Luis Moreno-Caballud
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9781781381939
- eISBN:
- 9781781382295
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9781781381939.003.0005
- Subject:
- Society and Culture, Cultural Studies
This chapter examines some collaborative modes of value production in digital cultures. It first looks at the cyberactivist campaigns begun in protest against the so-called Sinde Law (2009) that ...
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This chapter examines some collaborative modes of value production in digital cultures. It first looks at the cyberactivist campaigns begun in protest against the so-called Sinde Law (2009) that limited online sharing practices. It then considers how job insecurity drove many people, especially young people, to turn to the Internet where they could collaboratively cultivate their abilities to create value. It also discusses the importance of the dual tradition of defense of freedom and defense of online equality, along with the emergence of ‘active publics’ around the mass cultures of the digital age as breeding grounds for the appearance of a democratic, participative Web in Spain. Finally, it analyzes the latent tensions and contradictions between between liberal politics and its individualist conception of society, and collaborative cultures that expose liberal institutions' inability to guarantee a true democracy.Less
This chapter examines some collaborative modes of value production in digital cultures. It first looks at the cyberactivist campaigns begun in protest against the so-called Sinde Law (2009) that limited online sharing practices. It then considers how job insecurity drove many people, especially young people, to turn to the Internet where they could collaboratively cultivate their abilities to create value. It also discusses the importance of the dual tradition of defense of freedom and defense of online equality, along with the emergence of ‘active publics’ around the mass cultures of the digital age as breeding grounds for the appearance of a democratic, participative Web in Spain. Finally, it analyzes the latent tensions and contradictions between between liberal politics and its individualist conception of society, and collaborative cultures that expose liberal institutions' inability to guarantee a true democracy.
Simon J. Bronner
- Published in print:
- 2012
- Published Online:
- January 2012
- ISBN:
- 9780813134062
- eISBN:
- 9780813135885
- Item type:
- chapter
- Publisher:
- University Press of Kentucky
- DOI:
- 10.5810/kentucky/9780813134062.003.0011
- Subject:
- History, Cultural History
This chapter argues that the Internet has not displaced tradition but instead given rise to digital forms of folklore. A user-oriented folk Web may be said to active, especially among youth, that is ...
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This chapter argues that the Internet has not displaced tradition but instead given rise to digital forms of folklore. A user-oriented folk Web may be said to active, especially among youth, that is often framed to subvert or counter a corporate, official Internet. To analyze this folk Web, the chapter suggests a revision of the “analog” or relational definition of folklore in favour of a “digital” or analytical concept focusing on the variable repetition of practices. A comparison is given of folkloric transmission in analog and digital conduits with the lore of Budd Dwyer who committed suicide in 1987. In this example and folk speech evident in cyberculture, the implication is that the practice of the folk Web is comparable to latrinalia, which suggests a projection of naturalistic feces play in response to the anxiety of being controlled by a corporate, official technology.Less
This chapter argues that the Internet has not displaced tradition but instead given rise to digital forms of folklore. A user-oriented folk Web may be said to active, especially among youth, that is often framed to subvert or counter a corporate, official Internet. To analyze this folk Web, the chapter suggests a revision of the “analog” or relational definition of folklore in favour of a “digital” or analytical concept focusing on the variable repetition of practices. A comparison is given of folkloric transmission in analog and digital conduits with the lore of Budd Dwyer who committed suicide in 1987. In this example and folk speech evident in cyberculture, the implication is that the practice of the folk Web is comparable to latrinalia, which suggests a projection of naturalistic feces play in response to the anxiety of being controlled by a corporate, official technology.
John Richardson
- Published in print:
- 2011
- Published Online:
- January 2012
- ISBN:
- 9780195367362
- eISBN:
- 9780199918249
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195367362.001.0001
- Subject:
- Music, Popular
This book discusses tendencies in popular audiovisual expression since the 1990s that resemble those found in historical surrealism. A variety of current theories are applied to emerging audiovisual ...
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This book discusses tendencies in popular audiovisual expression since the 1990s that resemble those found in historical surrealism. A variety of current theories are applied to emerging audiovisual practices, including independent cinema, live performances of popular music, cinematic opera, and internet practices such as syncing and audiovisual mash-ups. Neosurrealism in this context is considered more a cluster of loosely related practices than a single determining “code”. In addition to the hermeneutic lens of surrealism, case studies are interpreted with reference to factors such as digital culture, affect theory, changing ideas about cultural identity (including gender), and the proliferation and hybridity of forms and practices in the information age. Chapters address background and theories on historical surrealism, neosurrealist tendencies in recent films, metamusicals, strategies of synchronization in cinematic opera and internet syncing practices, the idea of the virtual band in the digital age, and discursive formations of the digital acoustic. Musicians discussed include Gorillaz, Philip Glass, KT Tunstall and Sigur Rós. Directors and films include Richard Linklater’s Waking Life, Michel Gondry’s Be Kind Rewind, Sally Potter’s Yes, and Tsai Ming-Liang’s The Wayward Cloud. A prominent theme in the book is the role of cultural memory in shaping our understanding of creative practices in an age in which the recycling of cultural artifacts is becoming increasingly prevalent. The ghosts of previous eras, it is argued, resonate in many of the expressive forms we routinely think of as ȁCcontemporary”.Less
This book discusses tendencies in popular audiovisual expression since the 1990s that resemble those found in historical surrealism. A variety of current theories are applied to emerging audiovisual practices, including independent cinema, live performances of popular music, cinematic opera, and internet practices such as syncing and audiovisual mash-ups. Neosurrealism in this context is considered more a cluster of loosely related practices than a single determining “code”. In addition to the hermeneutic lens of surrealism, case studies are interpreted with reference to factors such as digital culture, affect theory, changing ideas about cultural identity (including gender), and the proliferation and hybridity of forms and practices in the information age. Chapters address background and theories on historical surrealism, neosurrealist tendencies in recent films, metamusicals, strategies of synchronization in cinematic opera and internet syncing practices, the idea of the virtual band in the digital age, and discursive formations of the digital acoustic. Musicians discussed include Gorillaz, Philip Glass, KT Tunstall and Sigur Rós. Directors and films include Richard Linklater’s Waking Life, Michel Gondry’s Be Kind Rewind, Sally Potter’s Yes, and Tsai Ming-Liang’s The Wayward Cloud. A prominent theme in the book is the role of cultural memory in shaping our understanding of creative practices in an age in which the recycling of cultural artifacts is becoming increasingly prevalent. The ghosts of previous eras, it is argued, resonate in many of the expressive forms we routinely think of as ȁCcontemporary”.
Wheeler Winston Dickson
- Published in print:
- 2013
- Published Online:
- September 2013
- ISBN:
- 9780813142173
- eISBN:
- 9780813142555
- Item type:
- book
- Publisher:
- University Press of Kentucky
- DOI:
- 10.5810/kentucky/9780813142173.001.0001
- Subject:
- Film, Television and Radio, Film
Streaming: Movies, Media and Instant Access is distinctive and commercially viable because it examines the most crucial area in moving image studies today; the way that the image is captured, ...
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Streaming: Movies, Media and Instant Access is distinctive and commercially viable because it examines the most crucial area in moving image studies today; the way that the image is captured, disseminated, and consumed by contemporary audiences, and the manner in which this process, or series of processes, is constantly being revised. Readers will gain from the book a better understanding of the enormous shift that this switch to digital will make in the habits of viewers, who can now see films on everything from cell phones to conventional theatre screens. Streaming: Movies, Media and Instant Access will chart the ways in which the Hollywood model of embracing digital production is spreading around the world, while still maintaining an almost monolithic grip on the international market. Streaming: Movies, Media and Instant Access will thus focus on Hollywood production, as the model that still informs international film production in both a genre and star-based model, but show how this model is now spreading throughout the planet. In addition, Streaming: Movies, Media and Instant Access will examine how the new digital world impacts how we access music, books, and also how digital culture, through surveillance devices and facial recognition systems, documents every facet of our everyday life.Less
Streaming: Movies, Media and Instant Access is distinctive and commercially viable because it examines the most crucial area in moving image studies today; the way that the image is captured, disseminated, and consumed by contemporary audiences, and the manner in which this process, or series of processes, is constantly being revised. Readers will gain from the book a better understanding of the enormous shift that this switch to digital will make in the habits of viewers, who can now see films on everything from cell phones to conventional theatre screens. Streaming: Movies, Media and Instant Access will chart the ways in which the Hollywood model of embracing digital production is spreading around the world, while still maintaining an almost monolithic grip on the international market. Streaming: Movies, Media and Instant Access will thus focus on Hollywood production, as the model that still informs international film production in both a genre and star-based model, but show how this model is now spreading throughout the planet. In addition, Streaming: Movies, Media and Instant Access will examine how the new digital world impacts how we access music, books, and also how digital culture, through surveillance devices and facial recognition systems, documents every facet of our everyday life.
Andy Miah
- Published in print:
- 2017
- Published Online:
- September 2017
- ISBN:
- 9780262035477
- eISBN:
- 9780262343114
- Item type:
- book
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262035477.001.0001
- Subject:
- Sociology, Sport and Leisure
Digital technology is changing everything about modern sports. Athletes and coaches rely on digital data to monitor and enhance performance. Officials use tracking systems to augment their judgment ...
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Digital technology is changing everything about modern sports. Athletes and coaches rely on digital data to monitor and enhance performance. Officials use tracking systems to augment their judgment in what is an increasingly superhuman field of play. Spectators tune in to live sports through social media, or even through virtual reality. Audiences now act as citizen journalists whose collective shared data expands the places in which we consume sports news. Sport 2.0 examines the convergence of sports and digital cultures, examining not only how it affects our participation in sport but also how it changes our experience of life online. This convergence redefines how we think of about our bodies, the social function of sports, and it transforms the populations of people who are playing. Sport 2.0 describes a world in which the rise of competitive computer game playing—e-sports—challenges and invigorates the social mandate of both sports and digital culture. It also examines media change at the Olympic Games, as an exemplar of digital innovation in sports. Furthermore, the book offers a detailed look at the social media footprint of the 2012 London Games, discussing how organizers, sponsors, media, and activists responded to the world’s largest media event.Less
Digital technology is changing everything about modern sports. Athletes and coaches rely on digital data to monitor and enhance performance. Officials use tracking systems to augment their judgment in what is an increasingly superhuman field of play. Spectators tune in to live sports through social media, or even through virtual reality. Audiences now act as citizen journalists whose collective shared data expands the places in which we consume sports news. Sport 2.0 examines the convergence of sports and digital cultures, examining not only how it affects our participation in sport but also how it changes our experience of life online. This convergence redefines how we think of about our bodies, the social function of sports, and it transforms the populations of people who are playing. Sport 2.0 describes a world in which the rise of competitive computer game playing—e-sports—challenges and invigorates the social mandate of both sports and digital culture. It also examines media change at the Olympic Games, as an exemplar of digital innovation in sports. Furthermore, the book offers a detailed look at the social media footprint of the 2012 London Games, discussing how organizers, sponsors, media, and activists responded to the world’s largest media event.
Neal Feigenson and Christina Spiesel
- Published in print:
- 2009
- Published Online:
- March 2016
- ISBN:
- 9780814727584
- eISBN:
- 9780814728567
- Item type:
- chapter
- Publisher:
- NYU Press
- DOI:
- 10.18574/nyu/9780814727584.003.0001
- Subject:
- Law, Philosophy of Law
This book explores how visual and multimedia digital technologies are transforming the practice of law and how justice can be rendered in this new environment. In the years since the Rodney King and ...
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This book explores how visual and multimedia digital technologies are transforming the practice of law and how justice can be rendered in this new environment. In the years since the Rodney King and O. J. Simpson trials, the use of visual displays in U.S. courtrooms has increased dramatically. In addition to traditional methods such as drawings, photographs, and videos, lawyers now rely on digital technologies to create and present their evidence and arguments. Legal practitioners are adopting digital multimedia and visual displays to assemble their cases, to negotiate with adversaries, and to persuade arbitrators, judges, and juries. This book examines the implications of these technologies for legal practice and how they change the ways which legal knowledge is created. As an introduction, this chapter considers how pictures and words generate meanings and provides information on visual perception and visual thinking in relation to pictures and reality. It also discusses the ways digitization and the Internet have contributed to a democratization of meaning making and concludes by discussing the challenges posed by digital culture for the law.Less
This book explores how visual and multimedia digital technologies are transforming the practice of law and how justice can be rendered in this new environment. In the years since the Rodney King and O. J. Simpson trials, the use of visual displays in U.S. courtrooms has increased dramatically. In addition to traditional methods such as drawings, photographs, and videos, lawyers now rely on digital technologies to create and present their evidence and arguments. Legal practitioners are adopting digital multimedia and visual displays to assemble their cases, to negotiate with adversaries, and to persuade arbitrators, judges, and juries. This book examines the implications of these technologies for legal practice and how they change the ways which legal knowledge is created. As an introduction, this chapter considers how pictures and words generate meanings and provides information on visual perception and visual thinking in relation to pictures and reality. It also discusses the ways digitization and the Internet have contributed to a democratization of meaning making and concludes by discussing the challenges posed by digital culture for the law.
Ying Xiao
- Published in print:
- 2017
- Published Online:
- May 2019
- ISBN:
- 9781496812605
- eISBN:
- 9781496812643
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496812605.003.0007
- Subject:
- Film, Television and Radio, Film
This chapter delineates the articulations and representations of hip hop in a wide range of domains such as film, popular music, and the newly emerged digital culture in the last decade of the ...
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This chapter delineates the articulations and representations of hip hop in a wide range of domains such as film, popular music, and the newly emerged digital culture in the last decade of the twentieth century and in the new millennium. It argues that Chinese hip hop and rap music are not merely a “knife” but a double-edged “sword” and moreover a prism through which wide-ranging and sometimes oppositional forces and ideologies are reflected. Case studies include musicians and artists such as MC Hotdog, Jay Chou, David Tao, The Hidden, Black Head, Ah Gan and his witty hip hop parody film (e.g., Happy, 2009) that have distinctively partaken in hip hop’s global dialogue of race, space, and youth subculture, but, in all, is also a symptom of postsocialist reflexivity of the multinational, multiauthored, multicentered, and multimediatized reality. The last part of the chapter proceeds with a critical mapping of the Grass Mud Horse Style that signifies and furthers this new aura of image and sound making in light of technological and social change.Less
This chapter delineates the articulations and representations of hip hop in a wide range of domains such as film, popular music, and the newly emerged digital culture in the last decade of the twentieth century and in the new millennium. It argues that Chinese hip hop and rap music are not merely a “knife” but a double-edged “sword” and moreover a prism through which wide-ranging and sometimes oppositional forces and ideologies are reflected. Case studies include musicians and artists such as MC Hotdog, Jay Chou, David Tao, The Hidden, Black Head, Ah Gan and his witty hip hop parody film (e.g., Happy, 2009) that have distinctively partaken in hip hop’s global dialogue of race, space, and youth subculture, but, in all, is also a symptom of postsocialist reflexivity of the multinational, multiauthored, multicentered, and multimediatized reality. The last part of the chapter proceeds with a critical mapping of the Grass Mud Horse Style that signifies and furthers this new aura of image and sound making in light of technological and social change.
Mohamed Zayani (ed.)
- Published in print:
- 2018
- Published Online:
- January 2019
- ISBN:
- 9780190859329
- eISBN:
- 9780190942977
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190859329.003.0001
- Subject:
- Political Science, Middle Eastern Politics
Over the past decade or so, the digital landscape in the Middle East has changed dramatically. Technological adoption, advanced IT infrastructures, communication changes and enhanced connectivity ...
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Over the past decade or so, the digital landscape in the Middle East has changed dramatically. Technological adoption, advanced IT infrastructures, communication changes and enhanced connectivity have slowly but surely impacted the region. While much has been written about the role digital media played since the 2011 Arab uprisings, less attention has been paid to the larger digital transformations the MENA region has been experiencing and the implications of these technology-enabled transformations. This chapter focuses on the broader nature of these information and communication changes. It offers critical reflection on how the evolving communication environment and fast changing digital technologies are affecting the region and transforming practices, paying particular attention to the cultural, economic, and political implications of these ongoing changes. The chapter pays particular attention to both the opportunities and challenges the adoption of digital technologies holds for a Middle East that is aspiring to transition toward a knowledge-based economy. It shed light on significant developments and evolving dynamics that characterize the digital Middle East, but also reveals disjunctions and maps out discordances that are inherent to this emerging digital culture.Less
Over the past decade or so, the digital landscape in the Middle East has changed dramatically. Technological adoption, advanced IT infrastructures, communication changes and enhanced connectivity have slowly but surely impacted the region. While much has been written about the role digital media played since the 2011 Arab uprisings, less attention has been paid to the larger digital transformations the MENA region has been experiencing and the implications of these technology-enabled transformations. This chapter focuses on the broader nature of these information and communication changes. It offers critical reflection on how the evolving communication environment and fast changing digital technologies are affecting the region and transforming practices, paying particular attention to the cultural, economic, and political implications of these ongoing changes. The chapter pays particular attention to both the opportunities and challenges the adoption of digital technologies holds for a Middle East that is aspiring to transition toward a knowledge-based economy. It shed light on significant developments and evolving dynamics that characterize the digital Middle East, but also reveals disjunctions and maps out discordances that are inherent to this emerging digital culture.
Fiona Cameron and Sarah Kenderdine
- Published in print:
- 2007
- Published Online:
- August 2013
- ISBN:
- 9780262033534
- eISBN:
- 9780262269742
- Item type:
- chapter
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262033534.003.0001
- Subject:
- Society and Culture, Media Studies
This book is a comprehensive theoretical discourse on cultural heritage and digital media. It explores themes of museums and heritage in relation to “digital culture,” and considers the extent to ...
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This book is a comprehensive theoretical discourse on cultural heritage and digital media. It explores themes of museums and heritage in relation to “digital culture,” and considers the extent to which digital technologies are a cultural construct. Part I deals with the confluence of culture and technology in the representation of art and heritage collections for both Western and indigenous communities, with an emphasis on prevailing arguments about the relationships between material and digital objects. Part II looks at the confluence of digital technologies, information management, knowledge, learning, and user research in the cultural heritage sector, and Part III examines the intersection of cultural heritage research, documentation, and interpretation in the context of virtual reality.Less
This book is a comprehensive theoretical discourse on cultural heritage and digital media. It explores themes of museums and heritage in relation to “digital culture,” and considers the extent to which digital technologies are a cultural construct. Part I deals with the confluence of culture and technology in the representation of art and heritage collections for both Western and indigenous communities, with an emphasis on prevailing arguments about the relationships between material and digital objects. Part II looks at the confluence of digital technologies, information management, knowledge, learning, and user research in the cultural heritage sector, and Part III examines the intersection of cultural heritage research, documentation, and interpretation in the context of virtual reality.
Kazys Varnelis
- Published in print:
- 2008
- Published Online:
- August 2013
- ISBN:
- 9780262220859
- eISBN:
- 9780262285483
- Item type:
- chapter
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262220859.003.0006
- Subject:
- Information Science, Communications
The maturing of the Internet and mobile telephony has given rise to a new societal condition known as network culture, which highlights broader societal structures, just as concepts like modernism ...
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The maturing of the Internet and mobile telephony has given rise to a new societal condition known as network culture, which highlights broader societal structures, just as concepts like modernism and postmodernism did in the past. This shift in society is subtle yet real and radical. Digital networks have become the dominant cultural logic, profoundly transforming not only culture but also the economy, public sphere, and even people’s subjectivity. In contrast to digital culture, network culture makes information less the outcome of discrete processing units and more of the result of the networked relations between them, of connections between people, between machines, and between people and machines. It is in this context that networked publics are created.Less
The maturing of the Internet and mobile telephony has given rise to a new societal condition known as network culture, which highlights broader societal structures, just as concepts like modernism and postmodernism did in the past. This shift in society is subtle yet real and radical. Digital networks have become the dominant cultural logic, profoundly transforming not only culture but also the economy, public sphere, and even people’s subjectivity. In contrast to digital culture, network culture makes information less the outcome of discrete processing units and more of the result of the networked relations between them, of connections between people, between machines, and between people and machines. It is in this context that networked publics are created.
Synthia Sydnor
- Published in print:
- 2015
- Published Online:
- April 2017
- ISBN:
- 9780252038938
- eISBN:
- 9780252096891
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252038938.003.0010
- Subject:
- Sociology, Sport and Leisure
This chapter argues that digital culture is a recent addition to myriad forms of expression and expressiveness that have occurred since time immemorial. Digital media then, “are tools that enable ...
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This chapter argues that digital culture is a recent addition to myriad forms of expression and expressiveness that have occurred since time immemorial. Digital media then, “are tools that enable humans to continue doing what has always been at the core of the human condition: living in community, communicating, consuming, gathering, playing.” The chapter also develops a treatise on the nature of sport that takes into account both the digital era and theories of play, ritual, and culture. Cyber activities around sport, including “fantasy league play; social and individual memories of sports performance; video/computer games; the seemingly infinite growth of sport performances/stunts showcased on YouTube, tweets, and the colossal transglobal economy associated with sport,” replicate the “fun, thrills, danger, gravity play” and other affective sensations surrounding participation in sport itself. Ultimately, the digital revolution confirms the formal, symbolic ritualistic nature of sport more than it transforms.Less
This chapter argues that digital culture is a recent addition to myriad forms of expression and expressiveness that have occurred since time immemorial. Digital media then, “are tools that enable humans to continue doing what has always been at the core of the human condition: living in community, communicating, consuming, gathering, playing.” The chapter also develops a treatise on the nature of sport that takes into account both the digital era and theories of play, ritual, and culture. Cyber activities around sport, including “fantasy league play; social and individual memories of sports performance; video/computer games; the seemingly infinite growth of sport performances/stunts showcased on YouTube, tweets, and the colossal transglobal economy associated with sport,” replicate the “fun, thrills, danger, gravity play” and other affective sensations surrounding participation in sport itself. Ultimately, the digital revolution confirms the formal, symbolic ritualistic nature of sport more than it transforms.
Jessica Nydia Pabón-Colón
- Published in print:
- 2018
- Published Online:
- January 2019
- ISBN:
- 9781479806157
- eISBN:
- 9781479847426
- Item type:
- chapter
- Publisher:
- NYU Press
- DOI:
- 10.18574/nyu/9781479806157.003.0001
- Subject:
- Sociology, Law, Crime and Deviance
This chapter introduces the stakes of the book by narrating two stories that illustrate how the dynamics of gender difference affect belonging for women who write graffiti on both an individual and a ...
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This chapter introduces the stakes of the book by narrating two stories that illustrate how the dynamics of gender difference affect belonging for women who write graffiti on both an individual and a structural level. Briefly surveying the current state of Graffiti Studies, the introduction argues that without accounting for the dynamics of gender difference within graffiti subculture, graffiti grrlz (and the ways they develop strategies of resistance in order to thrive) remain invisible. The introduction then breaks into four sections: Writing Grrlz describes the interdisciplinary ethnographic method and major interventions to the fields of Graffiti Studies and Hip Hop Studies; Digital Ups introduces the importance of digital media as a mode for grrlz to connect across geographical borders, language barriers, and time zones; Hip Hop Graffiti Diaspora frames the book’s utilization of diaspora and performance to account for the multiracial, multiethnic reality of transnational graffiti subculture; and Performing Feminism “Like a Grrl” explains how and why these strategies are framed as feminist performance.Less
This chapter introduces the stakes of the book by narrating two stories that illustrate how the dynamics of gender difference affect belonging for women who write graffiti on both an individual and a structural level. Briefly surveying the current state of Graffiti Studies, the introduction argues that without accounting for the dynamics of gender difference within graffiti subculture, graffiti grrlz (and the ways they develop strategies of resistance in order to thrive) remain invisible. The introduction then breaks into four sections: Writing Grrlz describes the interdisciplinary ethnographic method and major interventions to the fields of Graffiti Studies and Hip Hop Studies; Digital Ups introduces the importance of digital media as a mode for grrlz to connect across geographical borders, language barriers, and time zones; Hip Hop Graffiti Diaspora frames the book’s utilization of diaspora and performance to account for the multiracial, multiethnic reality of transnational graffiti subculture; and Performing Feminism “Like a Grrl” explains how and why these strategies are framed as feminist performance.
Dal Yong Jin
- Published in print:
- 2016
- Published Online:
- April 2017
- ISBN:
- 9780252039973
- eISBN:
- 9780252098147
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252039973.003.0007
- Subject:
- Society and Culture, Media Studies
This chapter maps out the growth of locally based digital games. In the twenty-first century, the New Korean Wave has been expanding with the rapid growth of digital culture, in particular with ...
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This chapter maps out the growth of locally based digital games. In the twenty-first century, the New Korean Wave has been expanding with the rapid growth of digital culture, in particular with online gaming. The rapid growth of the Korean digital game industry, including online gaming, and its export into the Western market have raised a fundamental question of whether digital culture has changed the nature of the Korean Wave, from a regionally focused intracultural flow to include a Western-focused contraflow. The chapter attempts to discuss the ways in which local online games, in particular massively multiplayer online role-playing games (MMORPGs), have advanced contraflow. In addition, it discusses a changing trend in the digital game sector, which has been occurring due to both the increasing role of China's game industries and the emergence of mobile gaming in the smartphone era. It also maps out the process by which Korean online games are appropriated for Western game users in a form of “glocalization”in both content and structure. Finally, the chapter articulates whether this new trend can diminish an asymmetrical cultural flow between the West and the East.Less
This chapter maps out the growth of locally based digital games. In the twenty-first century, the New Korean Wave has been expanding with the rapid growth of digital culture, in particular with online gaming. The rapid growth of the Korean digital game industry, including online gaming, and its export into the Western market have raised a fundamental question of whether digital culture has changed the nature of the Korean Wave, from a regionally focused intracultural flow to include a Western-focused contraflow. The chapter attempts to discuss the ways in which local online games, in particular massively multiplayer online role-playing games (MMORPGs), have advanced contraflow. In addition, it discusses a changing trend in the digital game sector, which has been occurring due to both the increasing role of China's game industries and the emergence of mobile gaming in the smartphone era. It also maps out the process by which Korean online games are appropriated for Western game users in a form of “glocalization”in both content and structure. Finally, the chapter articulates whether this new trend can diminish an asymmetrical cultural flow between the West and the East.
Maud Lavin, Ling Yang, and Jing Jamie Zhao (eds)
- Published in print:
- 2017
- Published Online:
- January 2018
- ISBN:
- 9789888390809
- eISBN:
- 9789888390441
- Item type:
- book
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789888390809.001.0001
- Subject:
- Society and Culture, Gay and Lesbian Studies
Chinese-speaking popular cultures have never been so queer as in this digital, globalist age. In response to the proliferation of queer representations, productions, fantasies, and desires, ...
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Chinese-speaking popular cultures have never been so queer as in this digital, globalist age. In response to the proliferation of queer representations, productions, fantasies, and desires, especially as manifested online, this book explores extended, diversified, and transculturally informed fan communities and practices based in mainland China, Hong Kong, and Taiwan that have cultivated various forms of queerness. To right an imbalance in the scholarly literature on queer East Asia, this volume is weighted toward an exploration of queer elements of mainland Chinese fandoms that have been less often written about than more visible cultural elements in Hong Kong and Taiwan. Case studies drawn from mainland China, Hong Kong, Taiwan, and the flows among them include: the Chinese online Hetalia fandom; Chinese fans’ queer gossip on the American L-Word actress Katherine Moennig; Dongfang Bubai iterations; the HOCC fandom; cross-border fans of Li Yuchun; and Japaneseness in Taiwanese BL fantasies; among others.Less
Chinese-speaking popular cultures have never been so queer as in this digital, globalist age. In response to the proliferation of queer representations, productions, fantasies, and desires, especially as manifested online, this book explores extended, diversified, and transculturally informed fan communities and practices based in mainland China, Hong Kong, and Taiwan that have cultivated various forms of queerness. To right an imbalance in the scholarly literature on queer East Asia, this volume is weighted toward an exploration of queer elements of mainland Chinese fandoms that have been less often written about than more visible cultural elements in Hong Kong and Taiwan. Case studies drawn from mainland China, Hong Kong, Taiwan, and the flows among them include: the Chinese online Hetalia fandom; Chinese fans’ queer gossip on the American L-Word actress Katherine Moennig; Dongfang Bubai iterations; the HOCC fandom; cross-border fans of Li Yuchun; and Japaneseness in Taiwanese BL fantasies; among others.
Bruce David Forbes and Jeffrey H. Mahan (eds)
- Published in print:
- 2017
- Published Online:
- September 2017
- ISBN:
- 9780520291447
- eISBN:
- 9780520965225
- Item type:
- book
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520291447.001.0001
- Subject:
- Religion, Religion and Society
The connection between popular culture and religion is an enduring part of American life. With 75 percent new content, the third edition of this multifaceted and popular collection has been revised ...
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The connection between popular culture and religion is an enduring part of American life. With 75 percent new content, the third edition of this multifaceted and popular collection has been revised and updated throughout to provide greater religious diversity in its topics and address critical developments in the study of religion and popular culture. Ideal for classroom use, the book gives increased attention to the implications of digital culture and the increasingly interactive quality of popular culture. It provides a framework to help students understand and appreciate the work in diverse fields, methods, and perspectives. The book contains an updated introduction, discussion questions, and other instructional tools.Less
The connection between popular culture and religion is an enduring part of American life. With 75 percent new content, the third edition of this multifaceted and popular collection has been revised and updated throughout to provide greater religious diversity in its topics and address critical developments in the study of religion and popular culture. Ideal for classroom use, the book gives increased attention to the implications of digital culture and the increasingly interactive quality of popular culture. It provides a framework to help students understand and appreciate the work in diverse fields, methods, and perspectives. The book contains an updated introduction, discussion questions, and other instructional tools.
Simon J. Bronner
- Published in print:
- 2019
- Published Online:
- January 2020
- ISBN:
- 9781496822628
- eISBN:
- 9781496822673
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496822628.003.0011
- Subject:
- History, African-American History
This chapter suggests a paradigm shift in folklore and folklife studies in the twenty-first century following the "era of communication" and "professionalization of time and space" in the twentieth ...
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This chapter suggests a paradigm shift in folklore and folklife studies in the twenty-first century following the "era of communication" and "professionalization of time and space" in the twentieth century. Characterized as a "hyper era" represented by keywords of convergence, practice, and frame informed by digital culture rather than the previous period's analog signification of performance, symbol, and structure, the new epoch signals a turn toward an understanding of social praxis anticipated by intellectual movements in Europe and Asia. The American contribution is theorizing of individualism and organization in everyday life.Less
This chapter suggests a paradigm shift in folklore and folklife studies in the twenty-first century following the "era of communication" and "professionalization of time and space" in the twentieth century. Characterized as a "hyper era" represented by keywords of convergence, practice, and frame informed by digital culture rather than the previous period's analog signification of performance, symbol, and structure, the new epoch signals a turn toward an understanding of social praxis anticipated by intellectual movements in Europe and Asia. The American contribution is theorizing of individualism and organization in everyday life.
Jussi Parikka
- Published in print:
- 2011
- Published Online:
- August 2015
- ISBN:
- 9780816667390
- eISBN:
- 9781452947075
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816667390.003.0007
- Subject:
- Sociology, Science, Technology and Environment
This chapter illustrates how the media archaeological context of 1980s digital culture inherited the nineteenth-century discourse of evolution and embodied faculties expressed through animal worlds. ...
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This chapter illustrates how the media archaeological context of 1980s digital culture inherited the nineteenth-century discourse of evolution and embodied faculties expressed through animal worlds. The entomological concept of swarming shows an alternative way to understand the life of algorithms as objects in interaction, as manifested in object-oriented programming. The ethological perspective of temporal unfolding and the primacy of variation affect not only biology, but also cognitive science and the design of technological culture. The chapter presents three examples of visual culture and nature becoming an algorithm: biomorphs, SimAnt, and boids. It shows a mapping of the biological turn in software around the 1980s, as well as the object-oriented programming as one form of insect bottom-up technics.Less
This chapter illustrates how the media archaeological context of 1980s digital culture inherited the nineteenth-century discourse of evolution and embodied faculties expressed through animal worlds. The entomological concept of swarming shows an alternative way to understand the life of algorithms as objects in interaction, as manifested in object-oriented programming. The ethological perspective of temporal unfolding and the primacy of variation affect not only biology, but also cognitive science and the design of technological culture. The chapter presents three examples of visual culture and nature becoming an algorithm: biomorphs, SimAnt, and boids. It shows a mapping of the biological turn in software around the 1980s, as well as the object-oriented programming as one form of insect bottom-up technics.
Jussi Parikka
- Published in print:
- 2008
- Published Online:
- August 2013
- ISBN:
- 9780262062749
- eISBN:
- 9780262273343
- Item type:
- chapter
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262062749.003.0010
- Subject:
- Society and Culture, Media Studies
This chapter discusses the copying process, a major concept in the digital software culture. It focuses on the emerging trends and technological advancements of the copying process. The rest of the ...
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This chapter discusses the copying process, a major concept in the digital software culture. It focuses on the emerging trends and technological advancements of the copying process. The rest of the chapter comprises a detailed discussion on the elements and works involved, starting from the early times to the modern age and the ways in which the copy routine impacted the software studies. The conclusion states that digital copying copes with the digital rights management techniques; it also describes the relationship between the network and communication areas.Less
This chapter discusses the copying process, a major concept in the digital software culture. It focuses on the emerging trends and technological advancements of the copying process. The rest of the chapter comprises a detailed discussion on the elements and works involved, starting from the early times to the modern age and the ways in which the copy routine impacted the software studies. The conclusion states that digital copying copes with the digital rights management techniques; it also describes the relationship between the network and communication areas.
Nicholas Cook
Julie Brown, Nicholas Cook, and Stephen Cottrell (eds)
- Published in print:
- 2017
- Published Online:
- May 2018
- ISBN:
- 9780197266175
- eISBN:
- 9780191865220
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197266175.003.0024
- Subject:
- Music, Popular
This afterword seeks to put the chapters of Defining the Discographic Self: ‘Desert Island Discs’ in Context into dialogue with one another, drawing out a number of common themes. In particular it ...
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This afterword seeks to put the chapters of Defining the Discographic Self: ‘Desert Island Discs’ in Context into dialogue with one another, drawing out a number of common themes. In particular it develops the idea of the Desert Island Discs interview as a performance of identity, and explores the nature of the social engagement it creates in the studio, through the broadcast, and in the imaginary domain of the desert island. It also considers the current and possible future impact of digitalisation on the programme, and the extent to which the Desert Island Discs archive can support such digital humanities approaches as Franco Moretti’s distant listening.Less
This afterword seeks to put the chapters of Defining the Discographic Self: ‘Desert Island Discs’ in Context into dialogue with one another, drawing out a number of common themes. In particular it develops the idea of the Desert Island Discs interview as a performance of identity, and explores the nature of the social engagement it creates in the studio, through the broadcast, and in the imaginary domain of the desert island. It also considers the current and possible future impact of digitalisation on the programme, and the extent to which the Desert Island Discs archive can support such digital humanities approaches as Franco Moretti’s distant listening.
Diane Railton and Paul Watson
- Published in print:
- 2011
- Published Online:
- September 2012
- ISBN:
- 9780748633227
- eISBN:
- 9780748671021
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748633227.003.0008
- Subject:
- Society and Culture, Media Studies
This chapter reviews the craze on Lady Gaga which accompanied the release and reception of ‘Telephone’. It is indicated that such phenomena might jump-start critical interest in music video as an ...
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This chapter reviews the craze on Lady Gaga which accompanied the release and reception of ‘Telephone’. It is indicated that such phenomena might jump-start critical interest in music video as an important form of contemporary popular culture. The distinction between the video as a promotional tool for the song and the song proper is increasingly giving way. ‘Telephone’ presents a particularly fascinating perspective on the relationship between the internet, digital music culture and contemporary patterns of music video production, distribution and consumption. It also offers a deliberately ambiguous and playfully perverse image of femininity that defies normative conceptions of female sexuality. For contemporary feminism, and theorists of popular culture more generally, it perhaps matters less if Lady Gaga turns out to be more ‘material girl’ than ‘postfeminist icon’ in the long run than that the debate occasioned by her videos finds a path from the blog to the academy.Less
This chapter reviews the craze on Lady Gaga which accompanied the release and reception of ‘Telephone’. It is indicated that such phenomena might jump-start critical interest in music video as an important form of contemporary popular culture. The distinction between the video as a promotional tool for the song and the song proper is increasingly giving way. ‘Telephone’ presents a particularly fascinating perspective on the relationship between the internet, digital music culture and contemporary patterns of music video production, distribution and consumption. It also offers a deliberately ambiguous and playfully perverse image of femininity that defies normative conceptions of female sexuality. For contemporary feminism, and theorists of popular culture more generally, it perhaps matters less if Lady Gaga turns out to be more ‘material girl’ than ‘postfeminist icon’ in the long run than that the debate occasioned by her videos finds a path from the blog to the academy.
