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As digital transformations continue to accelerate in the world,
discourses of big data have come to dominate in a number of fields,
from politics and economics, to media and education. But how can we
really understand the digital world when so much of the writing
through which we grapple with it remains deeply problematic? In a
compelling new work of feminist critical theory, Bassett, Kember
and O'Riordan scrutinise many of the assumptions of a masculinist
digital world, highlighting the tendency of digital humanities
scholarship to venerate and essentialise technical forms, and to
adopt gendered writing and citation practices. Contesting these
writings, practices and politics, the authors foreground feminist
traditions and contributions to the field, offering alternative
modes of knowledge production, and a radically different, poetic
writing style. Through this prism, Furious brings into focus themes
including the automation of home and domestic work, the
Anthropocene, and intersectional feminist technofutures.
We live in a moment of high anxiety around digital transformation.
Computers are blamed for generating toxic forms of culture and ways
of life. Once part of future imaginaries that were optimistic or
even utopian, today there is a sense that things have turned out
very differently. Anti-computing is widespread. This book seeks to
understand its cultural and material logics, its forms, and its
operations. Anti-Computing critically investigates forgotten
histories of dissent - moments when the imposition of computational
technologies, logics, techniques, imaginaries, utopias have been
questioned, disputed, or refused. It asks why dissent is forgotten
and how - under what circumstances - it revives. Constituting an
engagement with media archaeology/medium theory and working through
a series of case studies, this book is compelling reading for
scholars in digital media, literary, cultural history, digital
humanities and associated fields at all levels. -- .
The arc and the machine is a timely and original defence of
narrative in an age of information. Stressing interpretation and
experience alongside affect and sensation it convincingly argues
that narrative is key to contemporary forms of cultural production
and to the practice of contemporary life. Re-appraising the
prospects for narrative in the digital age, it insists on the
centrality of narrative to informational culture and provokes a
critical re-appraisal of how innovations in information technology
as a material cultural form can be understood and assessed. The
book offers a careful exploration of narrative theory, a
sophisticated critique of techno-cultural writing and a series of
tightly focused case studies. All of which point the way to a
restoration of a critical - rather than celebratory - approach to
new media. The scope and range of this book is broad, its
argumentation careful and exacting, and its conclusions exciting.
-- .
Editors Marsha Kinder and Tara McPherson present an authoritative
collection of essays on the continuing debates over medium
specificity and the politics of the digital arts. Comparing the
term “transmedia” with “transnational,” they show that the
movement beyond specific media or nations does not invalidate those
entities but makes us look more closely at the cultural specificity
of each combination. In two parts, the book stages debates across
essays, creating dialogues that give different narrative accounts
of what is historically and ideologically at stake in medium
specificity and digital politics. Each part includes a substantive
introduction by one of the editors. Part 1 examines precursors,
contemporary theorists, and artists who are protagonists in this
discursive drama, focusing on how the transmedia frictions and
continuities between old and new forms can be read most
productively: N. Katherine Hayles and Lev Manovich redefine medium
specificity, Edward Branigan and Yuri Tsivian explore nondigital
precursors, Steve Anderson and Stephen Mamber assess contemporary
archival histories, and Grahame Weinbren and Caroline Bassett
defend the open-ended mobility of newly emergent media. In part 2,
trios of essays address various ideologies of the digital: John
Hess and Patricia R. Zimmerman, Herman Gray, and David Wade Crane
redraw contours of race, space, and the margins; Eric Gordon,
Cristina Venegas, and John T. Caldwell unearth database cities,
portable homelands, and virtual fieldwork; and Mark B.N. Hansen,
Holly Willis, and Rafael Lozano-Hemmer and Guillermo Gómez-Peña
examine interactive bodies transformed by shock, gender, and color.
An invaluable reference work in the field of visual media studies,
Transmedia Frictions provides sound historical perspective on the
social and political aspects of the interactive digital arts,
demonstrating that they are never neutral or innocent.
As digital transformations continue to accelerate in the world,
discourses of big data have come to dominate in a number of fields,
from politics and economics, to media and education. But how can we
really understand the digital world when so much of the writing
through which we grapple with it remains deeply problematic? In a
compelling new work of feminist critical theory, Bassett, Kember
and O'Riordan scrutinise many of the assumptions of a masculinist
digital world, highlighting the tendency of digital humanities
scholarship to venerate and essentialise technical forms, and to
adopt gendered writing and citation practices. Contesting these
writings, practices and politics, the authors foreground feminist
traditions and contributions to the field, offering alternative
modes of knowledge production, and a radically different, poetic
writing style. Through this prism, Furious brings into focus themes
including the automation of home and domestic work, the
Anthropocene, and intersectional feminist technofutures.
Editors Marsha Kinder and Tara McPherson present an authoritative
collection of essays on the continuing debates over medium
specificity and the politics of the digital arts. Comparing the
term "transmedia" with "transnational," they show that the movement
beyond specific media or nations does not invalidate those entities
but makes us look more closely at the cultural specificity of each
combination. In two parts, the book stages debates across essays,
creating dialogues that give different narrative accounts of what
is historically and ideologically at stake in medium specificity
and digital politics. Each part includes a substantive introduction
by one of the editors.
Part 1 examines precursors, contemporary theorists, and artists
who are protagonists in this discursive drama, focusing on how the
transmedia frictions and continuities between old and new forms can
be read most productively: N. Katherine Hayles and Lev Manovich
redefine medium specificity, Edward Branigan and Yuri Tsivian
explore nondigital precursors, Steve Anderson and Stephen Mamber
assess contemporary archival histories, and Grahame Weinbren and
Caroline Bassett defend the open-ended mobility of newly emergent
media.
In part 2, trios of essays address various ideologies of the
digital: John Hess and Patricia R. Zimmerman, Herman Gray, and
David Wade Crane redraw contours of race, space, and the margins;
Eric Gordon, Cristina Venegas, and John T. Caldwell unearth
database cities, portable homelands, and virtual fieldwork; and
Mark B.N. Hansen, Holly Willis, and Rafael Lozano-Hemmer and
Guillermo Gomez-Pena examine interactive bodies transformed by
shock, gender, and color.
An invaluable reference work in the field of visual media studies,
"Transmedia Frictions" provides sound historical perspective on the
social and political aspects of the interactive digital arts,
demonstrating that they are never neutral or innocent.
Media Studies: A Reader introduces a full range of theoretical
perspectives through which the media may be explored, analysed,
critiqued, and understood. The Reader reaches back to essential
statements from writers such as Raymond Williams, Stuart Hall,
Marshall McLuhan, Jurgen Habermas, Jean Baudrillard and Michel
Foucault, whose work was central to forming the field. It also
includes wide ranging work on contemporary media formations from a
stellar collection of diverse theorists, including Annabelle
Sreberny, Paul Gilroy, Charlotte Brunsden, Angela McRobbie, Asu
Askoy and Kevin Robins, Micheal Bull, and Nick Couldry, to name
only a very few of those included. Finally, the Reader looks to the
future, exploring new media formations and their significance,
through the work of Mark Andrejevic, Lev Manovich, Jonathan Sterne
and others. The sixty-five readings are divided into two main
parts: 'Studying the Media' begins with a section on key
theoretical perspectives and follows this with five sections
opening up questions around the Public Sphere, Representation,
Feminism and Gender, Audiences, and Everyday Life respectively. The
second part, 'Case Studies', brings together concrete examples of
how theoretical approaches can be realised through a series of case
studies, covering for instance, reality TV, news, advertising, and
new media. With easy-to-follow introductions and guides to further
reading accompanying each section, Media Studies: A Reader equips
the student to engage with key debates in the field. This new
edition updates all sections with a rich selection of contemporary
writing complementing re-chosen media 'classics'. In addition: *
Further Reading lists have been comprehensively updated *
Introductory essays to each section have been expanded and
re-written
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