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Popular culture helps construct, define, and impact our everyday
realities and must be taken seriously because popular culture is,
simply, popular. Communication Perspectives on Popular Culture
brings together communication experts with diverse backgrounds,
from interpersonal communication, business and organizational
communication, mass communication, media studies, narrative,
rhetoric, gender studies, autoethnography, popular culture studies,
and journalism. The contributors tackle such topics as music,
broadcast and Netflix television shows, movies, the Internet, video
games, and more, as they connect popular culture to personal
concerns as well as larger political and societal issues. The
variety of approaches in these chapters are simultaneously situated
in the present while building a foundation for the future, as
contributors explore new and emerging ways to approach popular
culture. From case studies to emerging theories, the contributors
examine how popular culture, media, and communication influence our
everyday lives.
Beyond New Media: Discourse and Critique in a Polymediated Age
examines a host of differing positions on media in order to explore
how those positions can inform one another and build a basis for
future engagements with media theory, research, and practice.
Herbig, Herrmann, and Tyma have brought together a number of media
scholars with differing paradigmatic backgrounds to debate the
relative applicability of existing theories and in doing so develop
a new approach: polymediation. Each contributor's disciplinary
background is diverse, spanning interpersonal communication, media
studies, organizational communication, instructional design,
rhetoric, mass communication, gender studies, popular culture
studies, informatics, and persuasion. Although each of these
scholars brings with them a unique perspective on media's role in
people's lives, what binds them together is the belief that
meaningful discourse about media must be an ongoing conversation
that is open to critique and revision in a rapidly changing
mediated culture. By studying media in a polymediated way, Beyond
New Media addresses more completely our complex relationship to
media(tion) in our everyday lives.
World-renowned for her work during the Weimar period, Hannah Hoech
was a pioneer in many aspects, both artistic and cultural. She was
the lone woman of the Berlin Dada movement - the riotous form of
art that deconstructed sound, language, and images to re-assemble
them into new objects, texts and meanings. Hoech was a pivotal
force in the development of collage, paving the way for today's
ubiquitous image editing techniques. A determined believer in
women's rights, Hoech questioned conventional concepts of
partnership, beauty and the making of art, her work presenting
acute critiques of racial and social stereotypes, particularly that
of her native Germany. Focusing on Hoech's collages, this book
examines the artist's career from the 1920s to the 1970s, charting
her oeuvre from early works influenced by fashion and mass media,
through to her later compositions of lyrical abstraction. It
reveals her rapid development of a personal style, which was both
humorous and often moving, but also offered critical commentary on
society at a time of tremendous social change. Included are essays
that examine themes such as the concept of the "New Woman" and the
legacy of German colonialism. Featuring international scholarship
on a groundbreaking artist, this volume brings together important
source texts and reference material, which were first translated
into English for the original edition of this book.
Beyond New Media: Discourse and Critique in a Polymediated Age
examines a host of differing positions on media in order to explore
how those positions can inform one another and build a basis for
future engagements with media theory, research, and practice.
Herbig, Herrmann, and Tyma have brought together a number of media
scholars with differing paradigmatic backgrounds to debate the
relative applicability of existing theories and in doing so develop
a new approach: polymediation. Each contributor's disciplinary
background is diverse, spanning interpersonal communication, media
studies, organizational communication, instructional design,
rhetoric, mass communication, gender studies, popular culture
studies, informatics, and persuasion. Although each of these
scholars brings with them a unique perspective on media's role in
people's lives, what binds them together is the belief that
meaningful discourse about media must be an ongoing conversation
that is open to critique and revision in a rapidly changing
mediated culture. By studying media in a polymediated way, Beyond
New Media addresses more completely our complex relationship to
media(tion) in our everyday lives.
In Organizational Approaches to the Works of Joss Whedon, Andrew F.
Herrmann offers an in-depth analysis of the connections between
communication, organization, gender, discourse, and ethics in the
works of Joss Whedon. Herrmann examines how characters go to work
in organizations, how characters fight against organizations, and
how some organizations themselves are characters. Whedon's works
offer both popular and scholarly appeal, often including portrayals
of organizations, such as The Union of Allied Planets in Firefly
and Serenity and S.H.I.E.L.D. in The Avengers and Agents of
S.H.I.E.L.D. Herrmann argues that by looking at how Whedon portrays
these organizations-including the ways in which employees are
impacted by their organizations and how decision-making is affected
by gender, masculinity, and economic discourses-we can gain fresh
insights into our own working lives. Scholars of film studies,
organizational communication, gender, rhetoric, and ethics will
find this book particularly useful.
Popular culture helps construct, define, and impact our everyday
realities and must be taken seriously because popular culture is,
simply, popular. Communication Perspectives on Popular Culture
brings together communication experts with diverse backgrounds,
from interpersonal communication, business and organizational
communication, mass communication, media studies, narrative,
rhetoric, gender studies, autoethnography, popular culture studies,
and journalism. The contributors tackle such topics as music,
broadcast and Netflix television shows, movies, the Internet, video
games, and more, as they connect popular culture to personal
concerns as well as larger political and societal issues. The
variety of approaches in these chapters are simultaneously situated
in the present while building a foundation for the future, as
contributors explore new and emerging ways to approach popular
culture. From case studies to emerging theories, the contributors
examine how popular culture, media, and communication influence our
everyday lives.
Eduardo Paolozzi (1924-2005) was one of the most innovative and
irreverent British artists of the 20th century. Considered the
`godfather of Pop Art', his powerful collages, sculptures and
prints challenged mid-century British modernism by drawing on mass
culture, science fiction and industrial design. Accompanying the
first major exhibition of Paolozzi's art since 1975, this
publication presents a fresh and comprehensive overview of his work
from the 1940s to the 1990s, highlighting not only his unique
position as one of Britain's most dynamic, versatile and pugilistic
artists, but also the relevance of his work today. As well as
entries on more than 100 works and a full bibliography, the book
presents new approaches to Paolozzi by critics Hal Foster and Jon
Wood, and by the contemporary Mexican artist Mariana Castillo
Deball; new research and comment by Beth Williamson, Lisa Maddigan
Newby and Dawn Ades; a discussion on Paolozzi's public sculpture
with Turner Prize winners Assemble; and a reprint of a brilliant
1971 conversation between Paolozzi and the novelist J.G. Ballard.
This publication provides a comprehensive document of Josiah
McElheny's site-specific Bloomberg Commission exhibiting at the
Whitechapel Gallery. Reflection, light and transparency are
defining themes of Modernism and provide a leitmotif for the
American sculptor Josiah McElheny's 2011 Bloomberg Commission, The
Past Was A Mirage I'd Left Far Behind. Seven mirrored, sculptural
screens double, triple and refract the projections of reconfigured
abstract films, proposing a new history of abstraction as a
fragmented, sensory experience. New York-based artist Josiah
McElheny is a sculptor, performance artist, writer and filmmaker,
best known for his use of glass with other materials. For his
Bloomberg Commission he uses light and mirrors to transform the
Whitechapel Gallery into a Hall of Mirrors. This book provides an
introduction to the artist, a record of his new work, and locates
both within the history of art. Lisa Le Feuvre, Head of Sculpture
Studies at the Henry Moore Institute, introduces the work of
McElheny as an observer of history. Daniel F. Herrmann, Eisler
Curator and Head of Curatorial Studies at the Whitechapel Gallery
presents an in-depth account of the commission. Tamara Trodd,
Lecturer for Twentieth Century and Contemporary Art at Edinburgh
University, joins the artist and the curator for a conversation
about the ideas and interests behind this major new commission.
Anselm Wusstegern und seine Freundin Sophie erleben in diesen
Wissenschafts-Comics im woertlichen Sinne die faszinierende Welt
der modernen Mathematik und Physik: Sich selbst durchdringende
Flachen, Dreiecke mit drei rechten Winkeln, schwarze Loecher sowie
die ersten Momente unserer Welt. Die Abenteuer, die der ewig
wissbegierige Anselm hier zusammen mit Sophie und seinen anderen
Freunden erlebt und die der Autor (er ist Physiker) alle selbst
gezeichnet hat, lassen Gewohntes in einem neuen Licht erscheinen
und zeigen, dass die Ergebnisse der modernen Wissenschaft nicht
immer trocken und abstrakt sein mussen.
Der schottische Bildhauer und Graphiker Eduardo Paolozzi
(1924-2005) war Mitbegrunder der britischen Pop-Art. Bereits in den
1950er Jahren sorgte er mit innovativen Collagen, in die er
Bildmotive aus Popularkultur und Werbung integrierte, fur Aufsehen
- und schrieb fortan Kunstgeschichte. Seine international
erfolgreichen, irritierenden Werke bewegen sich haufig an der
Schnittstelle zwischen Mensch und Maschine und bezeugen sein
Interesse an Wissenschaft und Technik. Mit ausgefallenen
kunstlerischen Verfahren wie Siebdruck oder Sampling forderte er
nicht nur die asthetischen Konventionen seiner Zeit heraus. Die
Graphiken und Skulpturen zeigen auch seine intensive Suche nach
einer Ikonographie der Konsum- und Industriegesellschaft.
Ausstellung und Katalog schliessen unmittelbar an die vielgeruhmte
Paolozzi-Schau in der Londoner Whitechapel Gallery an. Im Fokus
dieses Bandes stehen Paolozzis experimentelle Werkphasen der
funfziger bis siebziger Jahre sowie sein produktiver Aufenthalt in
West-Berlin von 1974/75.
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