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This much-expanded and updated second edition of New Media, Old
Media brings together original and classic essays that explore the
tensions of old and new in digital culture. Touching on topics
including media archaeology, archives, software studies,
surveillance, big data, social media, organized networks, digital
art, and the Internet of Things, this newly revised critical
anthology is essential reading for anyone studying the cultural
impact of new and digital media.
How fluorescent orange symbolizes the uneven distribution of safety
and risk in the neoliberal United States Safety Orange first
emerged in the 1950s as a bureaucratic color standard in technical
manuals and federal regulations in the United States. Today it is
most visible in the contexts of terror, pandemic, and environmental
alarm systems; traffic control; work safety; and mass
incarceration. In recent decades, the color has become ubiquitous
in American public life-a marker of the extreme poles of state
oversight and abandonment, of capitalist excess and dereliction.
Its unprecedented saturation encodes the tracking of those bodies,
neighborhoods, and infrastructures judged as worthy of care-and
those deemed dangerous and expendable. Here, Anna Watkins Fisher
uses Safety Orange as an interpretive key for theorizing the uneven
distribution of safety and care in twenty-first-century U.S. public
life and for pondering what the color tells us about
neoliberalism's intensifying impact often hiding in plain sight in
ordinary and commonplace phenomena. Forerunners: Ideas First is a
thought-in-process series of breakthrough digital publications.
Written between fresh ideas and finished books, Forerunners draws
on scholarly work initiated in notable blogs, social media,
conference plenaries, journal articles, and the synergy of academic
exchange. This is gray literature publishing: where intense
thinking, change, and speculation take place in scholarship.
This much-expanded and updated second edition of New Media, Old
Media brings together original and classic essays that explore the
tensions of old and new in digital culture. Touching on topics
including media archaeology, archives, software studies,
surveillance, big data, social media, organized networks, digital
art, and the Internet of Things, this newly revised critical
anthology is essential reading for anyone studying the cultural
impact of new and digital media.
What does artistic resistance look like in the twenty-first
century, when disruption and dissent have been co-opted and
commodified in ways that reinforce dominant systems? In The Play in
the System Anna Watkins Fisher locates the possibility for
resistance in artists who embrace parasitism-tactics of complicity
that effect subversion from within hegemonic structures. Fisher
tracks the ways in which artists on the margins-from hacker
collectives like Ubermorgen to feminist writers and performers like
Chris Kraus-have willfully abandoned the radical scripts of
opposition and refusal long identified with anticapitalism and
feminism. Space for resistance is found instead in the mutually, if
unevenly, exploitative relations between dominant hosts giving only
as much as required to appear generous and parasitical actors
taking only as much as they can get away with. The irreverent and
often troubling works that result raise necessary and difficult
questions about the conditions for resistance and critique under
neoliberalism today.
What does artistic resistance look like in the twenty-first
century, when disruption and dissent have been co-opted and
commodified in ways that reinforce dominant systems? In The Play in
the System Anna Watkins Fisher locates the possibility for
resistance in artists who embrace parasitism-tactics of complicity
that effect subversion from within hegemonic structures. Fisher
tracks the ways in which artists on the margins-from hacker
collectives like Ubermorgen to feminist writers and performers like
Chris Kraus-have willfully abandoned the radical scripts of
opposition and refusal long identified with anticapitalism and
feminism. Space for resistance is found instead in the mutually, if
unevenly, exploitative relations between dominant hosts giving only
as much as required to appear generous and parasitical actors
taking only as much as they can get away with. The irreverent and
often troubling works that result raise necessary and difficult
questions about the conditions for resistance and critique under
neoliberalism today.
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