy arose the idea of the autotelic (from the Greek autoteles ), which implied that a work of art is complete within itself, representing itself and existing purely as a work of art. This idea developed into the phrase, "Art for Art's Sake." Media Purity in Abstract Art Theorists such as Greenberg and Hofmann updated the idea of 'Art for Art's Sake' and applied it to Modern art, claiming that pure forms represent nothing other than the form itself, i.e. a square represents a square, a circle a circle, and so forth. As well, the flatness and planarity of the canvas will remain pure only if the artist respects its nature, and doesn't complicate it with figurative forms or rendering it a surface in which a three-dimensional perspective exists. A work of art is pure only by limiting itself to a single medium. By remaining within those limits, Greenberg argued, the medium of abstraction may explore a virtually limitless number of possibilities. Michael Fried and Minimalism In the 1960s, critic Michael Fried, originally a disciple of Greenberg, took a stand against the artistic style known as Minimalism, believing it to be an essentially impure medium. Fried's argument was that artists, such as Donald Judd and Dan Flavin, whom he called "literalists, " were intentionally creating non-art. This approach exaggerated the materiality of the works, focusing on an interactive experience for the viewer rather than the work itself. Therefore, what impedes a Minimalist work of art from being pure is its interaction with the spectator, thus rendering it a work of theater. This is what Fried refers to as "art and objecthood." When there exists no differentiation between the art and the object (two different media), as was Fried's claim with the literalist works of Judd and Flavin, then the work is not pure. Critics and Artists Who Defied Media Purity Harold Rosenberg did not take stand against ideas of media purity, nor did he offer much of an opinion on it either. Rosenberg's philosophy was concerned with what he called "Action Painting, " in which the creative and emotional actions of the artist produced the abstract image. In turn, Greenberg accused Rosenberg of ignoring the importance of an Abstract painting's form and complete lack of subject matter, thus disregarding the purity of abstraction. Thomas B. Hess, the editor of Art News , was clearly not bothered by issues of purity in Abstract art because he celebrated artists who worked in mixed media. One possible exception was Willem de Kooning , who worked solely with oil paints and canvases. However, since de Kooning often painted abstracted figures, as seen in Woman and other works, his paintings are what Greenberg would consider not entirely pure, as he combined painting and narrative. There were many artists working at this time who cared little for maintaining the purity of abstract forms in their work, but arguably no one more so than "Combine" artist, Robert Rauschenberg. By placing everyday objects such as blankets, glass and miscellaneous hardware onto his painted canvases, Rauschenberg's work achieved the antithesis of media purity.

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Brooke Gladstone is best known for the …pause…that Bob Garfield inserts before mentioning her name in the credits for On the Media. Among her other accomplishments, she was an NPR Moscow-based reporter, its first media reporter, senior editor of NPR’s All Things Considered, and the senior editor of Weekend Edition with Scott Simon. As the years progress, she grows ever more senior. She’s the recipient of two Peabody Awards, a National Press Club Award, an Overseas Press Club Award and many others you tend to collect if you hang out in public radio long enough. Just before coming to On the Media, she did some pilots for WNYC of a call-in show about human relationships with Dan Savage called A More Perfect Union. That was pretty cool. She also is the author of The Influencing Machine (W.W. Norton) and Library Journal, and among the “10 Masterpieces of Graphic Nonfiction” by The Atlantic. At WNYC’s 2012 Christmas party, backed by the fabulous Radio Flyers band, she sang “Bei Mir Bist Du Schoen, ” with her sisters Lisa and Stacey, thus fulfilling all her dreams. Brooke Gladstone appears in the following: As another disturbing video of police action goes viral, we provide a handbook for filming police encounters and bearing witness. The federal government has suffered one of the largest data breaches-or hacks-in its history. Cyber policy expert Robert Knake reminds us how to react. Brooke speaks with journalist Loren Ghiglione, who believes he might have found some answers about the future of journalism in the science fiction of the past. Most of us are familiar with Facebook or Apple products, but don't really understand the code that animates them. Programmer Paul Ford wants to change that. This week, the Supreme Court made its first ruling on a case about the nebulous world of violent online speech. Two newspapers have published databases attempting to count everyone killed by police in 2015. Brooke speaks to the reporters behind the investigations. Once called the "library provision, " Section 215 of the Patriot Act forced libraries to become headliners in the battle waged to protect American freedoms.

As publications compete for clicks on social media, far too many are congregating around the hackneyed way of writing tweets and headlines that relies heavily on over-promising - "You'll never guess" (you probably could), "You won't believe" (you almost certainly will), "the best thing you'll read today" (it won't be, I promise) - and under-delivering - "what happened next will blow your mind" (it never does). Once upon a time, simply not following a handful of publications was a guaranteed way to avoid such clickbait but now everybody seems to be at it (though there are some who manage to do it wrong as this effort from the Express shows): "Is it The Shawshank Redemption?" Speaking of doing it wrong, the crafting of such clickbait headlines and tweets tends to rely on a lot of assumptions about what we might already know, think, believe or even care about, such as "This video will change the way you think about cats...". Or they go so far as to tell us we've been doing something utterly mundane wrong our entire lives in the hope our nagging self-doubt and inherent insecurity about the way we peel an orange will be enough to make us click on a link: The word "this" has a key role to play in the clickbait lexicon. "This" is the shrugging, indifferent teenager of the English language, a word so opposed to being helpful it can turn almost any informative headline into lazy clickbait by simply swapping it in for the subject of the sentence. It has become shorthand for something or somebody you didn't know, or may not care about if you did, used to disguise the often unspectacular truth of a story just long enough to make us click. " this actor [who you've never heard of]..." "Remember when [thing you won't ever care about] happened..." "Can you believe [thing that's crushingly dull] just happened..." It's Barbados by the way. In between, we are invariably asked "Is this the funniest...", " the best... " or "the weirdest..." and everything seems to be "adorable", "funny" a "prank" or we're told it is "going viral" (in the hope it might). * ...as long as it's the only Scottish football Vine you'll ever seen. Let me just check my list of "most confused things Cheryl Cole has ever said". Where is it? I'm sure I put it down here somewhere... So taking an initiative from the Independent's John Rentoul and his banned list of words and phrases which have no place in good writing, I have started a 'Clickbait banned list'. If you're using one of the below then stop and ask yourself why. If it's because you want to over-promise and under-deliver, thus eroding the trust and respect of your readers, while insulting their intelligence and ensuring you become indistinguishable from everybody else overusing these lazy constructs, then carry on. But if that's not actually your long term goal then it's probably not too late to change.