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Many studies have illustrated the vast advantages which blended learning has to offer to the learning community. However, when a learner accesses a digital platform, one cannot ignore the negative repercussions which the learner would be subjected to in the process. Our study tries to analyze the negative repercussions of digital media distractions on their wholistic development.

Information pertaining to the use of digital media among students for blended learning and the consequent distractions faced by them in the process was elicited through a well-structured questionnaire from pre-university and university students. The PLS-SEM model was constructed to identify the effect of digital distractions on students' academic performance, outlook of life and health, keeping counseling and spiritual inclination as moderating variables.

From our research, we inferred that the students' time spent on a digital platform was directly related with their time spent on blended learning and their tendency to get distracted. However, they were more prone to e-distractions than e-learning. Furthermore, e-learning did not enhance their academic performance. However, distractions had significant negative repercussions on their mental health. Counseling that the students were getting in their educational institutions did not play any significant role in improving their mental health.

Studies which have been undertaken to analyze the negative repercussions of blended learning on the wholistic development of students are scarce. Given the increasing popularity of blended learning among South Asian students in recent times, our study has tried to bridge this gap.

Aiming to explore how audience consume and produce media events in the digital, distributed and social era we live in, the paper analyzes the viewing patterns of video news items during a media event (the week of Donald Trump's presidential visit to Israel, the first to a country outside the US), compared to a parallel comparable “ordinary” period (two weeks later, in which no inordinacy events occurred). The comparison focused on simultaneous activities of audiences engaged with the event, with either related (i.e. second screening) or unrelated (i.e. media multitasking).

The research is a diary study based on a dedicated mobile app in which respondents reported their news-related behavior during two periods: a media event period and comparable “ordinary” period.

Participants reported watching significantly more news video items in the first day of the media event week compared to the first day of the “ordinary” week. More than half of the viewing reports of the media event were not on TV. In the media event week, there were significantly higher percentages of viewing reports on smartphones/computers and significantly higher percentages of second-screening reports.

This is the first study that empirically explores the viewing patterns of video news items during a media event, compared to an “ordinary” period, focusing on media second screening of audiences engaged with the event. This comparison may reveal whether (1) media events still retain their centrality in a multi-screen era and (2) the role of the internet and online social media in the experience of media events.

This paper analyses the establishment and evolution of a public oversight body (POB) – the Egyptian Audit Oversight Unit (AOU) – and its implications for local auditing firms and practices.

Primary data were gathered from 34 semi-structured interviews (including follow-up ones) between 2014 and 2020. Secondary data was obtained through publicly available documents and internal memos. Drawing on Debord's (1967) Society of the Spectacle, the insights focus on the POB's conception, materialisation and evolution in a context characterised by weak regulatory structures.

Through a series of acts, the findings reveal how the AOU first accepted the image of “international best practice” oversight (the “metaphorical”), followed by the construction of the local structure and décor replicating a United States (US) style POB archetype (the “transformational”) by primarily relying on visible processes/procedures. Yet, these mechanisms emphasised the spectacular nature of oversight, with little improvement for practice and limiting itself to “cracking down” on smaller local firms. A final stage (the “performative”) reveals how the AOU seeks to expand its activities beyond its original mandate without challenging the image-driven nature of its oversight.

The paper offers two key contributions. First, it reveals how actors, through a combination of symbolic and tangible measures, create a new performative reality of public oversight. Second, it advocates Debord's “spectacle” to complement other theoretical lenses, with a view to illuminating the materialisation stages that bridge the gap between proclaimed oversight policies and actual practices (including conscious and unconscious omissions) within a given political economy context.

This chapter details a practice-based investigation of a 19th-century astronomical device known as ‘Janssen’s apparatus’. It questions traditional narratives of linear technological advancement and ‘sole inventor’ to reframe the historical artefact as a site which makes visible a network of technological knowledge interconnecting astronomy and visual culture. Approached from this perspective, the Janssen artefact is reframed as an ‘intersite of knowledge’, exploring how the various know-how contained within the device is located across disciplines rather than within a single field. Originally developed to calculate the Astronomical Unit during the 1874 Transit of Venus, Janssen’s apparatus failed in its endeavour as a measuring instrument, but its motion mechanism was successfully adapted into early cinema technologies. This chapter applies praxis through the development of a prototype artwork and the concept of ‘techne’ as speculative means of understanding how this mechanism was transferred from astronomy to the Western cultural realm. It proposes that the development of the apparatus was partially gleaned from moving image techniques already in use within 19th-century visual culture. The development of the prototype artwork is discussed in relation to the specific timing mechanism of the Janssen apparatus and how it establishes its own ‘intersite of knowledge’ relevant to its contemporary context. Finally, this chapter elaborates on how witnessing the Janssen mechanism in motion provided unique insight and how creating a dialogue between historical and contemporary apparatus facilitates a reconsideration of how galleries, libraries, archives, and museums [GLAM] and other host institutions that contain artefacts might share their hidden stories.