"In this article we consider the notion of digital global public good and articulate our understanding of it. Against this conceptual foil, we examine the development of DHIS2 (District Health Information Software Version 2), a global health platform inspired by public goods, focusing on the paradox...es that arise in the scaling process. We find that the scaling dynamics played out differently at the macro and micro levels, giving rise to the following paradoxes: addition of new functionalities to cater to the universe of users across the world (macro level) works counter to the needs of users in particular locations (micro level); responsiveness to the requests of the donors with a global view (macro level) distorts the production process, as the voices of users, situated in remote locations in developing countries, are not adequately heard; the system needs to be simultaneously relevant across the global (macro level) and the local (micro level), when the former calls for decontextualization and the later (re)contextualization. We then discuss challenges these paradoxes create with regard to attaining non-rivalry and non-exclusion, the defining characteristics of a public good." (Abstract)
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"It seems that it is not easy for media companies to be more diverse. But it is important. A few companies are trying to appear more diverse in public but there is still much to be done. In the United States, Europe or Germany, minority groups are underrepresented throughout. Here are some of our ke...y findings: There is a significant lack of studies on diversity in the media industries besides studies on gender diversity; the distribution of money in the media industry is biased; the media indsutry is lacking bipoc and women; white males are defining the media industries; there needs to be diversity in management before there can be diversity in content." (Key findings, p.37-41)
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"Welcome to the world of melodrama—and to the melodramas of the world. This book introduces nearly one hundred cinematic masterpieces from various periods and different cultural contexts—ranging from early Hollywood to emergent and popular Bollywood, from Latin American and New German Cinema to ...contemporary Nollywood, from classic melodrama and commercial blockbusters to arthouse film and meta-melodrama, while also encompassing a number of other local forms and styles in their hybrid or revisionist varieties. Our collection features discussions of seemingly timeless stories of love and loss, demonstrating the possibility and power of melodramatic plots to portray the overcoming of differences and antagonisms. Yet it also reveals how the melodramatic code is time and again used for asserting political claims and articulating critique—and hence for (re)producing powerful dichotomies of good vs. evil, innocence vs. corruption, virtue vs. vice. Melodrama performs and rehearses moral conflict and emotional crisis management on a broad scale, involving intimate relationships and familial relations, on the one hand, and global constellations of oppression, violence, war, and regime changes, on the other. Thus, like no other genre, melodrama indeed makes the political personal and the personal political." (Introduction, p.13)
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