Wendy Hui Kyong Chun
- Published in print:
- 2011
- Published Online:
- August 2013
- ISBN:
- 9780262015424
- eISBN:
- 9780262295215
- Item type:
- book
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262015424.001.0001
- Subject:
- Society and Culture, Media Studies
The new media thrives on cycles of obsolescence and renewal: From celebrations of cyber-everything to Y2K, from the dot-com bust to the next big things—mobile mobs, Web 3.0, cloud computing, etc. ...
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The new media thrives on cycles of obsolescence and renewal: From celebrations of cyber-everything to Y2K, from the dot-com bust to the next big things—mobile mobs, Web 3.0, cloud computing, etc. This book argues that these cycles result in part from the ways in which new media encapsulates a logic of programmability, and discusses the assumptions of source code and logos and making computers more productive by exploiting the potential of source code. New media rapidly advances to “programmed visions,” which seek to shape and predict—even embody—a future based on past data. These programmed visions have also made computers, based on metaphor, metaphors for metaphor itself, and for a general logic of substitutability. The book furthermore argues that the clarity offered by software as metaphor should make us pause, because software also engenders a profound sense of ignorance: Who knows what lurks behind our smiling interfaces, behind the objects we click and manipulate? The combination of what can be seen and not seen, known (knowable) and not known—its separation of interface from algorithm and software from hardware—makes it a powerful metaphor for everything we believe is invisible yet generates visible, logical effects, from genetics to the invisible hand of the market, from ideology to culture.Less
The new media thrives on cycles of obsolescence and renewal: From celebrations of cyber-everything to Y2K, from the dot-com bust to the next big things—mobile mobs, Web 3.0, cloud computing, etc. This book argues that these cycles result in part from the ways in which new media encapsulates a logic of programmability, and discusses the assumptions of source code and logos and making computers more productive by exploiting the potential of source code. New media rapidly advances to “programmed visions,” which seek to shape and predict—even embody—a future based on past data. These programmed visions have also made computers, based on metaphor, metaphors for metaphor itself, and for a general logic of substitutability. The book furthermore argues that the clarity offered by software as metaphor should make us pause, because software also engenders a profound sense of ignorance: Who knows what lurks behind our smiling interfaces, behind the objects we click and manipulate? The combination of what can be seen and not seen, known (knowable) and not known—its separation of interface from algorithm and software from hardware—makes it a powerful metaphor for everything we believe is invisible yet generates visible, logical effects, from genetics to the invisible hand of the market, from ideology to culture.
Heike Behrend, Anja Dreschke, and Martin Zillinger (eds)
- Published in print:
- 2014
- Published Online:
- May 2015
- ISBN:
- 9780823253807
- eISBN:
- 9780823260966
- Item type:
- book
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823253807.001.0001
- Subject:
- Religion, Religion and Society
This volume explores the interferences of trance mediums and new technical media to add a new perspective to the ongoing debates on the “renaissance of the religious” which has been challenging ...
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This volume explores the interferences of trance mediums and new technical media to add a new perspective to the ongoing debates on the “renaissance of the religious” which has been challenging narratives of modernity and its disenchantment during the last two decades. However, in these discussions the “orgiastic” or enthusiastic qualities of religiosity have been largely neglected, despite the significant increase of the use of techniques of trance and possession that can be stated on a global level. Likewise, in research on religion and media only little attention has been paid to the fact that the rise of mediumship and spirit possession is closely linked to the advance of new media of communication – both analogues and digital. To close this gap this innovative and unprecedented publication offers a wide range of recent ethnographic studies in the fields of media anthropology as well as explorations in media studies and the anthropology of religion, which provide a broad, international, comparative perspective. Based on extensive scholarship the volume includes studies on local spiritual and media practices as varied as Thailand, Korea, India, Morocco, Mali, Tanzania and Germany. The editors aim to develop a new conceptual framework for ongoing work on religion and media, at the crossroads between anthropology, religious studies, and media studies.Less
This volume explores the interferences of trance mediums and new technical media to add a new perspective to the ongoing debates on the “renaissance of the religious” which has been challenging narratives of modernity and its disenchantment during the last two decades. However, in these discussions the “orgiastic” or enthusiastic qualities of religiosity have been largely neglected, despite the significant increase of the use of techniques of trance and possession that can be stated on a global level. Likewise, in research on religion and media only little attention has been paid to the fact that the rise of mediumship and spirit possession is closely linked to the advance of new media of communication – both analogues and digital. To close this gap this innovative and unprecedented publication offers a wide range of recent ethnographic studies in the fields of media anthropology as well as explorations in media studies and the anthropology of religion, which provide a broad, international, comparative perspective. Based on extensive scholarship the volume includes studies on local spiritual and media practices as varied as Thailand, Korea, India, Morocco, Mali, Tanzania and Germany. The editors aim to develop a new conceptual framework for ongoing work on religion and media, at the crossroads between anthropology, religious studies, and media studies.
Michael F. Leruth
- Published in print:
- 2017
- Published Online:
- May 2018
- ISBN:
- 9780262036498
- eISBN:
- 9780262339926
- Item type:
- book
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262036498.001.0001
- Subject:
- Art, Visual Culture
This book introduces readers to the iconoclastic work of the French media artist Fred Forest. A pioneer in the fields of video art in the 1960s and internet art in the 1990s, and cofounder of the ...
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This book introduces readers to the iconoclastic work of the French media artist Fred Forest. A pioneer in the fields of video art in the 1960s and internet art in the 1990s, and cofounder of the Sociological Art Collective (1974) and the Aesthetics of Communication International Group (1983), Forest is best known as an ironic media hijacker and tinkerer of unconventional interfaces and alternative platforms for interactive communication that are accessible to the general public outside the exclusive precincts of the art world. He has also made headlines as an outspoken critic of the French contemporary art establishment, most famously by suing the Centre Pompidou in 1994 over its opaque acquisitions practices. This book surveys Forest’s work from the late 1960s to the present with particular emphasis on his prankster modus operandi, his advocacy of an existentially relevant form of counter-contemporary art―or “invisible system-art”―based on the principle of metacommunication (i.e., tasked with exploring the “immanent realities” of the virtual territory in which modern electronic communication takes place), his innovative “social” and “relational” use of a wide range of media from newspapers to Second Life, his attention-grabbing public interventions, and the unusual utopian dimension of his work. Never a hot commodity in the art world, Forest’s work has nonetheless garnered the attention and appreciation of a wide range of prominent intellectuals, critics, curators, technology innovators, and fellow artists including Marshall McLuhan, Edgar Morin, Vilém Flusser, Abraham Moles, Jean Duvignaud, Paul Virilio, Pierre Lévy, Pierre Restany, Frank Popper, Harald Szeeman, Robert C. Morgan, Vinton Cerf, Roy Ascott, and Eduardo Kac.Less
This book introduces readers to the iconoclastic work of the French media artist Fred Forest. A pioneer in the fields of video art in the 1960s and internet art in the 1990s, and cofounder of the Sociological Art Collective (1974) and the Aesthetics of Communication International Group (1983), Forest is best known as an ironic media hijacker and tinkerer of unconventional interfaces and alternative platforms for interactive communication that are accessible to the general public outside the exclusive precincts of the art world. He has also made headlines as an outspoken critic of the French contemporary art establishment, most famously by suing the Centre Pompidou in 1994 over its opaque acquisitions practices. This book surveys Forest’s work from the late 1960s to the present with particular emphasis on his prankster modus operandi, his advocacy of an existentially relevant form of counter-contemporary art―or “invisible system-art”―based on the principle of metacommunication (i.e., tasked with exploring the “immanent realities” of the virtual territory in which modern electronic communication takes place), his innovative “social” and “relational” use of a wide range of media from newspapers to Second Life, his attention-grabbing public interventions, and the unusual utopian dimension of his work. Never a hot commodity in the art world, Forest’s work has nonetheless garnered the attention and appreciation of a wide range of prominent intellectuals, critics, curators, technology innovators, and fellow artists including Marshall McLuhan, Edgar Morin, Vilém Flusser, Abraham Moles, Jean Duvignaud, Paul Virilio, Pierre Lévy, Pierre Restany, Frank Popper, Harald Szeeman, Robert C. Morgan, Vinton Cerf, Roy Ascott, and Eduardo Kac.
Heike Behrend and Martin Zillinger
- Published in print:
- 2014
- Published Online:
- May 2015
- ISBN:
- 9780823253807
- eISBN:
- 9780823260966
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823253807.003.0001
- Subject:
- Religion, Religion and Society
Ongoing debates about the “return of religion” have paid little attention to the orgiastic and enthusiastic qualities of religiosity, despite a significant increase in the use of techniques of trance ...
More
Ongoing debates about the “return of religion” have paid little attention to the orgiastic and enthusiastic qualities of religiosity, despite a significant increase in the use of techniques of trance and possession around the globe. Likewise, research on religion and media has neglected the fact that historically the rise of mediumship and spirit possession was closely linked to the development of new media of communication. In order to invoke the transcendental, to make otherworldly beings and powers appear, trance mediums need to make dispositions and take great care in preparing a setting conducive to their work of mediation. Their equipment includes technical media, apparition and apparatus are linked through ritual techniques. Likewise, the discourses and the imaginary of trance mediumship powerfully anticipated and shaped technical media such as photography, cinema, the telephone, and television. Spirits and their mediums served as the media a priori for the ‘‘invention’’ of these technical media: spirits were able to ‘‘telesee’’ and ‘‘telehear’’ long before television and the telephone existed. Inquiry into trance mediumship, therefore, forms an interpretative key to understanding technical media, and vice versa.Less
Ongoing debates about the “return of religion” have paid little attention to the orgiastic and enthusiastic qualities of religiosity, despite a significant increase in the use of techniques of trance and possession around the globe. Likewise, research on religion and media has neglected the fact that historically the rise of mediumship and spirit possession was closely linked to the development of new media of communication. In order to invoke the transcendental, to make otherworldly beings and powers appear, trance mediums need to make dispositions and take great care in preparing a setting conducive to their work of mediation. Their equipment includes technical media, apparition and apparatus are linked through ritual techniques. Likewise, the discourses and the imaginary of trance mediumship powerfully anticipated and shaped technical media such as photography, cinema, the telephone, and television. Spirits and their mediums served as the media a priori for the ‘‘invention’’ of these technical media: spirits were able to ‘‘telesee’’ and ‘‘telehear’’ long before television and the telephone existed. Inquiry into trance mediumship, therefore, forms an interpretative key to understanding technical media, and vice versa.
Michael F. Leruth
- Published in print:
- 2017
- Published Online:
- May 2018
- ISBN:
- 9780262036498
- eISBN:
- 9780262339926
- Item type:
- chapter
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262036498.003.0003
- Subject:
- Art, Visual Culture
Chapter 2 examines Forest’s work from the 1980s through the mid-1990s, which was characterized by greater emphasis on simulation, symbolism, and the sensory; a more varied “palette” of artistic ...
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Chapter 2 examines Forest’s work from the 1980s through the mid-1990s, which was characterized by greater emphasis on simulation, symbolism, and the sensory; a more varied “palette” of artistic production ranging from more conventional multimedia installations to ambitious attempts to create temporary alternative channels of networked mass communication; and a series of conceptual experiments in metacommunication as defined in the Aesthetics of Communication movement. Works discussed in Chapter 2 include The Territory of the Square Meter (1980), TheStock Exchange of the Imaginary (1982), Here and Now (1983), Press Conference of Babel (1983), Learn How to Watch TV with Your Radio (1984), In Search of Julia Margaret Cameron (1988), The Electronic Bible and the Gulf War (1991), Telephonic Faucet (1992), and The Watchtowers of Peace (1993). Chapter 2 also discusses Forest’s greater interest in ecological themes, the ramifications of globalization, and more explicitly political subjects (e.g., the collapse of Communist regimes in Eastern Europe, the Gulf War, and the Yugoslav Wars) in the late 80s and early 90s.Less
Chapter 2 examines Forest’s work from the 1980s through the mid-1990s, which was characterized by greater emphasis on simulation, symbolism, and the sensory; a more varied “palette” of artistic production ranging from more conventional multimedia installations to ambitious attempts to create temporary alternative channels of networked mass communication; and a series of conceptual experiments in metacommunication as defined in the Aesthetics of Communication movement. Works discussed in Chapter 2 include The Territory of the Square Meter (1980), TheStock Exchange of the Imaginary (1982), Here and Now (1983), Press Conference of Babel (1983), Learn How to Watch TV with Your Radio (1984), In Search of Julia Margaret Cameron (1988), The Electronic Bible and the Gulf War (1991), Telephonic Faucet (1992), and The Watchtowers of Peace (1993). Chapter 2 also discusses Forest’s greater interest in ecological themes, the ramifications of globalization, and more explicitly political subjects (e.g., the collapse of Communist regimes in Eastern Europe, the Gulf War, and the Yugoslav Wars) in the late 80s and early 90s.
Jeffrey Geiger and Karin Littau
- Published in print:
- 2013
- Published Online:
- May 2014
- ISBN:
- 9780748676118
- eISBN:
- 9780748695096
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748676118.003.0001
- Subject:
- Film, Television and Radio, Film
The Introduction defines ‘cinematicity’ and provides a brief lineage of the term. It engages the idea that media inevitably bear each other’s traces, and that no medium may exhaustively be studied in ...
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The Introduction defines ‘cinematicity’ and provides a brief lineage of the term. It engages the idea that media inevitably bear each other’s traces, and that no medium may exhaustively be studied in isolation from others. It further signals a commitment to the comparative study of media, which abandons the compartmentalized approach of ‘structuring the study of media around individual media’ (Jenkins). Here intermediality becomes a useful concept for the environment in which this comparative labour is undertaken, since to study intermediality is to follow the intertwined histories and transformative relations between old and new, mechanical and electronic, analogue and digital, word-based and image-based media.Less
The Introduction defines ‘cinematicity’ and provides a brief lineage of the term. It engages the idea that media inevitably bear each other’s traces, and that no medium may exhaustively be studied in isolation from others. It further signals a commitment to the comparative study of media, which abandons the compartmentalized approach of ‘structuring the study of media around individual media’ (Jenkins). Here intermediality becomes a useful concept for the environment in which this comparative labour is undertaken, since to study intermediality is to follow the intertwined histories and transformative relations between old and new, mechanical and electronic, analogue and digital, word-based and image-based media.
Christopher Pavsek
- Published in print:
- 2013
- Published Online:
- November 2015
- ISBN:
- 9780231160995
- eISBN:
- 9780231530811
- Item type:
- chapter
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231160995.003.0004
- Subject:
- Film, Television and Radio, Film
This chapter studies four of Alexander Kluge's major film and video works. Kluge's early documentary on the Nuremberg Party Grounds, Brutality in Stone (1961), is often described as an experimental ...
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This chapter studies four of Alexander Kluge's major film and video works. Kluge's early documentary on the Nuremberg Party Grounds, Brutality in Stone (1961), is often described as an experimental or critical documentary about the legacy of National Socialism, portrayed primarily through an exploration of the monumental architecture of the Nazi period. Yesterday Girl (1965) works against the mythology of the German “zero hour” after the World War II, in which the traumas of the past were repressed, while The Assault of the Present (1985) is concerned by the “temporal imperialism” of the New Media. The Fruits of Trust (2009) attempts to nurture the utopian principle of cinema within the seemingly hostile medium of television in an era marked simultaneously by the “timelessness of the earthly eternity” of capitalism, and a growing economic and environmental crisis that suggests that human beings' time on Earth might be all too limited.Less
This chapter studies four of Alexander Kluge's major film and video works. Kluge's early documentary on the Nuremberg Party Grounds, Brutality in Stone (1961), is often described as an experimental or critical documentary about the legacy of National Socialism, portrayed primarily through an exploration of the monumental architecture of the Nazi period. Yesterday Girl (1965) works against the mythology of the German “zero hour” after the World War II, in which the traumas of the past were repressed, while The Assault of the Present (1985) is concerned by the “temporal imperialism” of the New Media. The Fruits of Trust (2009) attempts to nurture the utopian principle of cinema within the seemingly hostile medium of television in an era marked simultaneously by the “timelessness of the earthly eternity” of capitalism, and a growing economic and environmental crisis that suggests that human beings' time on Earth might be all too limited.
Marguerite Nguyen
- Published in print:
- 2013
- Published Online:
- April 2017
- ISBN:
- 9780252037832
- eISBN:
- 9780252095955
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252037832.003.0011
- Subject:
- Society and Culture, Asian Studies
This concluding chapter examines representations of Vietnamese Americans before and after Hurricane Katrina. The recuperation of American political and military might in the 1980s marked a transition ...
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This concluding chapter examines representations of Vietnamese Americans before and after Hurricane Katrina. The recuperation of American political and military might in the 1980s marked a transition in representations of Vietnamese Americans, as the New Orleans media began to focus on stories of Vietnamese American economic and educational “success.” Nevertheless, Vietnamese Americans lived more or less under the radar until about thirty years later, when they were once again thrust into the media limelight because of their quick return and recovery after Hurricane Katrina. Once potential objects of New Orleans exclusion, Vietnamese Americans now represented the city at its best, with national and international media outlets upholding the community's efforts as a story of hope and achievement in the aftermath of disaster.Less
This concluding chapter examines representations of Vietnamese Americans before and after Hurricane Katrina. The recuperation of American political and military might in the 1980s marked a transition in representations of Vietnamese Americans, as the New Orleans media began to focus on stories of Vietnamese American economic and educational “success.” Nevertheless, Vietnamese Americans lived more or less under the radar until about thirty years later, when they were once again thrust into the media limelight because of their quick return and recovery after Hurricane Katrina. Once potential objects of New Orleans exclusion, Vietnamese Americans now represented the city at its best, with national and international media outlets upholding the community's efforts as a story of hope and achievement in the aftermath of disaster.
Aurora Wallace
- Published in print:
- 2012
- Published Online:
- April 2017
- ISBN:
- 9780252037344
- eISBN:
- 9780252094521
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252037344.003.0001
- Subject:
- Society and Culture, Media Studies
This introductory chapter argues that architecture can lend legitimacy to the media industry. Using architecture as a delivery mechanism for notions of patriotism, nation building, individual ...
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This introductory chapter argues that architecture can lend legitimacy to the media industry. Using architecture as a delivery mechanism for notions of patriotism, nation building, individual aspiration, education, and moral uplift, the media sought to establish its own authority among its readers and citizens more generally. Beyond their own buildings, the New York media have authored an explicit account of urban space and city living. They established architecture, real estate, and land values as important elements of the news agenda, from which they also stood to gain. Yet this public presence is not without its own set of anxieties. To express the identity of a business graphically or via architecture necessitates the construction of certain fictions about the solidity and single purpose of an entity even when neither is immediately known.Less
This introductory chapter argues that architecture can lend legitimacy to the media industry. Using architecture as a delivery mechanism for notions of patriotism, nation building, individual aspiration, education, and moral uplift, the media sought to establish its own authority among its readers and citizens more generally. Beyond their own buildings, the New York media have authored an explicit account of urban space and city living. They established architecture, real estate, and land values as important elements of the news agenda, from which they also stood to gain. Yet this public presence is not without its own set of anxieties. To express the identity of a business graphically or via architecture necessitates the construction of certain fictions about the solidity and single purpose of an entity even when neither is immediately known.
Fred Botting and Catherine Spooner (eds)
- Published in print:
- 2015
- Published Online:
- January 2016
- ISBN:
- 9780719089770
- eISBN:
- 9781781708651
- Item type:
- book
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719089770.001.0001
- Subject:
- Literature, Criticism/Theory
Monstrous Media/Spectral Subjects explores Gothic, monstrosity, spectrality and media forms and technologies (music, fiction's engagements with photography/ cinema, film, magic practice and new ...
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Monstrous Media/Spectral Subjects explores Gothic, monstrosity, spectrality and media forms and technologies (music, fiction's engagements with photography/ cinema, film, magic practice and new media) from the later nineteenth century to the present day. Placing Gothic forms and productions in an explicitly interdisciplinary context, it investigates how the engagement with technologies drives the dissemination of Gothic across diverse media through the twentieth and twenty-first centuries, while conjuring all kinds of haunting and spectral presences that trouble cultural narratives of progress and technological advancement.Less
Monstrous Media/Spectral Subjects explores Gothic, monstrosity, spectrality and media forms and technologies (music, fiction's engagements with photography/ cinema, film, magic practice and new media) from the later nineteenth century to the present day. Placing Gothic forms and productions in an explicitly interdisciplinary context, it investigates how the engagement with technologies drives the dissemination of Gothic across diverse media through the twentieth and twenty-first centuries, while conjuring all kinds of haunting and spectral presences that trouble cultural narratives of progress and technological advancement.
Kristyn Gorton
- Published in print:
- 2009
- Published Online:
- September 2012
- ISBN:
- 9780748624171
- eISBN:
- 9780748670956
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748624171.003.0004
- Subject:
- Society and Culture, Media Studies
This chapter considers how the mediation of meaning occurs on a global scale. More specifically, it considers how the global exchange of televisual texts affects citizenship, notions of individualism ...
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This chapter considers how the mediation of meaning occurs on a global scale. More specifically, it considers how the global exchange of televisual texts affects citizenship, notions of individualism and choice and the concept of emotion. This chapter refers to debates on cultural imperialism and media imperialism and makes reference to the extensive research that has been done on the popular US television series Dallas. This chapter also discusses convergence in order to consider how new media technologies will influence/change viewer's engagements with television.Less
This chapter considers how the mediation of meaning occurs on a global scale. More specifically, it considers how the global exchange of televisual texts affects citizenship, notions of individualism and choice and the concept of emotion. This chapter refers to debates on cultural imperialism and media imperialism and makes reference to the extensive research that has been done on the popular US television series Dallas. This chapter also discusses convergence in order to consider how new media technologies will influence/change viewer's engagements with television.
Gertrud Hüwelmeier
- Published in print:
- 2014
- Published Online:
- May 2015
- ISBN:
- 9780823253807
- eISBN:
- 9780823260966
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823253807.003.0005
- Subject:
- Religion, Religion and Society
This chapter explores the role of media and new media technologies and the ways in which prayers and spirits travel and circulate among local and global audiences. Based on ethnographic fieldwork ...
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This chapter explores the role of media and new media technologies and the ways in which prayers and spirits travel and circulate among local and global audiences. Based on ethnographic fieldwork among Pentecostal religious practitioners in Germany and Vietnam, and in particular in a prayer camp on the Lorelei cliff at the Rhine river, this contribution investigates how media technologies affect place, space, and the effort to fill an assumed “spiritual vacuum” in diasporic Vietnamese Pentecostal networks. Referring to the image of the sinking Titanic, sermons and prayers recall experiences of flight and migration. The focus on practices of mediation demonstrates how ideas about the supernatural, the spiritual, and the transcendental are made accessible for believers, how they are reconsidered via media, and especially how spirits travel across borders.Less
This chapter explores the role of media and new media technologies and the ways in which prayers and spirits travel and circulate among local and global audiences. Based on ethnographic fieldwork among Pentecostal religious practitioners in Germany and Vietnam, and in particular in a prayer camp on the Lorelei cliff at the Rhine river, this contribution investigates how media technologies affect place, space, and the effort to fill an assumed “spiritual vacuum” in diasporic Vietnamese Pentecostal networks. Referring to the image of the sinking Titanic, sermons and prayers recall experiences of flight and migration. The focus on practices of mediation demonstrates how ideas about the supernatural, the spiritual, and the transcendental are made accessible for believers, how they are reconsidered via media, and especially how spirits travel across borders.
Deborah L. Wheeler
- Published in print:
- 2017
- Published Online:
- January 2018
- ISBN:
- 9781474422550
- eISBN:
- 9781474435048
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474422550.003.0002
- Subject:
- Political Science, Middle Eastern Politics
Artefacts and data with which to understand the diffusion and impact of new media in the Middle East collected between 1996-2014, are explored in this chapter. Data on diffusion is provided by charts ...
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Artefacts and data with which to understand the diffusion and impact of new media in the Middle East collected between 1996-2014, are explored in this chapter. Data on diffusion is provided by charts and tables; while evidence of emerging Internet cultures and their impact are documented with political cartoons, photographs, advertisements, resistance literature, ethnographic insights and conversations with Internet users. This brief history explains why states in the region may be increasingly confronted with restive publics demanding more responsive governance, and provides four distinct lenses through which to view communication and change in the region. Fear, IT4D, Resistance, and Revolution.Less
Artefacts and data with which to understand the diffusion and impact of new media in the Middle East collected between 1996-2014, are explored in this chapter. Data on diffusion is provided by charts and tables; while evidence of emerging Internet cultures and their impact are documented with political cartoons, photographs, advertisements, resistance literature, ethnographic insights and conversations with Internet users. This brief history explains why states in the region may be increasingly confronted with restive publics demanding more responsive governance, and provides four distinct lenses through which to view communication and change in the region. Fear, IT4D, Resistance, and Revolution.
Deborah L. Wheeler
- Published in print:
- 2017
- Published Online:
- January 2018
- ISBN:
- 9781474422550
- eISBN:
- 9781474435048
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474422550.003.0005
- Subject:
- Political Science, Middle Eastern Politics
In Chapter 4, data collected through ethnographic research and structured interviews are used to argue that new media tools when used, can profoundly alter social and political practices in Kuwait. ...
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In Chapter 4, data collected through ethnographic research and structured interviews are used to argue that new media tools when used, can profoundly alter social and political practices in Kuwait. Internet use removes inhibitions, gives the public a voice, encourages people to demand access to current, transparent news and information, and enables citizens to become more engaged and active in the world. In the words of one 55 year old female Kuwaiti participant, the Internet “opens the eyes of the younger generation and because of this, they find more freedom to exercise and they can compare freedom in their countries to that in other countries” (Interview, July 2009, Kuwait City). Explanations for the increasingly volatile political and social environment in Kuwait are explored in light of new media use. The persistence of patriarchy in spite of enhanced civic engagement reveals the puzzling nature of oppositional compliance in the emirate.Less
In Chapter 4, data collected through ethnographic research and structured interviews are used to argue that new media tools when used, can profoundly alter social and political practices in Kuwait. Internet use removes inhibitions, gives the public a voice, encourages people to demand access to current, transparent news and information, and enables citizens to become more engaged and active in the world. In the words of one 55 year old female Kuwaiti participant, the Internet “opens the eyes of the younger generation and because of this, they find more freedom to exercise and they can compare freedom in their countries to that in other countries” (Interview, July 2009, Kuwait City). Explanations for the increasingly volatile political and social environment in Kuwait are explored in light of new media use. The persistence of patriarchy in spite of enhanced civic engagement reveals the puzzling nature of oppositional compliance in the emirate.
Delinda Collier
- Published in print:
- 2016
- Published Online:
- September 2016
- ISBN:
- 9780816694440
- eISBN:
- 9781452953632
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816694440.003.0005
- Subject:
- Art, Art History
The conclusion connects Painted Walls of Lunda and its themes of anthropology with the digital age, information and technology, and new media art.
The conclusion connects Painted Walls of Lunda and its themes of anthropology with the digital age, information and technology, and new media art.
Brigitta B. Wagner
- Published in print:
- 2015
- Published Online:
- September 2016
- ISBN:
- 9780816691715
- eISBN:
- 9781452953595
- Item type:
- book
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816691715.001.0001
- Subject:
- Film, Television and Radio, Film
Berlin Replayed explores the role of film revival and production in the construction of Berlin’s city image and film geographies at several distinct moments in history: the ‘Golden’ Twenties, the ...
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Berlin Replayed explores the role of film revival and production in the construction of Berlin’s city image and film geographies at several distinct moments in history: the ‘Golden’ Twenties, the divided but pre-Wall 1950s, the political turning point of the late 1980s and early 1990s, and the start of the new millennium. This book argues for the importance of moving images and cultural policy in fostering collective urban nostalgia in the face of the city’s renewed function as the all-German capital. Understanding films as complex, intertextual archives of place in audiovisual dialogue with changes in the built city, Berlin Replayed approaches successive ‘New’ Berlins from the vantage point of the postwar, postwall city and its film industry—both enmeshed in coming to terms with the structural damage of the Second World War and the legacy of a politically and physically divided cityscape. Combining medium specific approaches with cultural historical and film analytical ones, this study focuses on four key problems raised by the relationship between film geography, profilmic urban space, film revival culture, and the production of cinematic space: 1. remake: how cities remake films and how films remake cities; 2. generation: how films created generational geographical affiliations that ran counter to official demarcations of space; 3. virtuality: how films and new media differ in their representations of Berlin’s layered past and their solutions to lost urban spaces in time; and 4. orientation: how filmic constructions of cinematic urban space instruct spectators in the perception of the changing built city.Less
Berlin Replayed explores the role of film revival and production in the construction of Berlin’s city image and film geographies at several distinct moments in history: the ‘Golden’ Twenties, the divided but pre-Wall 1950s, the political turning point of the late 1980s and early 1990s, and the start of the new millennium. This book argues for the importance of moving images and cultural policy in fostering collective urban nostalgia in the face of the city’s renewed function as the all-German capital. Understanding films as complex, intertextual archives of place in audiovisual dialogue with changes in the built city, Berlin Replayed approaches successive ‘New’ Berlins from the vantage point of the postwar, postwall city and its film industry—both enmeshed in coming to terms with the structural damage of the Second World War and the legacy of a politically and physically divided cityscape. Combining medium specific approaches with cultural historical and film analytical ones, this study focuses on four key problems raised by the relationship between film geography, profilmic urban space, film revival culture, and the production of cinematic space: 1. remake: how cities remake films and how films remake cities; 2. generation: how films created generational geographical affiliations that ran counter to official demarcations of space; 3. virtuality: how films and new media differ in their representations of Berlin’s layered past and their solutions to lost urban spaces in time; and 4. orientation: how filmic constructions of cinematic urban space instruct spectators in the perception of the changing built city.
James Leach and Lee Wilson (eds)
- Published in print:
- 2014
- Published Online:
- September 2014
- ISBN:
- 9780262027168
- eISBN:
- 9780262322492
- Item type:
- book
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262027168.001.0001
- Subject:
- Business and Management, Information Technology
Subversion, Conversion, Development explores alternative cultural encounters with and around information technologies, encounters that counter dominant, Western-oriented notions of media consumption. ...
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Subversion, Conversion, Development explores alternative cultural encounters with and around information technologies, encounters that counter dominant, Western-oriented notions of media consumption. We include media practices as forms of cultural resistance and subversion, ‘DIY cultures’, and other non-mainstream models of technology production and consumption. The contributors—leading thinkers in science and technology studies, anthropology, and software design—pay special attention to the specific inflections that different cultures and communities give to the value of knowledge. The richly detailed accounts presented challenge the dominant view of knowledge as a neutral good—that is, as information available for representation, encoding, and use outside social relations. Instead, we demonstrate the specific social and historical situation of all knowledge forms, and thus of the technological engagement with and communication of knowledges. The chapters examine specific cases in which forms of knowledge and cross-cultural encounter are shaping technology use and development. They consider design, use, and reuse of technological tools including databases, GPS devices, books, and computers, in locations that range from Australia and New Guinea to Germany and the United States. Contributors: Laura Watts, Gregers Petersen, Helen Verran, Michael Christie, Jerome Lewis, Hildegard Diemberger, Stephen Hugh-Jones, Alan Blackwell, Dawn Nafus, Lee Wilson, James Leach, Marilyn Strathern, David Turnbull, Wade Chambers.Less
Subversion, Conversion, Development explores alternative cultural encounters with and around information technologies, encounters that counter dominant, Western-oriented notions of media consumption. We include media practices as forms of cultural resistance and subversion, ‘DIY cultures’, and other non-mainstream models of technology production and consumption. The contributors—leading thinkers in science and technology studies, anthropology, and software design—pay special attention to the specific inflections that different cultures and communities give to the value of knowledge. The richly detailed accounts presented challenge the dominant view of knowledge as a neutral good—that is, as information available for representation, encoding, and use outside social relations. Instead, we demonstrate the specific social and historical situation of all knowledge forms, and thus of the technological engagement with and communication of knowledges. The chapters examine specific cases in which forms of knowledge and cross-cultural encounter are shaping technology use and development. They consider design, use, and reuse of technological tools including databases, GPS devices, books, and computers, in locations that range from Australia and New Guinea to Germany and the United States. Contributors: Laura Watts, Gregers Petersen, Helen Verran, Michael Christie, Jerome Lewis, Hildegard Diemberger, Stephen Hugh-Jones, Alan Blackwell, Dawn Nafus, Lee Wilson, James Leach, Marilyn Strathern, David Turnbull, Wade Chambers.
Brigitta B. Wagner
- Published in print:
- 2015
- Published Online:
- September 2016
- ISBN:
- 9780816691715
- eISBN:
- 9781452953595
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816691715.003.0004
- Subject:
- Film, Television and Radio, Film
This chapter concentrates on Berlin’s propensity for staging encounters with urban virtuality, the multiple temporalities that the built city displays, particularly at the fraught site of Potsdamer ...
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This chapter concentrates on Berlin’s propensity for staging encounters with urban virtuality, the multiple temporalities that the built city displays, particularly at the fraught site of Potsdamer Platz, once divided by the East-West border and before the Second World War, a major urban node. Examining the turning point of the late 1980s and early 1990s as a shift from purely cinematic explorations of place to new media ones, this chapter focuses on the Potsdamer Platz sequence of Wim Wenders’s Der Himmel über Berlin (1987) and Art + Com’s new media archival project, The Invisible Shape of Things Past (1995-present) and posits cartographic indexicality as a postwall strategy for countering and controlling urban nostalgia.Less
This chapter concentrates on Berlin’s propensity for staging encounters with urban virtuality, the multiple temporalities that the built city displays, particularly at the fraught site of Potsdamer Platz, once divided by the East-West border and before the Second World War, a major urban node. Examining the turning point of the late 1980s and early 1990s as a shift from purely cinematic explorations of place to new media ones, this chapter focuses on the Potsdamer Platz sequence of Wim Wenders’s Der Himmel über Berlin (1987) and Art + Com’s new media archival project, The Invisible Shape of Things Past (1995-present) and posits cartographic indexicality as a postwall strategy for countering and controlling urban nostalgia.
Jeffrey Geiger and Karin Littau (eds)
- Published in print:
- 2013
- Published Online:
- May 2014
- ISBN:
- 9780748676118
- eISBN:
- 9780748695096
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748676118.001.0001
- Subject:
- Film, Television and Radio, Film
In a world where change has become the only constant, how does the perpetually new relate to the old? How does cinema, itself once a new medium, interact both with previous or outmoded media and with ...
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In a world where change has become the only constant, how does the perpetually new relate to the old? How does cinema, itself once a new medium, interact both with previous or outmoded media and with what we now refer to as New Media? This collection addresses these questions by focusing on the relations of cinema to other media, cultural productions, and diverse forms of entertainment, exploring these sometimes parallel and sometimes more densely intertwined histories. Cinematicity in Media History makes visible the complex ways in which media anticipate, interfere with, and draw on one other, demonstrating how cinematicity makes itself felt in practices of seeing, reading, writing, and thinking both before and after the ‘birth’ of cinema. Contributors examine the interrelations between cinema, literature, painting, photography, and gaming, not only to each other, but amid a host of other minor and major media such as the magic lantern, the zoetrope, the flick-book, the iPhone, and the computer. Each chapter provides insights into the development of media and their overlapping technologies and aesthetics.Less
In a world where change has become the only constant, how does the perpetually new relate to the old? How does cinema, itself once a new medium, interact both with previous or outmoded media and with what we now refer to as New Media? This collection addresses these questions by focusing on the relations of cinema to other media, cultural productions, and diverse forms of entertainment, exploring these sometimes parallel and sometimes more densely intertwined histories. Cinematicity in Media History makes visible the complex ways in which media anticipate, interfere with, and draw on one other, demonstrating how cinematicity makes itself felt in practices of seeing, reading, writing, and thinking both before and after the ‘birth’ of cinema. Contributors examine the interrelations between cinema, literature, painting, photography, and gaming, not only to each other, but amid a host of other minor and major media such as the magic lantern, the zoetrope, the flick-book, the iPhone, and the computer. Each chapter provides insights into the development of media and their overlapping technologies and aesthetics.
Steven Durland
- Published in print:
- 2016
- Published Online:
- May 2017
- ISBN:
- 9780262034654
- eISBN:
- 9780262336871
- Item type:
- chapter
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262034654.003.0010
- Subject:
- Society and Culture, Technology and Society
Since meeting in 1975, Kit Galloway and Sherrie Rabinowitz focused their collaborative art work on developing new and alternative structures for video as an interactive communication form and on ...
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Since meeting in 1975, Kit Galloway and Sherrie Rabinowitz focused their collaborative art work on developing new and alternative structures for video as an interactive communication form and on interactive new media and community-centered social media. With participation by media art and politics theorist Gene Youngblood, this historic conversation follows the work of Galloway and Rabinowitz, beginning with their meeting in Paris and including Satellite Arts Project (1977), Hole-In-Space (1980), and the birth of the Electronic Café during the 1984 Los Angeles Summer Olympics.Less
Since meeting in 1975, Kit Galloway and Sherrie Rabinowitz focused their collaborative art work on developing new and alternative structures for video as an interactive communication form and on interactive new media and community-centered social media. With participation by media art and politics theorist Gene Youngblood, this historic conversation follows the work of Galloway and Rabinowitz, beginning with their meeting in Paris and including Satellite Arts Project (1977), Hole-In-Space (1980), and the birth of the Electronic Café during the 1984 Los Angeles Summer Olympics.
