Arthur L. Norberg
- Published in print:
- 2004
- Published Online:
- September 2007
- ISBN:
- 9780199241057
- eISBN:
- 9780191714290
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199241057.003.0002
- Subject:
- Business and Management, Information Technology
This chapter examines the dominant role of government agencies in providing support for computing during the last four decades. By extending the discussion over three phases, the chapter enlarges the ...
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This chapter examines the dominant role of government agencies in providing support for computing during the last four decades. By extending the discussion over three phases, the chapter enlarges the historical appreciation of the role of government in R&D for computing. This 50-year analysis also illustrates similarities in approach to selecting problems and funding R&D over the three phases. The changes discussed resulted both from sophistication within computing and from altered attitudes and circumstances in the society around the computing enterprise.Less
This chapter examines the dominant role of government agencies in providing support for computing during the last four decades. By extending the discussion over three phases, the chapter enlarges the historical appreciation of the role of government in R&D for computing. This 50-year analysis also illustrates similarities in approach to selecting problems and funding R&D over the three phases. The changes discussed resulted both from sophistication within computing and from altered attitudes and circumstances in the society around the computing enterprise.
JEFF GIDDINGS and JENNIFER LYMAN
- Published in print:
- 2010
- Published Online:
- January 2011
- ISBN:
- 9780195381146
- eISBN:
- 9780199869305
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195381146.003.0020
- Subject:
- Law, Public International Law
This chapter examines how clinical legal education, including its curriculum, teachers, teaching-methods, students, and social justice mission, influence legal education generally and connect law ...
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This chapter examines how clinical legal education, including its curriculum, teachers, teaching-methods, students, and social justice mission, influence legal education generally and connect law schools to their surrounding communities. It shows how clinical education introduced the study of lawyering to mainstream legal education and has promoted the use interactive teaching methods, including simulations, supervised case work, and problem-solving exercises, which help foster critical thinking necessary. Clinics also draw client interests, social justice, and professional values into the center of legal education, and have the capacity to promote links among various groups interested in the outcomes of legal education, serving as a bridge to broader community and professional engagement. The chapter argues that clinics have the greatest impact when insights from clinical experiences are incorporated in an integrative model with other teaching to form a developmental progression.Less
This chapter examines how clinical legal education, including its curriculum, teachers, teaching-methods, students, and social justice mission, influence legal education generally and connect law schools to their surrounding communities. It shows how clinical education introduced the study of lawyering to mainstream legal education and has promoted the use interactive teaching methods, including simulations, supervised case work, and problem-solving exercises, which help foster critical thinking necessary. Clinics also draw client interests, social justice, and professional values into the center of legal education, and have the capacity to promote links among various groups interested in the outcomes of legal education, serving as a bridge to broader community and professional engagement. The chapter argues that clinics have the greatest impact when insights from clinical experiences are incorporated in an integrative model with other teaching to form a developmental progression.
Nishida Kitarō
- Published in print:
- 2012
- Published Online:
- January 2012
- ISBN:
- 9780199841172
- eISBN:
- 9780199919543
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199841172.003.0003
- Subject:
- Religion, Philosophy of Religion
This essay from 1936/37 inquires into the prelogical origin of logic. It exemplifies one way in which Nishida’s thinking evolved after the initial articulation of his basho-theory. Here Nishida ...
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This essay from 1936/37 inquires into the prelogical origin of logic. It exemplifies one way in which Nishida’s thinking evolved after the initial articulation of his basho-theory. Here Nishida applies his understanding of basho (place) to the outer world of history, wherein human beings interact and work upon one another and upon things. The origin of logic is traced to our concrete lived interactivity in and with the historical world, an interactivity that Nishida calls “acting-intuition.” Nishida conceives the dynamic whole of this structure, involving not only world and self but also the human body and technē—our manipulation of tools and making of things to reshape the world—as dialectical. The dialectical unfolding of this structure is the world’s historical formation that gives birth to logic. Logic thus proves to be an expression of the world’s self-formation.Less
This essay from 1936/37 inquires into the prelogical origin of logic. It exemplifies one way in which Nishida’s thinking evolved after the initial articulation of his basho-theory. Here Nishida applies his understanding of basho (place) to the outer world of history, wherein human beings interact and work upon one another and upon things. The origin of logic is traced to our concrete lived interactivity in and with the historical world, an interactivity that Nishida calls “acting-intuition.” Nishida conceives the dynamic whole of this structure, involving not only world and self but also the human body and technē—our manipulation of tools and making of things to reshape the world—as dialectical. The dialectical unfolding of this structure is the world’s historical formation that gives birth to logic. Logic thus proves to be an expression of the world’s self-formation.
Inge Hinterwaldner
- Published in print:
- 2017
- Published Online:
- September 2017
- ISBN:
- 9780262035040
- eISBN:
- 9780262335546
- Item type:
- book
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262035040.001.0001
- Subject:
- Society and Culture, Technology and Society
In media art history as well as in science studies an intensified reception of cybernetic and system-theoretical concepts can be seen in the last few years. In the book a conceptualization of the ...
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In media art history as well as in science studies an intensified reception of cybernetic and system-theoretical concepts can be seen in the last few years. In the book a conceptualization of the relationship between the systemic and the iconic in interactive real-time simulations is proposed. To this end, the author differentiates between four main strata of form-giving design decisions: perspectivation, modelling, iconization, interaction. The particular images – ephemeral, changeable and open for interventions – fulfill the conditions of all these layers and, as a necessary consequence, they exhibit characteristic aesthetic features. With a close reading of the chosen example works, the variations within the repetitive cycles become evident as does the reason why the narration remains ‘flat’ (with only a few consecutive steps), contributing to the general impression of being confronted with a situation rather than a story. How are the borders of simulations either artificially marked or hidden and extended with images or other models? What role does the sensuous interface play for the degree and mode of user participation in the simulated scenery? The book assembles some basic preconditions and main features of image worlds based on computer simulations.Less
In media art history as well as in science studies an intensified reception of cybernetic and system-theoretical concepts can be seen in the last few years. In the book a conceptualization of the relationship between the systemic and the iconic in interactive real-time simulations is proposed. To this end, the author differentiates between four main strata of form-giving design decisions: perspectivation, modelling, iconization, interaction. The particular images – ephemeral, changeable and open for interventions – fulfill the conditions of all these layers and, as a necessary consequence, they exhibit characteristic aesthetic features. With a close reading of the chosen example works, the variations within the repetitive cycles become evident as does the reason why the narration remains ‘flat’ (with only a few consecutive steps), contributing to the general impression of being confronted with a situation rather than a story. How are the borders of simulations either artificially marked or hidden and extended with images or other models? What role does the sensuous interface play for the degree and mode of user participation in the simulated scenery? The book assembles some basic preconditions and main features of image worlds based on computer simulations.
Pablo J. Boczkowski and Eugenia Mitchelstein
- Published in print:
- 2013
- Published Online:
- May 2014
- ISBN:
- 9780262019835
- eISBN:
- 9780262318181
- Item type:
- book
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262019835.001.0001
- Subject:
- Society and Culture, Media Studies
The sites of major media organizations—CNN, USA Today, the Guardian, and others—provide the public with much of the online news they consume. But although a large proportion of the top stories these ...
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The sites of major media organizations—CNN, USA Today, the Guardian, and others—provide the public with much of the online news they consume. But although a large proportion of the top stories these sites disseminate cover politics, international relations, and economics, users of these sites show a preference (as evidenced by the most viewed stories) for news about sports, crime, entertainment, and weather. In this book, Pablo Boczkowski and Eugenia Mitchelstein examine this gap and consider the implications for the media industry and democratic life in the digital age. Drawing on analyses of more than 50,000 stories posted on twenty news sites in seven countries in North and South America and Western Europe, Boczkowski and Mitchelstein find that the gap in news preferences exists regardless of ideological orientation or national media culture. They show that it narrows in times of heightened political activity (including presidential elections or government crises) as readers feel compelled to inform themselves about public affairs but remains wide during times of normal political activity. Boczkowski and Mitchelstein also find that the gap is not affected by innovations in Web-native forms of storytelling such as blogs and user-generated content on mainstream news sites. Keeping the account of the news gap up to date, in the book’s coda they extend the analysis through the 2012 U.S. presidential election. Drawing upon these findings, the authors explore the news gap’s troubling consequences for the matrix that connects communication, technology, and politics in the digital age.Less
The sites of major media organizations—CNN, USA Today, the Guardian, and others—provide the public with much of the online news they consume. But although a large proportion of the top stories these sites disseminate cover politics, international relations, and economics, users of these sites show a preference (as evidenced by the most viewed stories) for news about sports, crime, entertainment, and weather. In this book, Pablo Boczkowski and Eugenia Mitchelstein examine this gap and consider the implications for the media industry and democratic life in the digital age. Drawing on analyses of more than 50,000 stories posted on twenty news sites in seven countries in North and South America and Western Europe, Boczkowski and Mitchelstein find that the gap in news preferences exists regardless of ideological orientation or national media culture. They show that it narrows in times of heightened political activity (including presidential elections or government crises) as readers feel compelled to inform themselves about public affairs but remains wide during times of normal political activity. Boczkowski and Mitchelstein also find that the gap is not affected by innovations in Web-native forms of storytelling such as blogs and user-generated content on mainstream news sites. Keeping the account of the news gap up to date, in the book’s coda they extend the analysis through the 2012 U.S. presidential election. Drawing upon these findings, the authors explore the news gap’s troubling consequences for the matrix that connects communication, technology, and politics in the digital age.
Jennifer Stromer-Galley
- Published in print:
- 2019
- Published Online:
- August 2019
- ISBN:
- 9780190694043
- eISBN:
- 9780190694081
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190694043.001.0001
- Subject:
- Political Science, American Politics, Democratization
Presidential candidates and their campaigns in the United States are fully invested in the use of social media. Yet, since 1996 presidential campaigns have been experimenting with ways to use digital ...
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Presidential candidates and their campaigns in the United States are fully invested in the use of social media. Yet, since 1996 presidential campaigns have been experimenting with ways to use digital communication technologies on the Internet to their advantage. This book tells the stories of the practices of campaigning online between 1996 and 2016, looking at winners and also-rans. The stories provide rich details of the factors that contribute to the success or failure of candidates, including the influence of digital media. The stories also show how political campaigns over six election cycles transitioned from the paradigm of mass media campaigning, to networked campaigning, and finally to mass-targeted campaigning. Campaigns shifted from efforts at mass persuasion to networked persuasion by identifying and communicating with super-supporters to give them the right digital tools and messages to take to their social network. Campaigns learned over time how to use the Internet’s interactive affordances to communicate with the public in ways that structures what supporters do for the campaign that maximizes strategic benefit—what I call “controlled interactivity.” By the 2016 campaign, technology companies made it easier and more effective to engage in mass-targeted campaigning—using large-scale data analytics by campaigns and tech companies to identify target audiences for campaigns to advertise to online.Less
Presidential candidates and their campaigns in the United States are fully invested in the use of social media. Yet, since 1996 presidential campaigns have been experimenting with ways to use digital communication technologies on the Internet to their advantage. This book tells the stories of the practices of campaigning online between 1996 and 2016, looking at winners and also-rans. The stories provide rich details of the factors that contribute to the success or failure of candidates, including the influence of digital media. The stories also show how political campaigns over six election cycles transitioned from the paradigm of mass media campaigning, to networked campaigning, and finally to mass-targeted campaigning. Campaigns shifted from efforts at mass persuasion to networked persuasion by identifying and communicating with super-supporters to give them the right digital tools and messages to take to their social network. Campaigns learned over time how to use the Internet’s interactive affordances to communicate with the public in ways that structures what supporters do for the campaign that maximizes strategic benefit—what I call “controlled interactivity.” By the 2016 campaign, technology companies made it easier and more effective to engage in mass-targeted campaigning—using large-scale data analytics by campaigns and tech companies to identify target audiences for campaigns to advertise to online.
Yukiko Nishimura
- Published in print:
- 2011
- Published Online:
- January 2012
- ISBN:
- 9780199795437
- eISBN:
- 9780199919321
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199795437.003.0005
- Subject:
- Linguistics, Sociolinguistics / Anthropological Linguistics
This chapter presents a study of Japanese keitai (mobile phone) novels. Keitai novels have received harsh criticism from literary critics in contemporary Japan. Based on quantitative stylistic and ...
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This chapter presents a study of Japanese keitai (mobile phone) novels. Keitai novels have received harsh criticism from literary critics in contemporary Japan. Based on quantitative stylistic and readability analyses, the study finds that keitai novels are not too different from conventional print novels except for their string/line length and a more conversational orientation, extending even to narration. The study illuminates current mainstream ideologies of literacy and literary standards, by which certain styles are deemed “immature.” Evaluations of keitai novels can be traced back to standards in the Japanese literary tradition. It is argued that the popularity of keitai novels may, however, point to the emergence of new literacies and literary sensibilities, which favor interactivity and a more speech-oriented style.Less
This chapter presents a study of Japanese keitai (mobile phone) novels. Keitai novels have received harsh criticism from literary critics in contemporary Japan. Based on quantitative stylistic and readability analyses, the study finds that keitai novels are not too different from conventional print novels except for their string/line length and a more conversational orientation, extending even to narration. The study illuminates current mainstream ideologies of literacy and literary standards, by which certain styles are deemed “immature.” Evaluations of keitai novels can be traced back to standards in the Japanese literary tradition. It is argued that the popularity of keitai novels may, however, point to the emergence of new literacies and literary sensibilities, which favor interactivity and a more speech-oriented style.
Kiri Miller
- Published in print:
- 2017
- Published Online:
- March 2017
- ISBN:
- 9780190257835
- eISBN:
- 9780190257880
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780190257835.001.0001
- Subject:
- Music, Dance, Ethnomusicology, World Music
Playable Bodies investigates what happens when machines teach humans to dance. Dance videogames work as engines of humor, shame, trust, and intimacy, urging players to dance like nobody’s ...
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Playable Bodies investigates what happens when machines teach humans to dance. Dance videogames work as engines of humor, shame, trust, and intimacy, urging players to dance like nobody’s watching—while being tracked by motion-sensing interfaces in their living rooms. The chart-topping dance game franchises Just Dance and Dance Central transform players’ experiences of popular music, invite experimentation with gendered and racialized movement styles, and present new possibilities for teaching, learning, and archiving choreography. The book shows how these games teach players to regard their own bodies as both interfaces and avatars, and how a convergence of choreography and programming code is driving a new wave of full-body virtual-reality media experiences. Drawing on five years of ethnographic research with players, game designers, and choreographers, Playable Bodies situates dance games in a media ecology that includes the larger game industry, viral music videos, reality TV competitions, marketing campaigns, consumer reviews, social media discourse, and emerging surveillance technologies. Miller tracks the circulation of dance gameplay and related “body projects” across media platforms to reveal how dance games function as “intimate media,” configuring new relationships among humans, interfaces, music and dance repertoires, and social media practices.Less
Playable Bodies investigates what happens when machines teach humans to dance. Dance videogames work as engines of humor, shame, trust, and intimacy, urging players to dance like nobody’s watching—while being tracked by motion-sensing interfaces in their living rooms. The chart-topping dance game franchises Just Dance and Dance Central transform players’ experiences of popular music, invite experimentation with gendered and racialized movement styles, and present new possibilities for teaching, learning, and archiving choreography. The book shows how these games teach players to regard their own bodies as both interfaces and avatars, and how a convergence of choreography and programming code is driving a new wave of full-body virtual-reality media experiences. Drawing on five years of ethnographic research with players, game designers, and choreographers, Playable Bodies situates dance games in a media ecology that includes the larger game industry, viral music videos, reality TV competitions, marketing campaigns, consumer reviews, social media discourse, and emerging surveillance technologies. Miller tracks the circulation of dance gameplay and related “body projects” across media platforms to reveal how dance games function as “intimate media,” configuring new relationships among humans, interfaces, music and dance repertoires, and social media practices.
Su Holmes
- Published in print:
- 2008
- Published Online:
- September 2012
- ISBN:
- 9780748627523
- eISBN:
- 9780748671212
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748627523.003.0007
- Subject:
- Film, Television and Radio, Television
Although quiz shows often encourage us to ‘play’ along, and they encode the participation of the audience into their textual form, there have been virtually no audience studies in this sphere. This ...
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Although quiz shows often encourage us to ‘play’ along, and they encode the participation of the audience into their textual form, there have been virtually no audience studies in this sphere. This chapter seeks to address this neglect. Moving from the early broadcast origins of the quiz show up until the advent of ‘interactive’ television, it considers the ways in which the viewer at home has been encouraged to participate. It then moves on to explore how fan cultures on the internet offer insights into audience interaction with the quiz show (and its cultural politics). But as such fans are also often contestants, the chapter returns to the questions of ‘performance’ and ‘authenticity’ examined in Chapter 5.Less
Although quiz shows often encourage us to ‘play’ along, and they encode the participation of the audience into their textual form, there have been virtually no audience studies in this sphere. This chapter seeks to address this neglect. Moving from the early broadcast origins of the quiz show up until the advent of ‘interactive’ television, it considers the ways in which the viewer at home has been encouraged to participate. It then moves on to explore how fan cultures on the internet offer insights into audience interaction with the quiz show (and its cultural politics). But as such fans are also often contestants, the chapter returns to the questions of ‘performance’ and ‘authenticity’ examined in Chapter 5.
Jamie Sexton
- Published in print:
- 2007
- Published Online:
- September 2012
- ISBN:
- 9780748625338
- eISBN:
- 9780748671038
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748625338.003.0006
- Subject:
- Society and Culture, Media Studies
This chapter explores the theme of sonic art, in which sound objects are often presented within gallery spaces or as site-specific installations. It explains how digital technologies impact upon ...
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This chapter explores the theme of sonic art, in which sound objects are often presented within gallery spaces or as site-specific installations. It explains how digital technologies impact upon sonic art, particularly through interactive networks and the emergence of virtual sound objects. It also reviews the roots of sound art within particular reflections on sound and music. It is noted that the electronic sound is more noticeable late at night, when the traffic becomes less frantic. The growth of digital technologies has often been associated with increasing interactivity. The Internet opens up fresh opportunities for sound art praxis. Sound art's strength rests in its exploration of the aural worlds. Sonic art is often planned so that one may speculate upon the sounds one filter out of the immediate perception, attuning aural sensation, encouraging speculation or perhaps a more active exploration of the sonorous flow that continually surrounds the human.Less
This chapter explores the theme of sonic art, in which sound objects are often presented within gallery spaces or as site-specific installations. It explains how digital technologies impact upon sonic art, particularly through interactive networks and the emergence of virtual sound objects. It also reviews the roots of sound art within particular reflections on sound and music. It is noted that the electronic sound is more noticeable late at night, when the traffic becomes less frantic. The growth of digital technologies has often been associated with increasing interactivity. The Internet opens up fresh opportunities for sound art praxis. Sound art's strength rests in its exploration of the aural worlds. Sonic art is often planned so that one may speculate upon the sounds one filter out of the immediate perception, attuning aural sensation, encouraging speculation or perhaps a more active exploration of the sonorous flow that continually surrounds the human.
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9780226469140
- eISBN:
- 9780226469287
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226469287.003.0008
- Subject:
- History, History of Ideas
This chapter is an examination of printed images. For much of the period between 1600 and 1900, intaglio engraving was a dominant mode of image transmission. Engraving, in fact, played a role in ...
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This chapter is an examination of printed images. For much of the period between 1600 and 1900, intaglio engraving was a dominant mode of image transmission. Engraving, in fact, played a role in producing commercial identities, consolidating scientific discourse, and structuring debates about artistic hierarchies. It was also vital to creating and circulating national identities, whose uneven development illuminates the stakes of interactions with print in broader processes of social and historical change. This chapter investigates connections between engraving and nation building in three very different cosmopolitan cities, to show how crucial practices of interactivity were to both. First, state-sponsored engraving in Vienna provides a model for thinking about the mobilization of the reproduced image in the interests of a powerful state. Second, the example of John Boydell's gallery in London demonstrates that nation building could be developed in concert with commercial interests. However, linking patriotism with art and print exposed tensions among the competing interests of painters, engravers, letterpress printers, and their financial backers. Finally, with particular reference to Paris, this chapter considers how responses to engraving were inseparable from the technological transformations that shaped the media landscape of the period. In each case, the chapter shows that engravers were hardly passive participants in top-down ideological schema.Less
This chapter is an examination of printed images. For much of the period between 1600 and 1900, intaglio engraving was a dominant mode of image transmission. Engraving, in fact, played a role in producing commercial identities, consolidating scientific discourse, and structuring debates about artistic hierarchies. It was also vital to creating and circulating national identities, whose uneven development illuminates the stakes of interactions with print in broader processes of social and historical change. This chapter investigates connections between engraving and nation building in three very different cosmopolitan cities, to show how crucial practices of interactivity were to both. First, state-sponsored engraving in Vienna provides a model for thinking about the mobilization of the reproduced image in the interests of a powerful state. Second, the example of John Boydell's gallery in London demonstrates that nation building could be developed in concert with commercial interests. However, linking patriotism with art and print exposed tensions among the competing interests of painters, engravers, letterpress printers, and their financial backers. Finally, with particular reference to Paris, this chapter considers how responses to engraving were inseparable from the technological transformations that shaped the media landscape of the period. In each case, the chapter shows that engravers were hardly passive participants in top-down ideological schema.
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9780226469140
- eISBN:
- 9780226469287
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226469287.003.0015
- Subject:
- History, History of Ideas
This chapter captures the types of interactions that individuals have historically undertaken with paper. The question here is not what paper did to people, but the other way around: what did people ...
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This chapter captures the types of interactions that individuals have historically undertaken with paper. The question here is not what paper did to people, but the other way around: what did people do with paper? With this in mind, the chapter takes advantage of the recent turn that attends to questions of embodiedness when it comes to reading, the way our gestural interactions with media affect the meaning of what is mediated. If paper was an important material paratext that helped construct new kinds of coherent reading communities in the eighteenth and nineteenth centuries, it also conditioned new kinds of interactions with printed and nonprint material. With its “openness to alliances and ability to insert itself into a multitude of routines,” paper supported, shaped, and inspired a wide range of routines and techniques of culture, ranging from the pedagogical and scientific to the sociable and artistic. Accordingly, the focus here is on three principal forms of interactivity—folding, cutting, and pasting—and the ways these interactions served different kinds of purposes across different social groups, including child readers, domestic collectors, scholarly editors, and devotional communities.Less
This chapter captures the types of interactions that individuals have historically undertaken with paper. The question here is not what paper did to people, but the other way around: what did people do with paper? With this in mind, the chapter takes advantage of the recent turn that attends to questions of embodiedness when it comes to reading, the way our gestural interactions with media affect the meaning of what is mediated. If paper was an important material paratext that helped construct new kinds of coherent reading communities in the eighteenth and nineteenth centuries, it also conditioned new kinds of interactions with printed and nonprint material. With its “openness to alliances and ability to insert itself into a multitude of routines,” paper supported, shaped, and inspired a wide range of routines and techniques of culture, ranging from the pedagogical and scientific to the sociable and artistic. Accordingly, the focus here is on three principal forms of interactivity—folding, cutting, and pasting—and the ways these interactions served different kinds of purposes across different social groups, including child readers, domestic collectors, scholarly editors, and devotional communities.
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9780226469140
- eISBN:
- 9780226469287
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226469287.003.0018
- Subject:
- History, History of Ideas
This chapter explores the complex interactivity found in eighteenth- to nineteenth-century stages. Theaters in those days were well-lit, noisy, and boisterous spaces, illuminated by hundreds of ...
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This chapter explores the complex interactivity found in eighteenth- to nineteenth-century stages. Theaters in those days were well-lit, noisy, and boisterous spaces, illuminated by hundreds of candles so that performers and audience members were equally visible to one another. In this sense, they present a truly social form of media in which audience members came to cheer favorite performers and ogle each other, and where their contributions, for good or for ill, were frequently constitutive of an evening's performance. This interactivity, however, extended well beyond performers and audience members to the printed page itself. Plays of the eighteenth and nineteenth centuries may often have entered the world first as performances, but that did not stop them from being accompanied by a host of printed texts, including newspaper advertisements, playbills, broadsides, and short pamphlets containing favorite speeches, songs, and choruses. Performances were advertised and reviewed, and actors' memoirs and behind-the-scenes accounts of various green rooms retain their popularity to the present day. In addition, once a play was well into its initial run, the playwright frequently published its script to achieve still greater profits. Herein lies yet another kind of interactivity—an intermedial one—in which the transitory nature of performance comes into dialogue, if not conflict, with the more permanent nature of print.Less
This chapter explores the complex interactivity found in eighteenth- to nineteenth-century stages. Theaters in those days were well-lit, noisy, and boisterous spaces, illuminated by hundreds of candles so that performers and audience members were equally visible to one another. In this sense, they present a truly social form of media in which audience members came to cheer favorite performers and ogle each other, and where their contributions, for good or for ill, were frequently constitutive of an evening's performance. This interactivity, however, extended well beyond performers and audience members to the printed page itself. Plays of the eighteenth and nineteenth centuries may often have entered the world first as performances, but that did not stop them from being accompanied by a host of printed texts, including newspaper advertisements, playbills, broadsides, and short pamphlets containing favorite speeches, songs, and choruses. Performances were advertised and reviewed, and actors' memoirs and behind-the-scenes accounts of various green rooms retain their popularity to the present day. In addition, once a play was well into its initial run, the playwright frequently published its script to achieve still greater profits. Herein lies yet another kind of interactivity—an intermedial one—in which the transitory nature of performance comes into dialogue, if not conflict, with the more permanent nature of print.
Andreas Broeckmann
- Published in print:
- 2017
- Published Online:
- September 2017
- ISBN:
- 9780262035064
- eISBN:
- 9780262336109
- Item type:
- chapter
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262035064.003.0004
- Subject:
- Art, Art History
This chapter discusses the ways in which twentieth-century artists have engaged with the aesthetic dimensions of algorithms and machine autonomy. It extends the narrative on the history of machine ...
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This chapter discusses the ways in which twentieth-century artists have engaged with the aesthetic dimensions of algorithms and machine autonomy. It extends the narrative on the history of machine art from the previous chapter, beyond the program of Hultén’s 1968 “Machine” exhibition. It explains how the dialogue between art and cybernetics has evolved from the 1950s cybernetic artworks of Nicolas Schöffer, through the 1968 exhibition “Cybernetic Serendipity” and Jack Burnham’s concept of Systems Aesthetics, to the more contemporary software and robotic artworks of Max Dean, Seiko Mikami, and others. A focus is placed on the work of Canadian artist David Rokeby who has explored the aesthetics of the human encounter and interaction with technical systems since the 1980s. The analysis aims at adding two further aspects of the aesthetics of machines to the list of five such aspects developed in the previous chapter: one is the aspect of “interactivity”, which adds the dimension of a charged dialogue and exchange between human and machine; and the other is the aspect of “machine autonomy”, which becomes a determining factor in the human experience of increasingly independent and self-referential technical systems.Less
This chapter discusses the ways in which twentieth-century artists have engaged with the aesthetic dimensions of algorithms and machine autonomy. It extends the narrative on the history of machine art from the previous chapter, beyond the program of Hultén’s 1968 “Machine” exhibition. It explains how the dialogue between art and cybernetics has evolved from the 1950s cybernetic artworks of Nicolas Schöffer, through the 1968 exhibition “Cybernetic Serendipity” and Jack Burnham’s concept of Systems Aesthetics, to the more contemporary software and robotic artworks of Max Dean, Seiko Mikami, and others. A focus is placed on the work of Canadian artist David Rokeby who has explored the aesthetics of the human encounter and interaction with technical systems since the 1980s. The analysis aims at adding two further aspects of the aesthetics of machines to the list of five such aspects developed in the previous chapter: one is the aspect of “interactivity”, which adds the dimension of a charged dialogue and exchange between human and machine; and the other is the aspect of “machine autonomy”, which becomes a determining factor in the human experience of increasingly independent and self-referential technical systems.
Roger Tourangeau, Frederick G. Conrad, and Mick P. Couper
- Published in print:
- 2013
- Published Online:
- May 2013
- ISBN:
- 9780199747047
- eISBN:
- 9780199345069
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199747047.001.0001
- Subject:
- Psychology, Social Psychology
This book provides a thorough review of the authors’ own research and other empirical evidence on Web surveys, taking a total survey error perspective. That perspective distinguishes several major ...
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This book provides a thorough review of the authors’ own research and other empirical evidence on Web surveys, taking a total survey error perspective. That perspective distinguishes several major sources of error in survey estimates, including sampling and coverage, nonresponse, and measurement issues. Because Web surveys are often used in combination with more traditional modes of data collection, the book also provides a model of the errors arising from mixed mode surveys. In its discussion of sampling and coverage, the book assesses the effectiveness of statistical procedures designed to remove selection and coverage biases from Web survey estimates. Several chapters are devoted to the measurement properties of Web surveys, examining basic design issues in Web surveys, the impact of the Web’s character as primarily a visual medium, the ability of Web surveys to permit interaction with the respondents, and the Web as a method for self-administering sensitive survey questions. An overall theme of the book is that Web surveys often offer relatively poor representation of the general population (sampling is difficult, coverage is imperfect, and response rates are often low), but relatively accurate measurement (allowing feedback to respondents and providing the benefits of self-administration). Although the book’s aims are primarily scientific, it does offer practical guidance to researchers where the evidence seems to support clear recommendations.Less
This book provides a thorough review of the authors’ own research and other empirical evidence on Web surveys, taking a total survey error perspective. That perspective distinguishes several major sources of error in survey estimates, including sampling and coverage, nonresponse, and measurement issues. Because Web surveys are often used in combination with more traditional modes of data collection, the book also provides a model of the errors arising from mixed mode surveys. In its discussion of sampling and coverage, the book assesses the effectiveness of statistical procedures designed to remove selection and coverage biases from Web survey estimates. Several chapters are devoted to the measurement properties of Web surveys, examining basic design issues in Web surveys, the impact of the Web’s character as primarily a visual medium, the ability of Web surveys to permit interaction with the respondents, and the Web as a method for self-administering sensitive survey questions. An overall theme of the book is that Web surveys often offer relatively poor representation of the general population (sampling is difficult, coverage is imperfect, and response rates are often low), but relatively accurate measurement (allowing feedback to respondents and providing the benefits of self-administration). Although the book’s aims are primarily scientific, it does offer practical guidance to researchers where the evidence seems to support clear recommendations.
Andy Miah
- Published in print:
- 2017
- Published Online:
- September 2017
- ISBN:
- 9780262035477
- eISBN:
- 9780262343114
- Item type:
- chapter
- Publisher:
- The MIT Press
- DOI:
- 10.7551/mitpress/9780262035477.003.0006
- Subject:
- Sociology, Sport and Leisure
This chapter examines how spectator encounter digital technology in sport, which reveals a blurring of participation and spectating. It also proposes that spectating is changing through the ...
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This chapter examines how spectator encounter digital technology in sport, which reveals a blurring of participation and spectating. It also proposes that spectating is changing through the development of digital interactive experiences, such as urban screens, TV on demand, mobile technology, and social media, creating a new form of remote participation. The chapter also asks considers that the concept of spectator no longer makes sense in the context of an immersive viewing experience, where the witness is brought into the space of the activity, rather than simply occupying a third person perspective.Less
This chapter examines how spectator encounter digital technology in sport, which reveals a blurring of participation and spectating. It also proposes that spectating is changing through the development of digital interactive experiences, such as urban screens, TV on demand, mobile technology, and social media, creating a new form of remote participation. The chapter also asks considers that the concept of spectator no longer makes sense in the context of an immersive viewing experience, where the witness is brought into the space of the activity, rather than simply occupying a third person perspective.
Holly Rogers
- Published in print:
- 2013
- Published Online:
- September 2013
- ISBN:
- 9780199861408
- eISBN:
- 9780199332731
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199861408.001.0001
- Subject:
- Music, History, Western, Popular
This book explores the first decade of creative video work, focusing on the ways in which video technology was used to dissolve the boundaries between art and music. Becoming commercially available ...
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This book explores the first decade of creative video work, focusing on the ways in which video technology was used to dissolve the boundaries between art and music. Becoming commercially available in the mid 1960s, video became integral to the experimentalism of New York City’s music and art scenes. The medium was able to record image and sound at the same time, allowing composers to visualize their music and artists to sound their images in a quick and easy manner. Video also enabled the creation of interactive spaces that questioned conventional habits of music and art consumption. The medium’s audiovisual synergy could be projected, manipulated and processed live and the closed-circuit video feed drew audience members into the heart of the experience. Such activated spectatorship resulted in improvisatory and performative events, in which the space between artists, composers, performers and visitors collapsed into a single, yet expansive, intermedial environment. Many believed that audiovisual video signalled a brand-new art form that only began in 1965. This book suggests that this is inaccurate. During the twentieth century, composers were experimenting with spatialising their sounds, while artists were attempting to include time as a creative element in their visual work. Pioneering video work allowed these two disciplines to come together. Shifting the focus from object to spatial process, Sounding the Gallery uses theories of intermedia, film, architecture, drama and performance practice to create an interdisciplinary history of music and art that culminates in the rise of video art-music in the late 1960s.Less
This book explores the first decade of creative video work, focusing on the ways in which video technology was used to dissolve the boundaries between art and music. Becoming commercially available in the mid 1960s, video became integral to the experimentalism of New York City’s music and art scenes. The medium was able to record image and sound at the same time, allowing composers to visualize their music and artists to sound their images in a quick and easy manner. Video also enabled the creation of interactive spaces that questioned conventional habits of music and art consumption. The medium’s audiovisual synergy could be projected, manipulated and processed live and the closed-circuit video feed drew audience members into the heart of the experience. Such activated spectatorship resulted in improvisatory and performative events, in which the space between artists, composers, performers and visitors collapsed into a single, yet expansive, intermedial environment. Many believed that audiovisual video signalled a brand-new art form that only began in 1965. This book suggests that this is inaccurate. During the twentieth century, composers were experimenting with spatialising their sounds, while artists were attempting to include time as a creative element in their visual work. Pioneering video work allowed these two disciplines to come together. Shifting the focus from object to spatial process, Sounding the Gallery uses theories of intermedia, film, architecture, drama and performance practice to create an interdisciplinary history of music and art that culminates in the rise of video art-music in the late 1960s.
Michael A. Chaney
- Published in print:
- 2017
- Published Online:
- September 2018
- ISBN:
- 9781496810250
- eISBN:
- 9781496810298
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781496810250.003.0004
- Subject:
- Literature, Comics Studies
This chapter explores puzzles and other ludic devices in Epileptic, Cancer Vixen, and Fun Home, asking what is produced when autobiographical graphic novels stop showing and telling and start ...
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This chapter explores puzzles and other ludic devices in Epileptic, Cancer Vixen, and Fun Home, asking what is produced when autobiographical graphic novels stop showing and telling and start playing. The goal is to understand the tendency in some autography for picture puzzles, labyrinths, and matching exercises. The chapter examines the implications of graphic memoir's penchant for ludic interactivity (“ludic” refers to acts of play solicited by the text as well as the textual spaces that these solicitations inscribe). More specifically, it considers what happens to reading and readers when this shift to play occurs. It also investigates how shifts to the ludic give rise to tactile “reading” experiences that reveal graphic memoir's investments in embodiment and materiality. The chapter shows that the play spaces of autobiographical graphic novels beckon transformative agency in the field of the reader, whose actions therein are both emancipatory and puzzling.Less
This chapter explores puzzles and other ludic devices in Epileptic, Cancer Vixen, and Fun Home, asking what is produced when autobiographical graphic novels stop showing and telling and start playing. The goal is to understand the tendency in some autography for picture puzzles, labyrinths, and matching exercises. The chapter examines the implications of graphic memoir's penchant for ludic interactivity (“ludic” refers to acts of play solicited by the text as well as the textual spaces that these solicitations inscribe). More specifically, it considers what happens to reading and readers when this shift to play occurs. It also investigates how shifts to the ludic give rise to tactile “reading” experiences that reveal graphic memoir's investments in embodiment and materiality. The chapter shows that the play spaces of autobiographical graphic novels beckon transformative agency in the field of the reader, whose actions therein are both emancipatory and puzzling.
Jennifer Stromer-Galley
- Published in print:
- 2014
- Published Online:
- April 2014
- ISBN:
- 9780199731930
- eISBN:
- 9780199357482
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199731930.001.0001
- Subject:
- Political Science, American Politics, Democratization
With Barack Obama’s electoral victories, scholars and political watchers have marveled at the ways campaigns are using digital communication technologies (DCTs) in their strategy toolkit in the ...
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With Barack Obama’s electoral victories, scholars and political watchers have marveled at the ways campaigns are using digital communication technologies (DCTs) in their strategy toolkit in the United States. Yet since 1996 presidential campaigns have been experimenting with ways to use DCTs to their advantage. This book tells the stories of the practices of campaigning with DCTs between 1996 and 2012, looking at winners and also-rans. The stories provide rich details of the variety of factors that contribute to the success or failure of candidates, including (but not only) digital media. The stories also show how political campaigns over five election cycles transitioned from the paradigm of mass-media campaigning to networked campaigning. That is, campaigns shifted from efforts at mass persuasion to efforts of two-step flow persuasion: identifying super-supporters and giving them the right tools and messages to take to their social network, mobilizing their involvement with the campaign and securing voters on Election Day. Presidential Campaigning in the Internet Age argues that the specific DCT affordance of interactivity helps make clear that the imperative of political campaigns is to craft strategic messages that motivate segments of the electorate to mobilize for a candidate. Although democracy in the broadest sense is about broad participation among members of the citizenry, in which all voices are equal, paradoxically, political campaigns (especially at the presidential level) are undemocratic affairs.Less
With Barack Obama’s electoral victories, scholars and political watchers have marveled at the ways campaigns are using digital communication technologies (DCTs) in their strategy toolkit in the United States. Yet since 1996 presidential campaigns have been experimenting with ways to use DCTs to their advantage. This book tells the stories of the practices of campaigning with DCTs between 1996 and 2012, looking at winners and also-rans. The stories provide rich details of the variety of factors that contribute to the success or failure of candidates, including (but not only) digital media. The stories also show how political campaigns over five election cycles transitioned from the paradigm of mass-media campaigning to networked campaigning. That is, campaigns shifted from efforts at mass persuasion to efforts of two-step flow persuasion: identifying super-supporters and giving them the right tools and messages to take to their social network, mobilizing their involvement with the campaign and securing voters on Election Day. Presidential Campaigning in the Internet Age argues that the specific DCT affordance of interactivity helps make clear that the imperative of political campaigns is to craft strategic messages that motivate segments of the electorate to mobilize for a candidate. Although democracy in the broadest sense is about broad participation among members of the citizenry, in which all voices are equal, paradoxically, political campaigns (especially at the presidential level) are undemocratic affairs.
Jennifer Stromer-Galley
- Published in print:
- 2014
- Published Online:
- April 2014
- ISBN:
- 9780199731930
- eISBN:
- 9780199357482
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199731930.003.0001
- Subject:
- Political Science, American Politics, Democratization
This chapter provides an overview of key arguments and goals. A key mission of the book is to help scholars of political communication and digital media contextualize and better understand the ...
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This chapter provides an overview of key arguments and goals. A key mission of the book is to help scholars of political communication and digital media contextualize and better understand the shifting practices by campaigns long before Barack Obama was a household name. To do so, this chapter borrows from the work of Robert Denton, looking especially at the political and social context, the organization, fundraising, and image construction of the candidates, as well as factoring in the role of journalists and the hybrid media environment and public opinion polling. The chapter also examines citizen involvement in the campaign, describing how campaigns’ use of DCTs, and the specific affordance of interactivity, highlights that the objective of a campaign is to win, not to genuinely engage citizens in the campaign. This chapter concludes by providing a brief outline of the book, underscoring the shifting campaign practices that occurred between 1996 and 2012.Less
This chapter provides an overview of key arguments and goals. A key mission of the book is to help scholars of political communication and digital media contextualize and better understand the shifting practices by campaigns long before Barack Obama was a household name. To do so, this chapter borrows from the work of Robert Denton, looking especially at the political and social context, the organization, fundraising, and image construction of the candidates, as well as factoring in the role of journalists and the hybrid media environment and public opinion polling. The chapter also examines citizen involvement in the campaign, describing how campaigns’ use of DCTs, and the specific affordance of interactivity, highlights that the objective of a campaign is to win, not to genuinely engage citizens in the campaign. This chapter concludes by providing a brief outline of the book, underscoring the shifting campaign practices that occurred between 1996 and 2012.
