Contents:
Part One: Media Theory / Spatial Theory 1 The Doubling of Place: Electronic Media, Time-Space Arrangements and Social Relationships 2 Kinetic Screens: Epistemologies of Moving Media 3 Neither Poison or Cure: Space Scale and Public Life in Media Theory 4 The Attractions of Television: Reconsidering Liveness Part Two: Work, Leisure, and the Spaces in Between 5 The Marketable Neighbourhood: Commercial Latinidad in New York's Harlem 6 Media, Bodies and Spaces of Ehtnography: Beauty Salons in Casablanca, Cairo and Paris 7 Spaces of Television: The Structuring of Consumers in a Swedish Shopping Mall 8 Dot.com Urbanism 9 Industrial Geography Lessons: Socio-Political Rituals and the Borderlands of Production Culture Part Three: New Media Spaces 10 The Webcam Subculture and the Digital Enclosure 11 Crossing the Media(n): Auto-mobility, the Transported Self, and Technologies of Freedom 12 Something Spatial in the Air: In-Flight Entertainment and the Topographies of Modern Air Travel 13 An Ontology of Everyday Control: Space, Media Flows and 'Smart' Living in the Absolute Present
14 'To Each Their Own Bubble': Mobile Spaces of Sound in the City

Media Space explores the importance of ideas of space and place to understanding the ways in which we experience the media in our everyday lives. Essays from leading international scholars address the kinds of space created by media and the effects that spacial arrangements have on media forms. Case studies focus on a wide variety of subjects and locales, from in-flight entertainment to mobile media such as personal stereos and mobile phones, and from the electronic spaces of the Internet to the shopping mall.

Patronizing the Public: American Philanthropy's Transformation of Culture, Communication, and the Humanities is the first detailed and comprehensive examination of how American philanthropic foundations have shaped numerous fields, including dance, drama, education, film, film-music, folklore, journalism, local history, museums, radio, television, as well as the performing arts and the humanities in general. Drawing on an impressive range of archival and secondary sources, the chapters in the volume give particular attention to the period from the late 1920s to the late 1970s, a crucial time for the development of philanthropic practice. To this end, it examines how patterns and directions of funding have been based on complex negotiations involving philanthropic family members, elite networks, foundation trustees and officers, cultural workers, academics, state officials, corporate interests, and the general public. By addressing both the contours of philanthropic power as well as the processes through which that power has been enacted, it is hoped that this collection will reinforce and amplify the critical study of philanthropy's history.

At the dawn of television in the early 1950s, a broad range of powerful groups and individuals-from prominent liberal intellectuals to massive corporations-saw in TV a unique capacity to influence the American masses, shaping (in the words of the American philosopher Mortimer Adler) "the ideas that should be in every citizen's mind." Formed in the shadow of the Cold War-amid the stirrings of the early civil rights movement-the potential of television as a form of unofficial government inspired corporate executives, foundation officers, and other influential leaders to approach TV sponsorship as a powerful new avenue for shaping the course of American democracy. In this compelling political history of television's formative years, media historian Anna McCarthy goes behind the scenes to bring back into view an entire era of civic-minded programming and the ideas about democratic agency from which it sprang. Based on pathbreaking archival work, The Citizen Machine poses entirely new questions about the political significance of television. At a time when TV broadcasting is in a state of crisis, and new media reform movements have entered political culture, here is an original and thought-provoking history of the assumptions that have profoundly shaped not only television but our understanding of American citizenship itself.

How do you forgive the unforgiveable? Is it possible to truly be free from what others have done to you?

Each of us has a story and has experienced hurt in some area of our lives. Whether in childhood, adolescence or adulthood, we all have experienced pain and disappointment. If not dealt with, these wounds begin to impact our everyday life at a crippling rate. We live bound by fear, insecurities, anger and jealousy; often chalking it up as "normal." Yet, in reality, we are being held captive by what others have done to us. We desire freedom from our pasts and our pain yet struggle with how to attain it; we wonder if it is even possible.

Addressing a broad spectrum of issues from common offenses to abuse and betrayal, the author leaves no question as to God's opinion of mistreatment, and how we can heal and live a life of freedom from our past and present hurts. With practical tools, you will discover that freedom isn't just possible; it's attainable.

Although we tend to think of television primarily as a household fixture, TV monitors outside the home are widespread: in bars, laundromats, and stores; conveying flight arrival and departure times in airports; uniting crowds at sports events and allaying boredom in waiting rooms; and helping to pass the time in workplaces of all kinds. In "Ambient Television" Anna McCarthy explores the significance of this pervasive phenomenon, tracing the forms of conflict, commerce, and community that television generates outside the home.
Discussing the roles television has played in different institutions from 1945 to the present day, McCarthy draws on a wide array of sources. These include retail merchandising literature, TV industry trade journals, and journalistic discussions of public viewing, as well as the work of cultural geographers, architectural theorists, media scholars, and anthropologists. She also uses photography as a research tool, documenting the uses and meanings of television sets in the built environment, and focuses on such locations as the tavern and the department store to show how television is used to support very different ideas about gender, class, and consumption. Turning to contemporary examples, McCarthy discusses practices such as Turner Private Networks' efforts to transform waiting room populations into advertising audiences and the use of point-of-sale video that influences brand visibility and consumer behavior. Finally, she inquires into the activist potential of out-of-home television through a discussion of the video practices of two contemporary artists in everyday public settings.
Scholars and students of cultural, visual, urban, American, film, and television studies will be interested in this thought-provoking, interdisciplinary book.

Patronizing the Public: American Philanthropy's Transformation of Culture, Communication, and the Humanities is the first detailed and comprehensive examination of how American philanthropic foundations have shaped numerous fields, including dance, drama, education, film, film-music, folklore, journalism, local history, museums, radio, television, as well as the performing arts and the humanities in general. Drawing on an impressive range of archival and secondary sources, the chapters in the volume give particular attention to the period from the late 1920s to the late 1970s, a crucial time for the development of philanthropic practice. To this end, it examines how patterns and directions of funding have been based on complex negotiations involving philanthropic family members, elite networks, foundation trustees and officers, cultural workers, academics, state officials, corporate interests, and the general public. By addressing both the contours of philanthropic power as well as the processes through which that power has been enacted, it is hoped that this collection will reinforce and amplify the critical study of philanthropy's history.