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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

This paper explores the plurality and dynamics of 'cultural heritage' formation in Ghana by looking at key players in the historically constituted heritage arena and the contestations between them. Focusing on the intersecting domains of the state, religion, and entertainment media, it discerns several tendencies with regard to the framing of cultural pasts: mobilization of 'heritage' by the state as part of national identity politics; contestation of this state project by Pentecostal churches that view 'heritage' as demonic and dangerous; and revaluation of 'heritage' as aesthetic style in local television and video making. Recent, market-driven trends towards a more positive representation of 'African heritage' depart from earlier state initiatives in their explicit focus on visual style and design, raising new questions about the links between heritage and visual aesthetics and asking for an understanding of cultural heritage that takes into account issues of style, design, and commerce. Adapted from the source document.

Introducing disability aesthetics -- The aesthetics of human disqualification -- What can disability studies learn from the culture wars? -- Disability and art vandalism -- Trauma art : injury and wounding in the media age -- Words stare like a glass eye : disability in literary and visual studies -- Conclusion : disability in the mirror of art

In 12 case studies, this book examines the different ways in which Jihadi groups and their supporters use visualisation, sound production and aesthetic means to articulate their cause in online as well as offline contexts. Divided into four thematic sections, the chapters probe Jihadi appropriation of traditional and popular cultural expressions and show how, in turn, political activists appropriate extremist media to oppose and resist the propaganda. By conceptualising militant Islamist audiovisual productions as part of global media aesthetics and practices, the authors shed light on how religious actors, artists, civil society activists, global youth, political forces, security agencies and researchers engage with mediated manifestations of Jihadi ideology to deconstruct, reinforce, defy or oppose the messages. ; 328 Seiten

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.

Food is more than just nutrition. Its preparation, presentation and consumption is a multifold communicative practice which includes the meal's design and its whole field of experience. How is food represented in cookbooks, product packaging or in paintings? How is dining semantically charged? How is the sensuality of eating treated in different cultural contexts? In order to acknowledge the material and media-related aspects of eating as a cultural praxis, experts from media studies, art history, literary studies, philosophy, experimental psychology, anthropology, food studies, cultural studies and design studies share their specific approaches.

Public service advertising is a government program that aims to educate the public on good values from the state's point of view. As the name implies, public service advertisements contain the word "advertisement" which means there is a "product" that is expected to be accepted and then consumed by the wider community. In public service advertisements, the advertised "products" are in the form of good values with the main goal of being able to benefit the government and the citizens themselves. In this study, the researcher will dissect a public service advertisement in the form of a video by using descriptive qualitative methods and using the aesthetic theory of applied media which is the scalpel. There are five aspects of research that become a reference for researchers in dissecting the work of this video advertisement, including: light and color, two-dimensional space, three-dimensional space, time/motion and sound. The results of this study indicate that the public service advertisement video "Tetap Fokus di Jalan" is successful in conveying the message in the form of a slick, interesting and creative video. From the five aspects of the research, this video advertisement is quite successful in presenting all five perfectly. So that it can support the plot of the story to be more dramatic. The packaging of this advertising video is sufficient to keep up with the times so that it can be accepted by young people who seem to be the main target of their audience

Introduction : active agents -- No center, no object, just networks : expanded internet art -- Milieux, then and now -- Resistance in the domain of all inputs, all outputs : Jean-François Lyotard and Thierry Chaput's Les immateriaux -- Parsing attention : image circulation and affect -- Conclusion : breaking presence.

"The Internet Unconscious is a book on the poetics of net writing, or more precisely on the subject of writing the net. By 'writing the net', Sandy Baldwin proposes three ways of analysis: 1) an understanding of the net as a loosely linked collocation of inscriptions, of writing practices and materials ranging from fundamental TCP/IP protocols to Facebook; 2) a discursive field that codifies and organizes these practices and materials into text (and into textual practices of reading, archiving, etc.), and into an aesthetic institution of 'electronic literature'; and 3) a project engaged by a subject, a commitment of the writer' body to the work of the net. It theorizes the practices and materials of net writing as extended surfaces of bodily excitation. Bodily absence leads to delirious, frantic, ecstatic writing towards the other beyond the net. By contrast, Sandy Baldwin's book describes the poetics of the net's "becoming-literary," by employing concepts that are both technically-specific and poetically-charged, providing a coherent and persuasive theory. The incorporation and projection of sites and technical protocols produces an uncanny displacement of the writer's body onto diverse part objects, and in turn to an intense and real inhabitation of the net through writing. The fundamental poetic situation of net writing is the phenomenology of "as-if." Net writing involves construal of the world through the imaginary"--