This is the first academic book to examine the long running hit series Grand Designs, which occupies a significant place in the popular imagination internationally. The authors apply an empirically grounded, critical perspective to the study of television to reveal how people use the program in their everyday lives. The emphasis on everyday uses and meanings combines creatively with understanding the program theoretically, textually and in terms of its production structures. This position challenges framings of the popular lifestyle and factual television genre that has been dominated by a neoliberal or governmentality perspective for many years. Presented by British designer and writer, Kevin McCloud, Grand Designs follows the progress of home owners as they embark on design, renovation and building projects at almost always dizzying scales of endeavour. Understanding the program as both a text to analyse and a site of material impact, the book draws on interviews with production members, home renovators, building practitioners and audiences, as well as references to associated media formats to provide contextual depth to the analysis. The authors argue that, as a cultural object, the program is both shaped by and enacts social discourses of home-making, design value and taste. Navigating public, commercial and promotional logics, Grand Designs sparks new forms of cultural production and consumer markets.

In this original study, Milne moves between close readings of letters, postcards and emails, and investigations of the material, technological infrastructures of these forms, to answer the question: How does presence function as an aesthetic and rhetorical strategy within networked communication practices? As her work reveals, the relation between old and new communication systems is more complex than allowed in much contemporary media theory. Although the correspondents of letters, postcards and emails are not, usually, present to one another as they write and read their exchanges, this does not necessarily inhibit affective communication. Indeed, this study demonstrates how physical absence may, in some instances, provide correspondents with intense intimacy and a spiritual, almost telepathic, sense of the other's presence. While corresponding by letter, postcard or email, readers construe an imaginary, incorporeal body for their correspondents that, in turn, reworks their interlocutor's self-presentation. In this regard the fantasy of presence reveals a key paradox of cultural communication, namely that material signifiers can be used to produce the experience of incorporeal presence.

In this original study, Milne moves between close readings of letters, postcards and emails, and investigations of the material, technological infrastructures of these forms, to answer the question: How does presence function as an aesthetic and rhetorical strategy within networked communication practices? As her work reveals, the relation between old and new communication systems is more complex than allowed in much contemporary media theory.

Although the correspondents of letters, postcards and emails are not, usually, present to one another as they write and read their exchanges, this does not necessarily inhibit affective communication. Indeed, this study demonstrates how physical absence may, in some instances, provide correspondents with intense intimacy and a spiritual, almost telepathic, sense of the other's presence. While corresponding by letter, postcard or email, readers construe an imaginary, incorporeal body for their correspondents that, in turn, reworks their interlocutor's self-presentation. In this regard the fantasy of presence reveals a key paradox of cultural communication, namely that material signifiers can be used to produce the experience of incorporeal presence.