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How was the atomic age visualized in Egypt in the years immediately after the creation of the bomb? What role did gendered images, symbols and metaphors play in narrating and normalizing nuclear technology? How can these help us understand nuclear policy today? This article engages visual and textual media, including satirical magazines, cultural journals and film. It presents a plurality of images: the depiction of the bomb as an egg, as a miniscule and aesthetically pleasing object, alongside more alarming illustrations of the bomb as a monster. Through fluid and unstable visualizations, nationalist modernizers highlighted the ambivalence of nuclear technology, seen as containing potential for postcolonial rebirth and global death simultaneously. By exploring nuclear imaginaries from the decolonizing world, the article challenges the dominant narratives, histories and aesthetics of the atomic age. Despite the continuous reiteration of nuclear weapons as masculine in feminist International Relations, this conceptualization is not necessarily universal, and this research illustrates that feminizing nuclear imagery can still reinforce the nuclearized world. Considering visualization from, and not only of, the global South, the article emphasizes that people in non-nuclear weapons-possessing states also participated in the production of the nuclear-armed world and in discussions on the nuclear condition.

This volume gathers together revised versions of the papers presented at the ECREA Radio Research Section Conference held in Lublin, Poland, in September 2017. The book highlights what radio actually is - a medium created to connect different places at a distance. Subtle but pervasive, simple but graceful, radio builds affective relations, either between listeners and the world or between listeners themselves. The word "relations" is plural. It suggests the idea that radio is both an economic activity - related to technology, production, working routines and business - and a cultural industry - related to aesthetics, art, social interaction, education and politics. Since relations are relevantly human, we can explore how radio appeals to personal commitment and can reinforce a sense of community too. The unique value of this book lies both in erudite essays of Seán Street and Enrico Menduni, world-famous figures of radio research, and in perspectives sketched by brilliant young radio practitioners and researchers. The diverse views on radio communications from authors across the different regions of the world including Brazil, Canada, Italy, Poland, France, Hungary, Spain and the UK collected here will certainly inspire radio researchers, media historians, sociologists and journalism students.

"This book explores environments where art, imagination, and creative practice meet urban spaces at the point where they connect to the digital world. It investigates relationships between urban visualizations, aesthetics, and politics in the context of new technologies, and social and urban challenges toward the Sustainable Development Goals. Responding to questions stemming from critical theory, the book focuses on an interdisciplinary actualization of technological developments and social challenges. It demonstrates how art, architecture, and design can transform culture, society, and nature through artistic and cultural achievements, integration, and new developments. The book begins with the theoretical framework of social aesthetics theories before discussing global contemporary visual culture and technological evolution. Across the twelve chapters, it looks at how architecture and design play significant roles in causing and solving complex environmental transformations in the digital turn. By fostering transdisciplinary encounters between architecture, design, visual arts, and cinematography, this book presents different theoretical approaches to how the arts' interplay with the environment responds to the logic of the constructions of reality. This book will appeal to scholars, researchers, and upper-level students in aesthetics, philosophy, visual cultural studies, communication studies, and media studies with a particular interest in socio-political and environmental discussions"--

Due to computers' ability to combine different semiotic modes, texts are no longer exclusively comprised of static images and mute words. How have digital media changed the way we write and read? What methods of textual and data analysis have emerged? How do we rescue digital artifacts from obsolescence? And how can digital media be used or taught inside classrooms? These and other questions are addressed in this volume that assembles contributions by artists, writers, scholars and editors. They offer a multiperspectival view on the way digital media have changed our notion of textuality.

"What are the predominant aesthetics of the twenty-first century? Thorsten Botz-Bornstein argues that deculturation, embodied by the conspicuous vulgarity of kitsch, is the overriding visual language of our times. Drawing on the work of Islam scholar Olivier Roy, who argued that religious fundamentalism arises when religion is separated from the indigenous cultural values, Botz-Bornstein shows that the production of 'absolute' truths through deculturation also exists in contemporary education. The neoliberal environment has separated learning from culture by emphasizing standardization and quantified learning outcomes. In a globalized environment, the idea of culture is no longer available as a referent; instead we are taught to rely on the culturally neutral term 'excellence'. For BotzBornstein, this is an absolute value similar to the 'truth' of religious fundamentalists. Similarly, kitsch is what happens when aesthetic values are separated from cultural contexts. Kitsch is aesthetic fundamentalism. Kitsch aesthetics are an aesthetics of excellence. The consumption of kitsch can be understood as an intrinsically narcissistic impulse, reinforced by social media, individuals recycling their own selves without being confronted with the culture of the "other." The existence of self-centred "alternative truths", fake news and conspiracy theories and selfies are linked together in the fundamentalism-neoliberalism-kitsch pattern. Including analysis of the intersections of 'cute', 'excellent', 'sublime', and 'interesting' in contemporary aesthetic culture, this is a journey through philosophy, psychology and cultural theory, redefining a new aesthetics of deculturation"--Bloomsbury Collections

In February 2016, the Institute for Falsification researched the production of fake news in Veles, North Macedonia. Focusing on a specific hoax distributed from Veles via social media, this article analyses the political and aesthetic effects of fake news. It argues that fakes and hoaxes (mis)use established references to renew pre-existing discourses, media techniques, and symbols. The present definition of fakes is therefore insufficient for these practices.

Radio, the most widely used medium in the world, is a dominant mediator of musical meaning. Through a combination of critical analysis, interdisciplinary theory and ethnographic writing about community radio, this book provides a novel theorization of democratic aesthetics, with important implications for the study of old and new media alike

Globalität, Geschwindigkeit, Geschichten - dieses Buch ist ein zeitgenössisches Portrait der Arbeitsmethoden und -bedingungen von Auslandskorrespondenten in Washington D.C., Südostasien und Nahost.Erstmalig in der deutschsprachigen Forschungslandschaft wird die Alltagspraxis der Korrespondenten vor Ort detailliert beschrieben und aus kulturtheoretischer Sicht analysiert. In den Beschreibungen und den Worten der Korrespondenten von A wie ARD bis Z wie Zeit wird Auslandsberichterstattung als kulturelle Praxis verstehbar: Geschichten aus der Welt werden über die Welt erzählt.

Abstract
As the momentum of space exploration unfolds, our planetary exterior is increasingly transformed into a site of capitalist production and destruction. Grounded within infrastructures, processes and practices of mediation, our technological acquisition of space is also entwined back into the ambits of global media cultures down on Earth. The currents of this enculturation are indexed by the upsurge and emerging variety of "space apps" which use techno-scientific data and creative visualisation to offer assorted digital experiences of outer space-from maps and tours of planets, stars and galaxies, to real-time observation of celestial events and phenomena. To provide some measure of this inclination, we consider the ways in which these apps sculpt our collective techno-aesthetic relations with extraplanetary space. Framing their digital renderings as the sensational interface of capitalism, we suggest that they offer a glimpse into the ongoing manipulations of economies of attention and the appropriations of affect that undergird its high-tech progress in the space age.

AbstractIn 2016, as the Turkish military's "security operations" targeting Kurdish towns in southeastern Turkey were in full swing, a series of disturbing photographs began to appear on social media. The photographs, which showed soldiers posing in front of derelict houses covered with graffiti written only a few moments before, had an almost "playful" quality to them whereby the act of killing was presented as an object of amusement. To achieve this effect, those who shot the photographs appropriated certain aesthetic practices of resistance, specifically the use of street art by protest movements in Turkey. This article calls the appropriation of these practices and their presentation in the photographs "the grotesque mimicry of joyful dissent." The photographs' mimicry seeks to serve multiple, and seemingly contradictory, purposes including the erasure of the memory of both the atrocities that were being committed at the time and the former struggles against the regime. What lies underneath this project of erasure and becomes visible in the photographs' display of power is the instability and fragility of the regime's violent rule, both within the region, which it treats as an internal colony, and beyond.

This chapter aims to discuss everyday aesthetics related to the growing presence of the digital world in the urban lifestyle and its cultural and political effects. In this regard, the meaning of the term "aesthetics," associated with daily experiences, ethically and aesthetically concerns an individual's perceptions through their senses related to things in their urban environment. Involvement with culture or politics does not form discourse independent of the aesthetics discourse, considering cultural activity and technology as part of aesthetic reality since sensitive aspects encompass the content, and thus, the political issue. The best empirical example to discuss this theme, given cultural and political diversity, is activities through increased digital technologies made possible by cultural projects. One of these projects is the Berlin Cultural Project, which uses augmented reality. Therefore, the discussion focuses on the daily sociocultural relations as a single reality encompassing the physical and virtual world of the "system of objects," "hyperreality," "simulacrum," and "simulation" (Baudrillard 1968, 1972, 1982). Hence, spaces are recognized as political and cultural structures forming the individual in society and having an established and determined acceptance through symbolic images. Finally, this chapter addresses the individual's daily life experience under the effect of the sign value. ; Yearbook of Moving Image Studies, nº 6 Common boundaries between the physical reality and rising digital media technologies are fading. The age of hyper-reality becomes an age of hyper-aesthetics. Immersive media and image technologies – like augmented reality – enable a completely novel form of interaction and corporeal relation to and with the virtual image structures and the different screen technologies. Augmented Images contributes to the wide range of the hyper-aesthetic image discourse to connect the concept of dynamic augmented images with the approaches in modern media theory, philosophy, perceptual ...

Cover -- Title -- Copyright -- Contents -- List of figures -- List of contributors -- Introduction: remembering, forgetting and silence -- PART I Silences beyond remembering and forgetting -- 1 Colonial and postcolonial silences: listening to Kartini in the Netherlands -- 2 Making museum objects: a silent performance of connection and loss in Solomon Islands -- 3 History, silence and the detective in Alexandr Terekhov's Russian novel Kamennyi most -- 4 Nostalgic histories of war: refugees in Austria-Hungary, 1914-2014 -- PART II The performativity of silence -- 5 The many sounds of Heidegger's silence -- 6 Silence, remembering, and forgetting in Wittgenstein, Cage, and Derrida -- 7 Cold War era silence: the movement of the graves of Soviet prisoners of war in northern Norway -- 8 Strategic silence: political persuasion between the remembered and the forgotten -- PART III Silence as an aesthetic phenomenon -- 9 Between memory and silence, between family and nation: remembering the First World War through Digital Media -- 10 Allegorical silence: The Plague as critical literacy act -- 11 Negotiating memories and silences: museum narratives of transatlantic slavery in England -- 12 Shell shock, Gallipoli and the generation of silence -- Concluding remarks: silence and social life -- Index.