This contribution studies the seniors' practices in relation with Digital Information and Communication Technologies (DICT) and gendered identities that are built through these practices. We make the hypothesis that Sex is a determining factor and that Gender structures practices as well as representations. The authors congujate sociological and semiotic approaches upon two fields: firstly, two groups of persons over 60 years, which one has followed a training to DICT, secondly, the Social Networking Service (SNS) Quintonic. The study reveals that beyond gender divisions, the seniors' practices make sense in the system of Gender－which distributes centers of interests between men and women－, participating in the construction of gendered identities. Furthermore, the SNS, because of their expressive dimensions, allow gender norms' interpretations. These interpretations question gendered identities.

With over 1,500 candidate lists that ran for the election for a Constituent Assembly held on 23 November 2011, it was difficult for independent registered lists to distinguish themselves from political parties as the latter were more rooted in the Tunisian political landscape. Whereas most candidates resorted to, among others, traditional approaches to canvass the country, the “Doustourna” network pinned all his hopes on the Net to promote its program. With a view to participatory democracy “Doustourna” put forward a draft constitution for online assessment. The aim was to make citizens actively participate in public affairs. Due to lack of funds and marginalization on the part of traditional media, “Doustourna” mainly campaigned on social networks to be heard and mobilize public opinion.

This essay examines Walter Benjamin's engagement with the early European avant-garde movements, notably Surrealism and the Russian film movement, from the perspective of media aesthetics. The essay shows how Benjamin tries to distance himself epistemologically and politically from the tradition of aesthetic modernism and to find critical motifs for the formation of the new collective public in the biomechanical approach to the cinematic experience. I argue that key analytical concepts in his discussion of film, such as the optical unconscious, tactility, and distraction, can only be grasped if we relocate the notion of technological innervation at the center of Benjamin's account of the intersection of media, space, and human sensorium. In so doing, I aim to draw out some theoretical implications of Benjamin's alternative model to the bourgeois public sphere and the phantasmagoric nature of urban culture for the further development of critical media studies in an age of new media.

In this article, the question of the performance of the interview of explicitation of Pierre Vermersch for the analysis of the competences is put by leaning on the educational experiment of realization of portfolios of competences made by the students of DUT (two-year technical degree). The interview of explicitation is a technique of help to the verbalization a posteriori of an activity / task realized by a person, both at the level of the actions material and mental. The concept of action is fragmented in five facets according to a vertical axis: context, procedural and opinion, and a horizontal axis: declarative, procedural (in the center) and intentional. Once the concept of competence was specified, in particular its relationships with the experience and the knowledge, we emphasize the propagation of the logic of the competences in all the current society. The transferability of the competences, stemming from a fine analysis of the experiences, seems considerable in any situation. After the presentation of two examples, we arrive at the conclusion that the interview of explicitation, by helping to extract competences of its diverse experiences, is a precious tool to become aware of possibilities of reinvestment and of valuation of the previous activities.

In this study, I aim to apply the rhythmanalytic tradition in observation of modern East Asia, which specifically refers to territory lying within contemporary nation-states generally understood to belong to mainly China, Japan and Korea, while countries are not usually linked as static geographical points but rather as social constructs that change over time. Thus it may be possible to posit a region of East Asia in some periods, one of which dates during the early 20th century, when the countries of East Asia functioned and interacted as a region in concert in many ways including exercising the practices of modern civilization and its culture. In order to demonstrate my framework of rhythmanalysis, I will focus on the East Asian visual culture of the period, specifically on the emerging animation images in terms of three rhythmic elements such as fragmentation, repetition, and interruption. In the conclusion of this paper, I will challenge to discover how spacio-temporal meanings of the region have been constructed as mechanization, urbanization, and militarization in the modern East Asia.

This study addresses memetique's potential to open new directions in information and communication sciences. If there is one thing that digital media faithfully reveal, it is their «itérabilité» (Derrida), that is their capacity to tirelessly duplicate themselves, in their supports as in their content. In order to go beyond the simple observation and to understand the depth of this mimetic machine, we will use the cultural transmission tools at the center of memetique: memes. Pending an excessive or erroneous use (the Internet meme), this collaboration can reveal exclusive epistemological means for an analysis of two founding processes, copy and transmission, and their contiguous connections. On the organizational model that suggest some mediatic content (preventive campaigns), we argue the emerging of an «Informème»: an elementary unit that circulates in between electronic apparatus and that incorporates and spreads an information unit, while reproducing it indefinitely.