This study examined how comments posted on news stories about the 2016 presidential election reflected the disruptive discourses of the campaign itself. A quantitative content analysis and a qualitative textual analysis of user-generated comments (N = 1,881) showed that while incivility was less frequent than impoliteness, overall there was ample evidence of the violation of democratic norms of political talk in these comment streams. Findings also showed that comments posted on stories in The New York Times were less uncivil than those posted on either Fox News or USA TODAY stories. However, comments posted on USA TODAY stories were more impolite than those posted on stories on the Times' or Fox News' websites. Norms of political talk that ascribe to some aspects of deliberative discourse were more frequent in comments posted later in the campaign, except among comments posted on Fox News stories.
En 1994, Beatriz Sarlo describió la experiencia de visitar un club de video-games en Buenos Aires:Las paredes del salón están pintadas de colores ácidos, verde manzana, amarillo, violeta; contra estos planos de color rebotan las luces que cuelgan del techo y también reverberan algunos grafismos en neón, rayos, estrellas, espirales. Como sea, nadie mira ni las paredes, ni el techo; nadie tiene tiempo para desplazar la vista. Saben que hay poco para ver. El ruido de la música, una percusión que se repite sin variaciones detrás de una melodía brevísima, bien simple, que también se repite sin variaciones, está mezclado con otra serie de sonidos: silbidos, golpes metálicos, golpes asordinados, breves ondas eléctricas, matracas, acordes de sintetizador, tiros, voces irreconocibles, boing, tong, clash, la banda sonora de la historieta. Sarlo adopta un tono de antropóloga observando y reportando una cultura extranjera, una donde los "nativos" parecen absorbidos por un ambiente hipertecnologizado. La descripción del local evoca los mundos virtuales de la tecnología con sus luces y colores artificiales y, simultáneamente, el mundo de la cultura pop donde el lugar físico se convierte en historieta completa con una banda sonora que evoca la serie televisiva Batman. Después Sarlo llama al club un "signo de una época" identificando al lugar que se ha presentado como un espacio de ciencia ficción como el anuncio de lo que vendría en el nuevo mundo posmoderno (55). Ahora, unos doce años después, vemos que Sarlo anticipaba de manera casi profética los cibercafés que aparecen en cada cuadra de las ciudades de América latina y los cambios enormes que colocarían a ese mundo tecnológico en un lugar prominente en el estudio de la cultura latinoamericana.La expansión rápida y global de nuevas tecnologías y el desarrollo de los medios políticos, económicos y, sí, tecnológicos que facilitan tal expansión ejercen un impacto cultural difícil de sobreestimar. García Canclini, en la introducción a la reedición (2001) de su libro Culturas híbridas, identifica la tecnología como uno de los motores fundamentales del proceso de la hibridización que percibe en América latina, Todas las tendencias de abdicación de lo público en lo privado, de lo nacional en lo transnacional, que registrábamos hace diez años se han acentuado. Dos procesos nuevos,
No abstract
W hen Beatriz Sarlo described her experience in an early 1990s video arcade in Buenos Aires, she could sense the shifts in culture that such places portended even if she could not have imagined the cybercafés and Internet portals that would appear nearly every 500 meters in the Argentine capital city. With the rise of computers and the Internet in Latin America, the literary and cinematic representation of the denizens of these technological environments has also gained a larger presence. The recent Mexican film Nicotina (2003) centers on the adventures of a hapless hacker whose talent for computers, stereotypically, leads him into serious trouble as well as being mutually exclusive with an ability to develop a romantic relationship. While Nicotina presents the young hacker somewhat superficially, recent years have also seen novels that leverage cultural constructions of the hacker as subversive to decrypt neoliberal Latin American regimes and, essentially, hack the dictatorial past that continues to run in their roots. In El delirio de Turing (2003), Edmundo Paz Soldán's award-winning novel about hackers and cryptography in modern Bolivia and Las Islas (1998), Carlos Gamerro's Argentine novel about a virtual reinvasion of the Malvinas islands, we find rethinkings of hacker figures and hacker ideology in explorations of a post-dictatorial Latin American landscape configured by political trauma, neoliberal policy, and computer technology. Edmundo Paz Soldán has gained a significant presence among younger Latin American authors in the last 10 years, winning the Bolivian national book award in 2003 and earning distribution deals with Alfaguara that give his books access
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