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.