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"Although there is an increased awareness of the relevance of space and geography across humanities disciplines (the so-called 'spatial turn'), its applicability to UK media history has hitherto been largely overlooked, partly due to the prevailing interest in the discursive formation of national or globalised identity through media. This anthology sets out to redress this, through specially written chapters which explore regional media cultures, the communication of place, the influence of location, and the idea of geographically located identity. Regional Aesthetics has a historical (as well as geographical) and a cross-media focus, examining the aesthetic and political dimensions of regional representations in film (feature films, amateur film and educational film); novels; television (drama, comedy, documentary and educational programming); music; radio; and digital media. In mapping UK media cultures across the C20th and beyond, this books functions as an 'academic GPS', designed to introduce and encourage the study of regionally located media in the curriculum"--

This text offers an alternative aesthetic genealogy for digital culture. Eschewing the Cartesian aesthetic that aligns the digital with the disembodied, the formless, and the placeless, it seeks to 'materialize' digital culture by demonstrating that its aesthetics have reconfigured bodily experience and reconceived materiality.

"In The Media Swirl, longtime music video scholar Carol Vernallis focuses on brief audiovisual media-heightened film segments, music videos, trailers, commercials, TikTok, Instagram, and political advertising and newscasts-to provide a toolkit for citizens wanting to participate in our moment. The book offers techniques for reading digital media and audiovisual relations, with close readings of movies like The Great Gatsby (2013) and Transformers 4 (2014), music videos by Beyoncé, Lady Gaga, and Janelle Monáe, and TikTok and YouTube videos. Throughout the book Vernallis argues for the importance of spectacle and its utopic possibilities, refusing to allow spectacle to be claimed by negative attachments. The Media Swirl also seeks to pause and reconsider ethical commitments, especially in light of changing technological regimes, social formations, and understandings of what it means to be human. The book then pivots to new techniques and areas for reading digital media and audiovisual relations, including politics and science. Acknowledging our media landscape's too-muchness, this book claims that through multiple approaches, we can engage with the commons"--

"This book explores from an aesthetic perspective how mobile phone technology, including mobile phone cameras, are used, and the impact this has on individual creativity and innovation, and on culture, sociality and aesthetics. Based on extensive original research including an ethnographic investigation of how specific images were created and distributed, it argues not that a new form of individual creativity is occurring, rather that a more distributed form of creativity now exists"--

We live in a world that is saturated with color, but how should we make sense of color's force and capacities? This book develops a theory of color as fundamental medium of the social. Constructed as a montage of scenes from the past two hundred years, Organizing Color demonstrates how the interests of capital, management, governance, science, and the arts have wrestled with colour's allure and flux. Beyes takes readers from Goethe's chocolate experiments in search of chromatic transformation to nineteenth-century Scottish cotton mills designed to modulate workers' moods and productivity, from the colonial production of Indigo in India to globalized categories of skin colorism and their disavowal. Tracing the consumption, control and excess of industrial and digital color, other chapters stage encounters with the literary chromatics of Pynchon's Gravity's Rainbow processing the machinery of the chemical industries, the red of political revolt in Godard's films, and the blur of education and critique in Steyerl's Adorno's Grey.Contributing to a more general reconsideration of aesthetic capitalism and the role of sensory media, this book seeks to pioneer a theory of social organization-a "chromatics of organizing"-that is attuned to the protean and world-making capacity of color