New media is a broad term in media studies that emerged in the latter part of the 20th century that refers to on-demand access to content any time, anywhere, on any digital device, as well as interactive user feedback, creative participation and community formation around the media content. Another important promise of new media is the "democratization" of the creation, publishing, distribution and consumption of media content. Another aspect of new media is the real-time generation of new, unregulated content.^{[citation needed]}

Most technologies described as "new media" are digital, often having characteristics of being manipulated, networkable, dense, compressible, and interactive.^[1] Some examples may be the Internet, websites, computer multimedia, video games, CD-ROMS, and DVDs. New media does not include television programs, feature films, magazines, books, or paper-based publications – unless they contain technologies that enable digital interactivity.^[2] Wikipedia, an online encyclopedia, is an example, combining Internet accessible digital text, images and video with web-links, creative participation of contributors, interactive feedback of users and formation of a participant community of editors and donors for the benefit of non-community readers. Facebook is an example of the social media model, in which most users are also participants.

History[link]

In the 1960s, connections between computing and radical art began to grow stronger. It was not until the 1980s that Alan Kay and his co-workers at Xerox PARC began to give the power of a personal computer to the individual, rather than have a big organization be in charge of this. "In the late 1980s and early 1990s, however, we seem to witness a different kind of parallel relationship between social changes and computer design. Although causally unrelated, conceptually it makes sense that the Cold War and the design of the Web took place at exactly the same time."^[3]

Until the 1980s media relied primarily upon print and analog broadcast models, such as those of television and radio. The last twenty-five years have seen the rapid transformation into media which are predicated upon the use of digital technologies, such as the Internet and video games. However, these examples are only a small representation of new media. The use of digital computers has transformed the remaining 'old' media, as suggested by the advent of digital television and online publications. Even traditional media forms such as the printing press have been transformed through the application of technologies such as image manipulation software like Adobe Photoshop and desktop publishing tools.

Andrew L. Shapiro (1999) argues that the "emergence of new, digital technologies signals a potentially radical shift of who is in control of information, experience and resources" (Shapiro cited in Croteau and Hoynes 2003: 322). W. Russell Neuman (1991) suggests that whilst the "new media" have technical capabilities to pull in one direction, economic and social forces pull back in the opposite direction. According to Neuman, "We are witnessing the evolution of a universal interconnected network of audio, video, and electronic text communications that will blur the distinction between interpersonal and mass communication and between public and private communication" (Neuman cited in Croteau and Hoynes 2003: 322). Neuman argues that New Media will:

• Alter the meaning of geographic distance.
• Allow for a huge increase in the volume of communication.
• Provide the possibility of increasing the speed of communication.
• Provide opportunities for interactive communication.
• Allow forms of communication that were previously separate to overlap and interconnect.

Consequently it has been the contention of scholars such as Douglas Kellner and James Bohman that new media, and particularly the Internet, provide the potential for a democratic postmodern public sphere, in which citizens can participate in well informed, non-hierarchical debate pertaining to their social structures. Contradicting these positive appraisals of the potential social impacts of new media are scholars such as Ed Herman and Robert McChesney who have suggested that the transition to new media has seen a handful of powerful transnational telecommunications corporations who achieve a level of global influence which was hitherto unimaginable.

Scholars, such as Lister et al. (2003) and Friedman (2005), have highlighted both the positive and negative potential and actual implications of new media technologies, suggesting that some of the early work into new media studies was guilty of technological determinism – whereby the effects of media were determined by the technology themselves, rather than through tracing the complex social networks which governed the development, funding, implementation and future development of any technology.

Definition[link]

Although there are several ways that New Media may be described, Lev Manovich, in an introduction to The New Media Reader, defines New Media by using eight simple and concise propositions:^[4]

1. New Media versus Cyberculture – Cyberculture is the various social phenomena that are associated with the Internet and network communications (blogs, online multi-player gaming), whereas New Media is concerned more with cultural objects and paradigms (digital to analog television, iPhones).
2. New Media as Computer Technology Used as a Distribution Platform – New Media are the cultural objects which use digital computer technology for distribution and exhibition. e.g. (at least for now) Internet, Web sites, computer multimedia, Blu-ray disks etc. The problem with this is that the definition must be revised every few years. The term "new media" will not be "new" anymore, as most forms of culture will be distributed through computers.
3. New Media as Digital Data Controlled by Software – The language of New Media is based on the assumption that, in fact, all cultural objects that rely on digital representation and computer-based delivery do share a number of common qualities. New media is reduced to digital data that can be manipulated by software as any other data. Now media operations can create several versions of the same object. An example is an image stored as matrix data which can be manipulated and altered according to the additional algorithms implemented, such as color inversion, gray-scaling, sharpening, rasterizing, etc.
4. New Media as the Mix Between Existing Cultural Conventions and the Conventions of Software – "New Media today can be understood as the mix between older cultural conventions for data representation, access, and manipulation and newer conventions of data representation, access, and manipulation. The "old" data are representations of visual reality and human experience, and the "new" data is numerical data. The computer is kept out of the key "creative" decisions, and is delegated to the position of a technician." e.g. In film, software is used in some areas of production, in others are created using computer animation.
5. New Media as the Aesthetics that Accompanies the Early Stage of Every New Modern Media and Communication Technology – "While ideological tropes indeed seem to be reappearing rather regularly, many aesthetic strategies may reappear two or three times ... In order for this approach to be truly useful it would be insufficient to simply name the strategies and tropes and to record the moments of their appearance; instead, we would have to develop a much more comprehensive analysis which would correlate the history of technology with social, political, and economical histories or the modern period."
6. New Media as Faster Execution of Algorithms Previously Executed Manually or through Other Technologies – Computers are a huge speed-up of what were previously manual techniques. e.g. calculators. "Dramatically speeding up the execution makes possible previously non-existent representational technique." This also makes possible of many new forms of media art such as interactive multimedia and video games. "On one level, a modern digital computer is just a faster calculator, we should not ignore its other identity: that of a cybernetic control device."
7. New Media as the Encoding of Modernist Avant-Garde; New Media as Metamedia – Manovich declares that the 1920s are more relevant to New Media than any other time period. Meta-media coincides with postmodernism in that they both rework old work rather than create new work. New media avant-garde "is about new ways of accessing and manipulating information" (e.g. hypermedia, databases, search engines, etc.). Meta-media is an example of how quantity can change into quality as in new media technology and manipulation techniques can "recode modernist aesthetics into a very different postmodern aesthetics."
8. New Media as Parallel Articulation of Similar Ideas in Post-WWII Art and Modern Computing – Post WWII Art or "combinatorics" involves creating images by systematically changing a single parameter. This leads to the creation or remarkably similar images and spatial structures. "This illustrates that algorithms, this essential part of new media, do not depend on technology, but can be executed by humans."

Globalization and new media[link]

The rise of new media has increased communication between people all over the world and the Internet. It has allowed people to express themselves through blogs, websites, pictures, and other user-generated media.

Flew (2002) stated that as a result of the evolution of new media technologies, globalization occurs. Globalization is generally stated as "more than expansion of activities beyond the boundaries of particular nation states".^[5] Globalization shortens the distance between people all over the world by the electronic communication (Carely 1992 in Flew 2002) and Cairncross (1998) expresses this great development as the "death of distance". New media "radically break the connection between physical place and social place, making physical location much less significant for our social relationships" (Croteau and Hoynes 2003: 311).

However, the changes in the new media environment create a series of tensions in the concept of "public sphere".^[6] According to Ingrid Volkmer, "public sphere" is defined as a process through which public communication becomes restructured and partly disembedded from national political and cultural institutions. This trend of the globalized public sphere is not only as a geographical expansion form a nation to worldwide, but also changes the relationship between the public, the media and state (Volkmer, 1999:123).^[7]

"Virtual communities" are being established online and transcend geographical boundaries, eliminating social restrictions. Howard Rheingold (2000) describes these globalised societies as self-defined networks, which resemble what we do in real life. "People in virtual communities use words on screens to exchange pleasantries and argue, engage in intellectual discourse, conduct commerce, make plans, brainstorm, gossip, feud, fall in love, create a little high art and a lot of idle talk" (Rheingold cited in Slevin 2000: 91). For Sherry Turkle "making the computer into a second self, finding a soul in the machine, can substitute for human relationships" (Holmes 2005: 184). New media has the ability to connect like-minded others worldwide.

While this perspective suggests that the technology drives – and therefore is a determining factor – in the process of globalization, arguments involving technological determinism are generally frowned upon by mainstream media studies.^[8][9][10] Instead academics focus on the multiplicity of processes by which technology is funded, researched and produced, forming a feedback loop when the technologies are used and often transformed by their users, which then feeds into the process of guiding their future development.

While commentators such as Castells^[11] espouse a "soft determinism"^[12] whereby they contend that "Technology does not determine society. Nor does society script the course of technological change, since many factors, including individual inventiveness and entrpreneurialism, intervene in the process of scientific discovery, technical innovation and social applications, so the final outcome depends on a complex pattern of interaction. Indeed the dilemma of technological determinism is probably a false problem, since technology is society and society cannot be understood without its technological tools." (Castells 1996:5) This, however, is still distinct from stating that societal changes are instigated by technological development, which recalls the theses of Marshall McLuhan.^[13][14]

Manovich^[15] and Castells^[11] have argued that whereas mass media "corresponded to the logic of industrial mass society, which values conformity over individuality," (Manovich 2001:41) new media follows the logic of the postindustrial or globalized society whereby "every citizen can construct her own custom lifestyle and select her ideology from a large number of choices. Rather than pushing the same objects to a mass audience, marketing now tries to target each individual separately." (Manovich 2001:42).

As tool for social change[link]

Social movement media has a rich and storied history (see Agitprop) that has changed at a rapid rate since New Media became widely used (Chris Atton).^[16] The Zapatista Army of National Liberation of Chiapas, Mexico were the first major movement to make widely recognized and effective use of New Media for communiques and organizing in 1994.^[17] Since then, New Media has been used extensively by social movements to educate, organize, share cultural products of movements, communicate, coalition build, and more. The WTO Ministerial Conference of 1999 protest activity was another landmark in the use of New Media as a tool for social change. The WTO protests used media to organize the original action, communicate with and educate participants, and was used as an alternative media source.^[18] The Indymedia movement also developed out of this action, and has been a great tool in the democratization of information, which is another widely discussed aspect of new media movement.^[19] Some scholars even view this democratization as an indication of the creation of a "radical, socio-technical paradigm to challenge the dominant, neoliberal and technologically determinist model of information and communication technologies."^[20] A less radical view along these same lines is that people are taking advantage of the Internet to produce a grassroots globalization, one that is anti-neoliberal and centered on people rather than the flow of capital.^[21] Of course, some are also skeptical of the role of New Media in Social Movements. Many scholars point out unequal access to new media as a hindrance to broad-based movements, sometimes even oppressing some within a movement.^[22] Others are skeptical about how democratic or useful it really is for social movements, even for those with access.^[23] There are also many New Media components that activists cite as tools for change that have not been widely discussed as such by academics.

New Media has also found a use with less radical social movements such as the Free Hugs Campaign. Using websites, blogs, and online videos to demonstrate the effectiveness of the movement itself. Along with this example the use of high volume blogs has allowed numerous views and practices to be more widespread and gain more public attention. Another example is the on-going Free Tibet Campaign, which has been seen on numerous websites as well as having a slight tie-in with the band Gorillaz in their Gorillaz Bitez clip featuring the lead singer 2D sitting with protesters at a Free Tibet protest. Another social change seen coming from New Media is trends in fashion and the emergence of subcultures such as Text Speak, Cyberpunk, and various others.

National security[link]

New Media has also recently become of interest to the global espionage community as it is easily accessible electronically in database format and can therefore be quickly retrieved and reverse engineered by national governments. Particularly of interest to the espionage community are Facebook and Twitter, two sites where individuals freely divulge personal information that can then be sifted through and archived for the automatic creation of dossiers on both people of interest and the average citizen.^[24]

Interactivity and new media[link]

Interactivity has become a term for a number of new media use options evolving from the rapid dissemination of Internet access points, the digitalization of media, and media convergence. In 1984, Rice defined new media as communication technologies that enable or facilitate user-to-user interactivity and interactivity between user and information.^[25] Such a definition replaces the "one-to-many" model of traditional mass communication with the possibility of a "many-to-many" web of communication. Any individual with the appropriate technology can now produce his or her online media and include images, text, and sound about whatever he or she chooses.^[26] Thus the convergence of new methods of communication with new technologies shifts the model of mass communication, and radically reshapes the ways we interact and communicate with one another. in "What is new media?" Vin Crosbie^[27] (2002) described three different kinds of communication media. He saw Interpersonal media as "one to one", Mass media as "one to many", and finally New Media as Individuation Media or "many to many".

When we think of interactivity and its meaning, we assume that it is only prominent in the conversational dynamics of individuals who are face-to-face. This restriction of opinion does not allow us to see its existence in mediated communication forums. Interactivity is present in some programming work, such as video games. It's also viable in the operation of traditional media. In the mid 1990s, filmmakers started using inexpensive digital cameras to create films. It was also the time when moving image technology had developed, which was able to be viewed on computer desktops in full motion. This development of new media technology was a new method for artists to share their work and interact with the big world. Other settings of interactivity include radio and television talk shows, letters to the editor, listener participation in such programs, and computer and technological programming.^[28] Interactive new media has become a true benefit to every one because people can express their artwork in more than one way with the technology that we have today and there is no longer a limit to what we can do with our creativity.

Interactivity can be considered a central concept in understanding new media, but different media forms possess different degrees of interactivity,^[29] and some forms of digitized and converged media are not in fact interactive at all. Tony Feldman^[30] considers digital satellite television as an example of a new media technology that uses digital compression to dramatically increase the number of television channels that can be delivered, and which changes the nature of what can be offered through the service, but does not transform the experience of television from the user's point of view, and thus lacks a more fully interactive dimension. It remains the case that interactivity is not an inherent characteristic of all new media technologies, unlike digitization and convergence.

Terry Flew (2005) argues that "the global interactive games industry is large and growing, and is at the forefront of many of the most significant innovations in new media" (Flew 2005: 101). Interactivity is prominent in these online video games such as World of Warcraft, The Sims Online and Second Life. These games, which are developments of "new media," allow for users to establish relationships and experience a sense of belonging that transcends traditional temporal and spatial boundaries (such as when gamers logging in from different parts of the world interact). These games can be used as an escape or to act out a desired life. Will Wright, creator of The Sims, "is fascinated by the way gamers have become so attached to his invention-with some even living their lives through it".^[31] New media have created virtual realities that are becoming virtual extensions of the world we live in. With the creation of Second Life and Active Worlds before it, people have even more control over this virtual world, a world where anything that a participant can think of can become a reality.^[32]

New Media changes continuously because it is constantly modified and redefined by the interaction between users, emerging technologies, cultural changes, etc.

Industry[link]

The new media industry shares an open association with many market segments in areas such as software/video game design, television, radio, and particularly movies, advertising and marketing, through which industry seeks to gain from the advantages of two-way dialogue with consumers primarily through the Internet. The advertising industry has capitalized on the proliferation of new media with large agencies running multi-million dollar interactive advertising subsidiaries. Interactive websites and kiosks have become popular. In a number of cases advertising agencies have also set up new divisions to study new media. Public relations firms are also taking advantage of the opportunities in new media through interactive PR practices. Interactive PR practices include the use of social media^[33] to reach a mass audience of online social network users.

Youth and new media[link]

Young people tethered to their cell phones to text and access social networking sites on the street, on transportation, in school and at home are common scenes in the United States. Based on nationally representative data, a Kaiser Family Foundation Study conducted in five-year intervals in 1998-1999, 2003-2004 and 2008-2009 found that with technology allowing nearly 24-hour media access, the amount of time young people spend with entertainment media has risen dramatically, especially among Black and Hispanic youth.^[34] Today, 8-18 year-olds devote an average of 7 hours and 38 minutes (7:38) to using entertainment media in a typical day (more than 53 hours a week) – about the same amount most adults spend at work per day. Since much of that time is spent 'media multitasking' (using more than one medium at a time), they actually manage to spend a total of 10 hours and 45 minutes worth of media content in those 7½ hours per day. According to the Pew Internet & American Life Project, 96% of 18-29 year olds and three-quarters (75%) of teens now own a cell phone, 88% of whom text, with 73% of wired American teens using social networking websites, a significant increase from previous years.^[35]

See also[link]

• 2000s in the music industry
• Collective intelligence
• Cybertext
• Digital media
• Digital art
• Electronic media
• Global Editors Network (GEN)
• Interactive media
• Interactive PR
• Mass media
• Mass collaboration
• Multimedia
• New media art
• New media artist
• New Media Caucus
• New Media Film Festival
• New media studies
• Old media
• Social media
• User-generated content
• Web 2.0

References[link]

Constructs such as ibid., loc. cit. and idem are discouraged by Wikipedia's style guide for footnotes, as they are easily broken. Please improve this article by replacing them with named references (quick guide), or an abbreviated title. (July 2010)

• Orgad, Shani. (November 2006). This Box Was Made For Walking. Nokia, 21.

Further reading[link]

• Poynter Institute: New Media Timeline (1969-2010) created by David B. Shedden, Library Director at Poynter Institute
• Wardrip-Fruin, Noah and Nick Montfort, ed. (2003). The New Media Reader. The MIT Press. ISBN 0-262-23227-8. 
• Leah A. Lievrouw, Sonia Livingstone (ed.), The Handbook of New Media, SAGE, 2002
• Logan, Robert K. (2010) Understanding New Media: Extending Marshall McLuhan, New York: Peter Lang Publishing.
• Croteau and Hoynes (2003) Media Society: Industries, Images and Audiences (third edition) Pine Forge Press: Thousand Oakes.
• Flew and Humphreys (2005) "Games: Technology, Industry, Culture" in Terry Flew, New Media: an Introduction (second edition), Oxford University Press: South Melbourne.
• Holmes (2005) "Telecommunity" in Communication Theory: Media, Technology and Society, Cambridge: Polity.
• Scharl, A. and Tochtermann, K., Eds. (2007). The Geospatial Web – How Geobrowsers, Social Software and the Web 2.0 are Shaping the Network Society. London: Springer.
• Turkle, Sherry (1996) "Who am We?" Wired magazine, 4.01, published January 1996,[2]
• Andrade, Kara, Online media can foster community, Online News Association Convention, October 29, 2005.
• Mark Tribe and Reena Jana, New Media Art, Taschen, 2006. ISBN 3-8228-3041-0.
• Robert C. Morgan, Commentaries on the New Media Arts Pasadena, CA: Umbrella Associates,1992
• Foreword. Manovich, Lev. The Language of New Media, Cambridge: MIT Press/Leonardo Books, 2001. ISBN 0-262-63255-1.
• Kennedy, Randy. "Giving New Life to Protests of Yore", The New York Times, July 28, 2007.
• Immersive Ideals / Critical Distances : A Study of the Affinity Between Artistic Ideologies Based in Virtual Reality and Previous Immersive Idioms by Joseph Nechvatal 1999 Planetary Collegium
• Oliver Grau, Virtual Art: From Illusion to Immersion, MIT Press/Leonardo Books, Cambridge 2003
• Oliver Grau (Ed.): Media Art Histories, MIT Press/Leonardo Books, Cambridge 2007
• Why New Media Isn't: A Personal Journey by David Shedden (2007)
• "Newspapers and Thinking the Unthinkable” by Clay Shirky
• New media research company in srilanka

Look up new in Wiktionary, the free dictionary.

New is an adjective referring to something recently made, discovered, or created.

New or NEW may refer to:

Film and music[link]

• New (film), a 2004 Tamil movie
• "New" (song), a song by No Doubt from Return of Saturn
• New, an EP from Australian alternative rock band Regurgitator

Acronyms[link]

• Network of enlightened Women, a conservative university women's organization
• Net economic welfare, a proposed macroeconomic indicator
• Net explosive weight, also known as net explosive quantity

Identification codes[link]

• Nepal Bhasa language ISO 639 language code
• New Century Financial Corporation (NYSE stock abbreviation)
• New Orleans Lakefront Airport (IATA airport code: NEW)
• Newcraighall railway station (National Rail station code: NEW), in Scotland

Other uses[link]

• New (surname), an English family name
• new (C++), a built-in operator in the C++ programming language
• NEW (TV station), the callsign of Network Ten's station in Perth, Western Australia
• New River (disambiguation), various rivers

See also[link]

• GNU (disambiguation)
• Neo (disambiguation)
• News (disambiguation)
• Nu (disambiguation)
• All pages beginning with "New"

This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article.

Look up media in Wiktionary, the free dictionary.

Media may refer to:

Communications[link]

• Media (communication), tools used to store and deliver information or data
  • Advertising media, various media, content, buying and placement for advertising
  • Broadcast media, communications delivered over mass electronic communication networks
  • Digital media, electronic media used to store, transmit, and receive digitized information
  • Electronic media, communications delivered via electronic or electromechanical energy
  • Hypermedia, media with hyperlinks
  • Mass media, all means of mass communications
  • Multimedia, communications that incorporate multiple forms of information content and processing
  • New media, a broad term encompassing the amalgamation of traditional media with the interactive power of computer and communications technology
  • News media, mass media focused on communicating news
  • News media (United States), the news media of the United States of America
  • Print media, communications delivered via paper or canvas
  • Published media, any media made available to the public
  • Recording media, devices used to store information
  • Social media, media disseminated through social interaction
  • MEDIA Programme, a European Union initiative to support the European audiovisual sector

Computing[link]

• Media (computer), used in computer data storage devices
• Media player (application software), a piece of software designed to play audio and videos

Fine art[link]

• Media (arts), materials and techniques used by an artist to produce a work

History[link]

• Median Empire, an ancient Iranian kingdom of the Medians (Medes) in north-western Iran

Life sciences[link]

• Growth medium, objects in which microorganisms or cells can experience growth
• Media filter, a filter consisting of several different filter materials
• Tunica media, the middle layer of the wall of a blood vessel
• A group of insect wing veins in the Comstock-Needham system

Places[link]

• Media, Illinois
• Media, Pennsylvania

Music[link]

• Media (album), the 1998 album by The Faint

Mythology[link]

• Medea, the daughter of King Aeëtes of Colchis in Greek mythology

Ships[link]

• RMS Media, a Cunard Line cargo liner in service 1948-61

See also[link]

• Media ecology
• Media meshing
• Media psychology
• Media studies
• Medium (disambiguation)
• Multimedia learning
• Kaus Media, a star system in the constellation Sagittarius

This disambiguation page lists articles associated with the same title. If an internal link led you here, you may wish to change the link to point directly to the intended article.

Dr. Michael Lee Wesch
Dr. Michael Lee Wesch, Digital Ethnographer
Born	June 22, 1975 Fairbury, Nebraska
Education	Doctorate, University of Virginia, 2006
Alma mater	Fairbury Junior-Senior High School, 1993
Occupation	Associate Anthropology professor
Years active	2004-present
Employer	Kansas State University
Known for	Anthropology, Digital Ethnography, notable YouTube videos, 2008 U.S. Professor of the Year award
Home town	Fairbury, Nebraska
Title	Associate Professor of Cultural Anthropology
Predecessor	Harald Prins
Awards	2008 CASE/Carnegie U.S. Professor of the Year for Doctoral and Research Universities, et al.
Website
mediatedcultures.net

Michael Lee Wesch (born June 22, 1975) is associate professor of cultural anthropology at Kansas State University. Wesch's work also includes media ecology and the emerging field of digital ethnography, where he studies the effect of new media on human interaction.

Wesch is a cultural anthropologist and media ecologist exploring the effects of new media on human interaction. He graduated summa cum laude from the Kansas State University Anthropology Program in 1997 and returned as a faculty member in 2004 after receiving his PhD in Anthropology at the University of Virginia. There he pursued research on social and cultural change in Melanesia, focusing on the introduction of print and print-based practices like mapping and census-taking in the remote Mountain Ok region of Papua New Guinea where he lived for a total of 18 months from 1999-2003. This work inspired Wesch to examine the effects of new media more broadly, especially digital media. Also as a consequence of this trip, Dr. Wesch has gained some command in the Tok Pisin language, a primary lingua franca of Papua New Guinea.

To this end, Wesch is launching the Digital Ethnography Working Group, a team of undergraduates exploring human uses of digital technology. Coinciding with the launch of this group, Wesch created a short video, "Web 2.0 ... The Machine is Us/ing Us." Released on YouTube on January 31, 2007, it quickly became the most popular video in the blogosphere and was viewed over 10 million times. Wesch has won several awards for his work with video, including a Wired Magazine Rave Award and the John Culkin Award for Outstanding Media Praxis from the Media Ecology Association.

Wesch's videos are part of his broader efforts to pursue the possibilities of digital media to extend and transform the way ethnographies are presented. Wesch is also a multiple award-winning teacher active in the development of innovative teaching techniques. Most notably, Wesch has developed a highly-acclaimed "World Simulation" for large introductory classes in cultural anthropology. On Nov. 20, 2008, CASE and the Carnegie Foundation for the Advancement of Teaching honored Wesch as Professor of the Year.[1]

Currently he is the coordinator for the Peer Review of Teaching Project at Kansas State University, part of a broader nation-wide consortium of universities pursuing new ways to improve and evaluate student learning. He is also working with the Educause Center for Applied Research on "The Tower and the Cloud" project, examining "the question of how higher education institutions (The Tower) may interoperate with the emerging network-based business and social paradigm (The Cloud)."

Administrating Tests[link]

Dr. Wesch is significant in that the final exams for his anthropology classes only have one question: Why are you here? The responses must be an essay of a minimum of 800 words, and a maximum of 1500 words.

External links[link]

• Official Page with Bio, Videos, Presentations, News, and Other Materials
• MediatedCultures.net at Kansas State University
• Professor Wesch's Faculty Page at Kansas State University
• Michael Wesch's Cultural Anthropology Collaborative Class Wiki on WetPaint
• Michael Wesch's Twitter - mwesch
• YouTube videos by Wesch:
  • The Machine is Us/ing Us
  • A Vision of Students Today
  • A Portal to Media Literacy
  • Information R/evolution
  • An anthropological introduction to YouTube