Linganisha mbinu
Pitia mbinu ulizochagua bega kwa bega; safu zinazotofautiana zinaangaziwa.
| Script Analysis× | Domestication of Technology Analysis× | |
|---|---|---|
| Nyanja | Science Technology Studies | Science Technology Studies |
| Familia | Process / pipeline | Process / pipeline |
| Mwaka wa asili | 1992 | 1992 |
| Mwanzilishi≠ | Madeleine Akrich (with Bruno Latour) | Roger Silverstone, Eric Hirsch, David Morley |
| Aina≠ | Material-semiotic analytic method for technological artefacts | Qualitative analytic framework in media and technology studies |
| Chanzo asilia≠ | Akrich, M. (1992). The de-scription of technical objects. In W. E. Bijker & J. Law (Eds.), Shaping Technology/Building Society (pp. 205-224). MIT Press. ISBN: 9780262023382 | Silverstone, R., & Hirsch, E. (Eds.). (1992). Consuming Technologies: Media and Information in Domestic Spaces. Routledge. ISBN: 9780415067003 |
| Majina mbadala | De-scription analysis, Technological script analysis, Inscription analysis | Domestication theory, Domestication approach, Taming of technology analysis |
| Zinazohusiana | 4 | 4 |
| Muhtasari≠ | Script analysis, developed by Madeleine Akrich with Bruno Latour, treats technological artefacts like texts. When designers build a device, they inscribe a 'script' into it—a set of assumptions about who the users will be, what skills and motives they have, and how the world around the device is arranged—and the artefact then prescribes roles and conduct for the people and things it encounters. 'De-scription' is the analyst's method of reading that script back out of the object and comparing the user the designer projected with the user who actually appears, revealing the often invisible politics built into ordinary things. | Domestication of technology analysis studies how people 'tame' new technologies—turning a strange, commercially loaded object into a familiar, taken-for-granted part of everyday life. Developed by Roger Silverstone and colleagues to understand media and information technologies in the home, it treats consumption not as a single moment of purchase but as an ongoing process through which artefacts are appropriated, given a place, woven into routines, and made to express identity. The household is analysed as a 'moral economy' that negotiates the meaning and use of every technology that crosses its threshold. |
| ScholarGateSeti ya data ↗ |
|
|