How did we arrive at our contemporary consumer media economy? Why are we now fixated on screens, imbibing information that constantly expires, and longing for more direct or authentic kinds of experience? The Mediated Mind answers these questions by revisiting a previous media revolution, the nineteenth-century explosion of mass print. Like our own smartphone screens, printed paper and imprinted objects touched the most intimate regions of nineteenth-century life. The rise of this printed ephemera, and its new information economy, generated modern consumer experiences such as voracious collecting and curating, fantasies of disembodied mental travel, and information addiction. Susan Zieger demonstrates how the nineteenth century established affective, psychological, social, and cultural habits of media consumption that we still experience, even as pixels supersede paper. Revealing the history of our own moment, The Mediated Mind challenges the commonplace assumption that our own new media lack a past, or that our own experiences are unprecedented.

How did we arrive at our contemporary consumer media economy? Why are we now fixated on screens, imbibing information that constantly expires, and longing for more direct or authentic kinds of experience? The Mediated Mind answers these questions by revisiting a previous media revolution, the nineteenth-century explosion of mass print. Like our own smartphone screens, printed paper and imprinted objects touched the most intimate regions of nineteenth-century life. The rise of this printed ephemera, and its new information economy, generated modern consumer experiences such as voracious collecting and curating, fantasies of disembodied mental travel, and information addiction. Susan Zieger demonstrates how the nineteenth century established affective, psychological, social, and cultural habits of media consumption that we still experience, even as pixels supersede paper. Revealing the history of our own moment, The Mediated Mind challenges the commonplace assumption that our own new media lack a past, or that our own experiences are unprecedented.

Moving beyond familiar myths about moonshiners, bootleggers, and hard-drinking writers, Southern Comforts explores how alcohol and drinking helped shape the literature and culture of the U.S. South. Edited by Conor Picken and Matthew Dischinger, this collection of seventeen thought-provoking essays proposes that discussions about drinking in southern culture often orbit around familiar figures and mythologies that obscure what alcohol consumption has meant over time. Complexities of race, class, and gender remain hidden amid familiar images, catchy slogans, and convenient stories. As the first collection of scholarship that investigates the relationship between drinking and the South, Southern Comforts challenges popular assumptions by examining evocative topics drawn from literature, music, film, city life, and cocktail culture. Taken together, the essays collected here illustrate that exaggerated representations of drinking oversimplify the South's relationship to alcohol, in effect absorbing it into narratives of southern exceptionalism that persist to this day. From Edgar Allan Poe to Richard Wright, Bessie Smith to Johnny Cash, Bourbon Street tourism to post-Katrina disaster capitalism and more, Southern Comforts: Drinking and the U.S. South uncovers the reciprocal relationship between mythologies of drinking and mythologies of region.

The contributors to Assembly Codes examine how media and logistics set the conditions for the circulation of information and culture. They document how logistics-the techniques of organizing and coordinating the movement of materials, bodies, and information-has substantially impacted the production, distribution, and consumption of media. At the same time, physical media, such as paperwork, along with media technologies ranging from phone systems to software are central to the operations of logistics. The contributors interrogate topics ranging from the logistics of film production and the construction of internet infrastructure to the environmental impact of the creation, distribution, and sale of vinyl records. They also reveal how logistical technologies have generated new aesthetic and performative practices. In charting the specific points of contact, dependence, and friction between media and logistics, Assembly Codes demonstrates that media and logistics are co-constitutive and that one cannot be understood apart from the other. Contributors Ebony Coletu, Kay Dickinson, Stefano Harney, Matthew Hockenberry, Tung-Hui Hu, Shannon Mattern, Fred Moten, Michael Palm, Ned Rossiter, Nicole Starosielski, Liam Cole Young, Susan Zieger

The contributors to Assembly Codes examine how media and logistics set the conditions for the circulation of information and culture. They document how logistics-the techniques of organizing and coordinating the movement of materials, bodies, and information-has substantially impacted the production, distribution, and consumption of media. At the same time, physical media, such as paperwork, along with media technologies ranging from phone systems to software are central to the operations of logistics. The contributors interrogate topics ranging from the logistics of film production and the construction of internet infrastructure to the environmental impact of the creation, distribution, and sale of vinyl records. They also reveal how logistical technologies have generated new aesthetic and performative practices. In charting the specific points of contact, dependence, and friction between media and logistics, Assembly Codes demonstrates that media and logistics are co-constitutive and that one cannot be understood apart from the other. Contributors Ebony Coletu, Kay Dickinson, Stefano Harney, Matthew Hockenberry, Tung-Hui Hu, Shannon Mattern, Fred Moten, Michael Palm, Ned Rossiter, Nicole Starosielski, Liam Cole Young, Susan Zieger