Описание: Our digital world is often described using terms such as immateriality and virtuality. The discourse of cloud computing is the latest in a long line of nebulous, dematerialising tropes which have come to dominate how we think about information and communication technologies. Digital Media Ecologies argues that such rhetoric is highly misleading, and that engaging with the key cultural, agential, ethical and political impacts of contemporary media requires that we do not just engage with the surface level of content encountered by the end users of digital media, but that we must additionally consider the affordances of software and hardware. Whilst numerous existing approaches explore content, software and hardware individually, Digital Media Ecologies provides a critical intervention by insisting that addressing contemporary technoculture requires a synthetic approach that traverses these three registers.
Digital Media Ecologies re-envisions the methodological approach of media ecology to go beyond the metaphor of a symbolic information environment that exists alongside a material world of tantalum, turtles and tornados. It illustrates the social, cultural, political and environmental impacts of contemporary media assemblages through examples that include mining conflict-sustaining minerals, climate change blogging, iOS jailbreaking, and the ecological footprint of contemporary computing infrastructures. Alongside foregrounding the deleterious social and environmental impacts of digital technologies, the book considers numerous ways that these issues are being tackled by a heterogeneous array of activists, academics, hackers, scientists and citizens using the same technological assemblages that ostensibly cause these problems.
Our digital world is often described using terms such as immateriality and virtuality. The discourse of cloud computing is the latest in a long line of nebulous, dematerialising tropes which have come to dominate how we think about information and communication technologies. Digital Media Ecologies argues that such rhetoric is highly misleading, and that engaging with the key cultural, agential, ethical and political impacts of contemporary media requires that we do not just engage with the surface level of content encountered by the end users of digital media, but that we must additionally consider the affordances of software and hardware. Whilst numerous existing approaches explore content, software and hardware individually, Digital Media Ecologies provides a critical intervention by insisting that addressing contemporary technoculture requires a synthetic approach that traverses these three registers.
Digital Media Ecologies re-envisions the methodological approach of media ecology to go beyond the metaphor of a symbolic information environment that exists alongside a material world of tantalum, turtles and tornados. It illustrates the social, cultural, political and environmental impacts of contemporary media assemblages through examples that include mining conflict-sustaining minerals, climate change blogging, iOS jailbreaking, and the ecological footprint of contemporary computing infrastructures. Alongside foregrounding the deleterious social and environmental impacts of digital technologies, the book considers numerous ways that these issues are being tackled by a heterogeneous array of activists, academics, hackers, scientists and citizens using the same technological assemblages that ostensibly cause these problems.
Автор: Nick Braae; Kai Arne Hansen Название: On Popular Music and Its Unruly Entanglements ISBN: 3030180980 ISBN-13(EAN): 9783030180980 Издательство: Springer Рейтинг: Цена: 16769.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Описание: On Popular Music and Its Unruly Entanglements comprises eleven essays that explore the myriad ways in which popular music is entwined within social, cultural, musical, historical, and media networks. The authors discuss genres as diverse as mainstream pop, hip hop, classic rock, instrumental synthwave, video game music, amateur ukelele groups, and audiovisual remixes, while also considering the music’s relationship to technological developments, various media and material(itie)s, and personal and social identity. The collection presents a range of different methodologies and theoretical positions, which results in an eclecticism that aptly demonstrates the breadth of contemporary popular music research. The chapters are divided into three major sections that address: wider theoretical and analytical issues (“Broad Strokes”), familiar repertoire or concepts from a new perspective (“Second Takes”), and the meanings to arise from music’s connections with other media forms (“Audiovisual Entanglements”).
Автор: Braae Nick, Hansen Kai Arne Название: On Popular Music and Its Unruly Entanglements ISBN: 3030181014 ISBN-13(EAN): 9783030181017 Издательство: Springer Цена: 16769.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Описание: On Popular Music and Its Unruly Entanglements comprises eleven essays that explore the myriad ways in which popular music is entwined within social, cultural, musical, historical, and media networks.
Описание: How does a photograph become a news image? An ethnography of the labor behind international news images, this book ruptures the self-evidence of the journalistic photograph by revealing the many factors determining how news audiences are shown people, events, and the world.
Описание: How does a photograph become a news image? An ethnography of the labor behind international news images, this book ruptures the self-evidence of the journalistic photograph by revealing the many factors determining how news audiences are shown people, events, and the world.
Visualizing Atrocity takes Hannah Arendt’s provocative and polarizing account of the 1961 trial of Nazi official Adolf Eichmann as its point of departure for reassessing some of the serviceable myths that have come to shape and limit our understanding both of the Nazi genocide and totalitarianism’s broader, constitutive, and recurrent features. These myths are inextricably tied to and reinforced viscerally by the atrocity imagery that emerged with the liberation of the concentration camps at the war’s end and played an especially important, evidentiary role in the postwar trials of perpetrators. At the 1945 Nuremberg Tribunal, particular practices of looking and seeing were first established with respect to these images that were later reinforced and institutionalized through Eichmann’s trial in Jerusalem as simply part of the fabric of historical fact. They have come to constitute a certain visual rhetoric that now circumscribes the moral and political fields and powerfully assists in contemporary mythmaking about how we know genocide and what is permitted to count as such. In contrast, Arendt’s claims about the “banality of evil” work to disrupt this visual rhetoric. More significantly still, they direct our attention well beyond the figure of Eichmann to a world organized now as then by practices and processes that while designed to sustain and even enhance life work as well to efface it.
Автор: Oleksy Название: Visualizing Difference ISBN: 1138676713 ISBN-13(EAN): 9781138676718 Издательство: Taylor&Francis Рейтинг: Цена: 22968.00 р. Наличие на складе: Есть у поставщика Поставка под заказ.
Описание:
In the wealth of literature on intersectionality as a concept, theory, political option and methodology, little has been written on how it might be taught. Proceeding from theory to practice, Visualizing Difference fills in this lacuna and offers an original approach to a visual pedagogy that recognizes the necessity of integrating difference, whilst also inspiring the reader to convey meanings from visuals that directly bear influence upon their lives.
This innovative volume proposes a novel approach to empirical investigation of the visual. So far, it has not been demonstrated how interconnections between various social differentials, such as gender, disability, sexuality, race, ethnicity, and nationality intersect in a particular lived experience and shape the reception of visual texts. Oleksy thus focuses on documenting how critical analysis of films empowers students and gives them incentive to oppose normalizing power effects.
Through students' personal narratives, the reader will witness how subjectivity is indicative of the retrospective look at their own lives, which classroom experiences of watching and discussing the films have stimulated. This intriguing book will appeal to undergraduate and postgraduate students and postdoctoral researchers interested in Film Audience, Intersectionality, Sociology, Pedagogy and Gender Studies.
Visualizing Atrocity takes Hannah Arendt’s provocative and polarizing account of the 1961 trial of Nazi official Adolf Eichmann as its point of departure for reassessing some of the serviceable myths that have come to shape and limit our understanding both of the Nazi genocide and totalitarianism’s broader, constitutive, and recurrent features. These myths are inextricably tied to and reinforced viscerally by the atrocity imagery that emerged with the liberation of the concentration camps at the war’s end and played an especially important, evidentiary role in the postwar trials of perpetrators. At the 1945 Nuremberg Tribunal, particular practices of looking and seeing were first established with respect to these images that were later reinforced and institutionalized through Eichmann’s trial in Jerusalem as simply part of the fabric of historical fact. They have come to constitute a certain visual rhetoric that now circumscribes the moral and political fields and powerfully assists in contemporary mythmaking about how we know genocide and what is permitted to count as such. In contrast, Arendt’s claims about the “banality of evil” work to disrupt this visual rhetoric. More significantly still, they direct our attention well beyond the figure of Eichmann to a world organized now as then by practices and processes that while designed to sustain and even enhance life work as well to efface it.
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