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This project developed and implemented a prototype WWW‐based instructional learning system modeled around a metacognitive research and development framework which mapped cognitive variables, to metacognitive learning strategies for those variables, to metadata for the instructional design of the media. The framework helped delineate learning strategies and related metacognitive attributes of young students acquiring knowledge in advanced science concepts in an Internet/browser‐based environment. The framework also provided a basis for learner‐specific Internet content personalization.

The purpose of this paper is to explore through a project the feasibility of testing Carpo’s preposition of the second digital turn. It further argues that if media architecture could progress into a new digital design that makes use of large amount of data, the ability of computers to filter through these data and the computers capacity to generate a physical output based on data enabled through a “digital trial and error” process and “age-old problem” in media architecture design could be addressed—in the following called Master/Slave relationship. Its breakdown is then consequently a result of applying second digital turn thinking to media architecture.

The paper outlines two aspects to discuss the design of a media architecture installation: first, a qualitative method using the e-mail trails between the research team developing the installation to uncover trends in thought and opinion to identify if a Master/Slave outcome could have been avoided, thus it has the second digital turn thinking provided a “neutral judge”. Second, a design research approach where the designed outcome of the installation is discussed and evaluated. The scope of the chapter only allows for a short overview of the design process as such.

The authors could demonstrate that the design approach using second digital turn principles had overcoming the problem of a Master/Slave relationship in media architecture. Further, media architecture provides to the second digital turn, the advantage of providing input variables is of a technical nature and a clear set of objective relationships between the technical variables and constraints. Hence, it is easier to design x-number of design options. Media architecture also has advantage that the aesthetic judgement is potentially easier (which option to choose), as the primary function of most media façades lies in communicating dynamic text, graphic or images.

The paper understands its value in opening up and contributing to the question on how to judge objectiles. When designers are now in a position to develop computer programs that can design objects how does one judge which is the best object out of all the potential options? The paper argues that if the aesthetic quality of the outcome is understood a later judgement might be easier.

The aim of this paper is to provide a structured collection of case studies organized around the core discussion of how to address the subject of digital media in schools of design in general and architecture in particular. By means of these case studies it will be possible to understand the trajectory that we have followed in the Department of Architecture at Texas A&M University, having as main goal the incorporation of digital media instruction in design curricula and to assess whether our instructional methods and strategies are in tune with our present understanding of the role of digital media in design. The case studies have been organized following three main contextual themes, namely: shaping our understanding of the role of digital media in design, incorporating digital media in the design studio, and adapting to the availability of new technology. The paper includes the identification of critical issues, among them: polarization between traditional and digital media, solutions for continuous learning and update, and pervasive accessibility of digital means. The paper states conclusions and identifies the opportunities and challenges that we foresee in the near future based on the implementation of multidisciplinary integration and the development of multimodal and media-rich design environments.

Academic libraries have long housed multimedia centers filled with digital media production equipment and software. All too frequently faculty members and students alike have assumed that this technology is the key to effective digital media. It is assumed that because our “digital native” students are constantly immersed in media, they can create effective media instinctively. But, being a prolific consumer of media does not necessarily intuit the capacity to be an effective producer of media, and informed communication skills are of greater importance than a student’s software knowledge. This paper aims to describe partnering with faculty on media assignment design, providing a media instruction and consultation program, and providing spaces and technologies specifically designed to support multimedia literacy.

This paper outlines programmatic and pedagogical strategies demonstrated to improve students’ acquisition of multimedia literacy skills. These strategies are based on the authors’ years of experience teaching and supporting multimedia literacy in the university curriculum and beyond. It concludes with a case study detailing a new program that leverages a library’s services in support of student creativity.

The paper outlines an eight-step workflow for media projects that is core to our multimedia literacy instruction program.

With digital literacy garnering renewed attention in higher education, academic libraries are ramping up their services in support of these goals. This paper focuses on strategies for deepening students’ media production competencies, rather than just teaching them software skills.

This paper develops frameworks to help Internet media designers address end‐user information presentation preferences by advancing structures for assessing metadata design variables. Design variables are then linked to user cognitive styles. An underlying theme is that AI methodologies may be used to help automate the Internet media design process and to provide personalized and customized experiences. User preferences concerning knowledge acquisition in online experiences provide the basis for discussions of cognitive analysis, and are extended into structural implications for media design and interaction. The assumption is made that frameworks for the alignment of design metadata with user metacognitive elements may serve as a reference to aid information design for Internet‐based media.

The purpose of this paper is to theoretically develop the concept of perceived affordance based on the existing studies, and to construct a conceptual framework to show how perceived affordances can facilitate the interaction design of social media.

The paper provides a review of the relevant literature on affordance and perceived affordance, and conceptually proposes a typology of perceived affordances in social media and an integrative framework for interaction design from sociomateriality perspective. Furthermore, a brief empirical example on the interaction design of crowdsourcing systems is used to ground and illustrate the authors' conceptual framework.

The paper shows that the perceived affordances may have multi‐facet characteristics and the interaction design of social media should reflect the multi‐dimensional perceived affordances. The perceived affordances can support or facilitate the design of basic elements of social media, such as content and form, to enhance both usability (human‐computer interaction) and sociability (human‐human interaction). A position of constitutive entanglement does not privilege either users or social media artifacts, nor does it provide a rigid triangle among these three components. Instead, the perceived affordances play a critical role in integrating the key components in social media interaction design as an ensemble.

The paper attempts to explore and develop the concept of perceived affordance and employ it as a theoretical lens to underpin interaction design of social media. Overall, the authors' study contributes to the design science literature in the information management field by elaborating a new theoretical perspective and providing a conceptual framework for the researchers and designers.

The purpose of this paper is to illustrate how designers attempt to engage audiences through different media in TV idents; and to explore how the human mark (such as drawing and model making) in a hybrid with digital media can not only revitalise traditions in design, but also the reception of illusion in this context.

The study focuses on the work of RedBee Media, a company that has a global market and reputation. The phenomenology of how BBC Three and BBC 2 Christmas were rebranded was examined through interviews with the designers and animators involved. Taking a media industry studies lens to examine an art/technology divide the author will expand the visual culture theory of Manovich’s (2007) metamedium.

The influence of technology on television graphic design is contested and continual. Designers might begin to question rather than rely on technology through the process of design. They can confront generic software solutions and apply more critical skills to explore fusions of heritage and digital processes in a metamedium.

This research was focused on a UK broadcaster and a single UK creative agency with a global influence. Future research should examine leading creative practice in other international markets.

The significance of this research is in understanding the materiality and creativity in the artform of TV idents and how designers attempt to engage audiences through different media.

Academics in media and design history are acknowledging the cultural significance of television branding. Design practitioners need to understand why and how in the work of others.

Despite the fundamental role that digital social media could play in the process of consumer co-creation, academic research on this topic is still in its infancy. The overall aim of the chapter is to consider how digital social media can be used by firms to encourage and sustain co-creation behavior.

We draw a multiple case analyses, focusing on the insurance industry, particularly on the Italian insurance market.

We particularly extend the literature on value co-creation by proposing a composite framework that enables us to grasp the different strategies that firms implement in their different manners of employing digital social media.

We set forth a research agenda for managerial scholars that can help understand how social media should be incorporated in the day-to-day operations of insurance companies.