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Intro -- Contents -- Acknowledgments -- Introduction: Animal, Vegetable, Digital -- 1. Coding: Creating and Erasing Worlds of Signs -- 2. Collapsing: Challenging Boundaries of Bodies and Forms -- 3. Corresponding: Communicating with Natural Agents -- 4. Conserving: Saving Nature through Game Play -- Coda: Self, System, Ecosystem -- Notes -- Works Cited -- Index.
The article analyzes the ways to show authority in the culture. Examines visualizations and her rhetoric. Given the symbolic power, the authors consider the existence of it as a principle or a function that someone does. Power is not only recognition of the position of the slave, but sopredelâetsâ through the frustration. This approach allows you to issue a protest of consciousness. ; В статье анализируются способы проявления власти в культуре. Исследуются способы визуализации власти и ее риторика. Учитывая символический характер власти, авторы рассматривают существование ее как принципа или функции, которую кто-то выполняет. Власть определяется не только с признанием позиции подчиненного, но и сопределяется через недовольство. Такой подход позволяет выйти на проблему формирования протестного сознания.
BASE
In: International texts in critical media aesthetics v. 6
11.3 Third conclusion: the diff erence of optical and visual media. Anthropomorphic vs. non-anthropomorphic media models11.4 Fourth conclusion: Critique of the planocentric notion of the image; Notes; BIBLIOGRAPHY; TABLE OF IMAGE RIGHTS; INDEX; Plate 1; Plate 2; Plate 3; Plate 4; Plate 5.
In: Media, war & conflict, Band 10, Heft 1, S. 69-86
ISSN: 1750-6360
This article examines mobile phone videos that have been disseminated via YouTube since the beginning of the Syrian civil war to illustrate how media aesthetics and public discourse interact in the perception and interpretation of conflicts as crises. The Syrian civil war has shown that scenes of immediate protest and military action recorded on mobile phones become instruments of war and conflict as they bear a new aesthetics that influences the perception and interpretation of the situation in Syria. The article introduces a research perspective that is informed by discourse analysis and media aesthetics and can be used for the study of the perception and interpretation of war and conflict in relation to social media in general and mobile phone videos in particular. By providing new insights from this perspective for the study of war and conflict reporting, it furthers the debate on the perceptive and interpretive impact of images.
In: Oxford handbooks
This volume offers new ways to read the audiovisual. In the media landscapes of today, conglomerates jockey for primacy and the Internet increasingly places media in the hands of individuals - producing the range of phenomena from movie blockbuster to YouTube aesthetics. Media forms and genres are proliferating and interpenetrating, from movies, music, and other entertainments streaming on computers and iPods to video games and wireless phones. 'The Oxford Handbook of New Audiovisual Aesthetics' provides powerful ways to understand these changes.
Intro -- Title Page -- Copyright Page -- Contents -- Prologue -- Introduction -- 1. "Violence at the Speed of Live": The Televirtuality of 9/11 andRebuking the Frame of (Re)Presentation -- Déjà vu and the Inadequacy of Fantasy -- The Audio of the Image -- Emotions and the Breakdown of Narrative Authority -- The (Im)Perfection of the Virtual and the Assumption of Global Homogeneity -- 2. "We Can't Believe It's Not Butter": Polemical Violence andFaking Authenticity -- Series 7: The Contenders -- Audience Reception and Textual Interdiscursivity -- Editing Versus Authenticity -- Bowling for Columbine and Editing the Polemical -- Norma Khouri and the Hoax as Reader Seduction -- 3. "It Is a True Story but It Might Not Have Happened":Voyeurism and Fiction in the True Crime Narrative -- Sensationalism -- Audience Voyeurism and Forensic Actuality -- Illusory Forensic Authenticity in Law & -- Order -- The Author's Story Versus the Murderer's -- Taking Sides in Joe Cinques Consolation -- 4. Show Business or Dirty Business?: The Theatrics of Mafia Narrative and Empathy for the Last Mob Boss Standing in The Sopranos -- Gangsters On and Off the Screen -- The Sopranos and Performativity -- Tony Performing Tony -- 5. "Solving Problems with Sharp Objects": Female Empowerment, Sex, and Violence in Buffy, the Vampire Slayer -- Sharing Gender Roles -- Violence and Buffy's Emotions -- Violence and the Erotics of Shame -- Female Empowerment and the "Almost" Rape -- 6. "Getting Kicks from Action Pix": Righteous Violence and the Choreographed Body in F(l)ight -- Fightable Moments -- The Flying Body -- Pause for Applause -- The Invulnerable Body -- Killer Schlock -- The Dance of the Parodied Body -- 7. "It's Just Detail": Flaying the Sacred and Prosthetic, Pixilated and Animated Violence in the Hyperreal -- Hyperrealism -- Violence Against the Sacred in the Hyperreal.
In: International Texts in Critical Media Aesthetics
This book is available as open access through the Bloomsbury Open Access programme and is available on www.bloomsburycollections.com. Software has replaced a diverse array of physical, mechanical, and electronic technologies used before 21st century to create, store, distribute and interact with cultural artifacts. It has become our interface to the world, to others, to our memory and our imagination - a universal language through which the world speaks, and a universal engine on which the world runs. What electricity and combustion engine were to the early 20th century, software is to the early 21st century. Offering the the first theoretical and historical account of software for media authoring and its effects on the practice and the very concept of 'media,' the author of The Language of New Media (2001) develops his own theory for this rapidly-growing, always-changing field. What was the thinking and motivations of people who in the 1960 and 1970s created concepts and practical techniques that underlie contemporary media software such as Photoshop, Illustrator, Maya, Final Cut and After Effects? How do their interfaces and tools shape the visual aesthetics of contemporary media and design? What happens to the idea of a 'medium' after previously media-specific tools have been simulated and extended in software? Is it still meaningful to talk about different mediums at all? Lev Manovich answers these questions and supports his theoretical arguments by detailed analysis of key media applications such as Photoshop and After Effects, popular web services such as Google Earth, and the projects in motion graphics, interactive environments, graphic design and architecture. Software Takes Command is a must for all practicing designers and media artists and scholars concerned with contemporary media.
In: Media in transition
In: International texts in critical media aesthetics
In: International Texts in Critical Media Aesthetics
This book is about forms of media that have reflected or increased consciousness of - a sense of place or a regional identity. From landscape painting in the Romantic era to newspaper coverage of devolution, the chapters explore, through contextualized case studies, the aesthetics of a wide range of local, regional and grassroots forms of media.
In: Native American Studies
In: Film Studies
It's easy to forget there's a war on when the front line is everywhere encrypted in plain sight. Gathered in this book's several chapters are dispatches on the role of photography in a War Universe, a space and time in which photographers such as Hilla Becher, Don McCullin and Eadweard Muybridge exist only insofar as they are a mark of possession, in the sway of larger forces. These photographers are conceptual personae that collectively fabulate a different kind of photography, a paraphotography in which the camera produces negative abyssal flashes or 'endarkenment.' In his Vietnam War memoir, Dispatches, Michael Herr imagines a 'dropped camera' receiving 'jumping and falling' images, images which capture the weird indivisibility of medium and mediated in a time of war. The movies and the war, the photographs and the torn bodies, fused and exchanged. Reporting from the chaos at the middle of things, Herr invokes a kind of writing attuned to this experience. Photography in the Middle, eschewing a high theoretical mode, seeks to exploit the bag of tricks that is the dispatch. The dispatch makes no grand statement about the progress of the war. Cultivating the most perverse implications of its sources, it tries to express what the daily briefing never can. Ports of entry in the script we're given, odd and hasty little glyphs, unhelpful rips in the cover story, dispatches are futile, dark intuitions, an expeditious inefficacy. They are bleak but necessary responses to an indifferent world in which any action whatever has little noticeable effect.