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Klappentext: 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, ethnology, food studies, cultural studies and design studies share their special approaches.

Abstract
This research investigates how the practices of sharing pictures with specific audiences on social media may be related to aesthetics and affordances. Based on fieldwork (interviews, picture analysis and digital ethnography) with a group of female teenagers in Vienna, Austria, how they visually curate their accounts is mapped and reconstructed. Regarding content and aesthetics, different kinds of pictures are shared using different apps. Snapchat, for example, (for this specific group at the time of the investigation) is the preferred medium for live communication with very close friends using fast, pixelated, "ugly" pictures, while Instagram serves to share polished, conventional, "beautiful" pictures with broader audiences. Based on this case study, three conceptual arguments can be made. First, visual communication is practised in relation to specific social settings or audiences. Social media is part of these practices, and users navigate differences between platforms to manage identities and relationships. Second, the analysis of practices embedded in specific software, therefore, has to be contextualised and related to the structures of these environments. Software co-constructs processes of editing, distribution, sharing and affirmation, and its affordances have to be related to the ways in which users exploit them. Third, as visual communication becomes an intrinsic part of online communication, the exploration of how distinctions between audiences and affordances play out stylistically appears to be of particular interest, which entails calibrated aesthetics; however, this visual layer is seldom investigated closely.

Frontmatter --Inhaltsverzeichnis --Vorwort Ästhetische Mobilität oder: Smartphone-Kultur --Smartphone-Theorie Eine medienästhetische Perspektive /Ruf, Oliver --Feige Ästhetisches Funktionieren Prolegomena zur einer Ästhetik des Smartphones /Feige, Daniel Martin --Zeitlichkeit aktualisiert Trost der Philosophie auf dem Smartphone /Röller, Nils --Nicht mehr Zahlen und Figuren Oder: Die ozeanische Verbundenheit mit dem Smartphone /Warnke, Martin --Anästhetische Ästhetiken Über Smartphone-Bilder und ihre Ökologie /Hagen, Wolfgang --Interfacing als Prozess der Teilhabe Zur Ästhetik von Smartphone-Gemeinschaften am Beispiel von Snapchat /Otto, Isabell --Anthropophilie Das neue Gewand der Medien /Rieger, Stefan --Das Erscheinen, die Ware und die Explosion /Schröter, Jens --Es gibt keine Software. Noch immer nicht oder nicht mehr /Heilmann, Till A. --"I can't remember ever being so in love with a color." Smartphones und die Rhetorik des Intimate Computing /Kaerlein, Timo --Rooting, Custom-ROMs und Jailbreaks Eine ästhetische Rückeroberung der Macht /Quadt, Christopher --Beweglich werden Wie das Smartphone die Bilder zum Laufen bringt /Gotto, Lisa --Zehn Elemente einer Medientheorie mobiler Adressierung /Sprenger, Florian --Der smarte Assistent /Wölfel, Matthias --Narrationen des Selbst Das Smartphone und die neue Ökonomie der Aufmerksamkeit /Holzwarth, Michael --Beiträgerinnen und Beiträger

Abstract This article focuses on the accelerating technical progress, rationality, and its socio-political issues. It is considered that the control over communication, media, and arts does not necessarily mean that such power is exercised politically, but more that it is contained in politics. While technological development is an outstanding representative of forms, it has been observed that building a narrative through images is dependent on the artificer or artist's ability to develop and perform concerning the idea of transforming or improving. Apart from the attraction of images, which has always been emphasized in the communication process and language development, the experience of aesthetics is changing because of technological advances. Moreover, several notions have been added to the discussion, such as those about progress, the social impact of automation, and the role of intellectuals and scientists as builders of the "invention," generating "the artificer." ; Highlights: Analysis of how socio-political factors are determined by rationality through art and media; Understanding the range of concepts relating to technological developments and the role of human beings; Discussing the ability humans have to achieve positive results in relation to their sociocultural circumstances.

Current culturally oriented media studies have significantly advanced central concepts such like »mediality«, »media culture«, »media discourse« and »procedures of media«.Focused on this newly defined terminological field, this volume presents landmark contributions for media studies providing new insights into the current state of research on media theory and media culture, simultaneously developing an agenda for future research.

International audience ; The first part of this article outlines a dilemma in cultural studies and sociology of culture regarding the politics of aesthetics. This concerns whether discourse about the evaluation of symbolic forms serves to reinforce power relations and maintain divisions between people and communities, or whether evaluation can serve as a basis for greater commonality. One way of at least beginning to address this issue is to attend to the 'everyday aesthetics' of media audiences, exemplified here in the ordinary evaluative discourse of music users. The second part of the article reports on interview research about musical tastes and values. It analyses these interviews for evidence of the ways in which evaluative statements might involve making connections with others, or alternatively how they may act as barriers to social connectivity or community. How and to what extent might ordinary musical evaluation be thought of as part of potential aesthetic public spheres?

Against Transmission introduces the technical history and phenomenology of media, a field of study that explains the characteristics of contemporary life by looking to the technical properties of machines. By studying the engineering of signal processing, the book interrogates how the understanding of media-as-machine exposes us to a particular phenomenological relationship to the world, asking: what can the hardware of machines that segment information into very small elements tell us about experiences of time, memory and history?This book offers both a detailed and radical investigation of the technical architecture of media such as television, computers, cameras, and cinematography. It achieves this through in-depth archive research into the history of the development of media technology, combined with innovative readings of key concepts from philosophers of media such as Harold A. Innis, Marshall McLuhan, Friedrich Kittler, Siegfried Zielinski and Wolfgang Ernst. Teaming philosophical inquiry with thorough technical and historical analysis, in a broad range of international case studies, from early experimental cinema and television to contemporary media art and innovative hardware developments, Barker shows how the technical discoveries made in these contexts have engineered the experiences of time in contemporary media culture

This paper builds on the concept of 'tagging aesthetics' (Bozzi, 2020b) to discuss new media art projects that combine machine vision and social media to address how different kinds of socio-technical subjects are assembled through AI. The premise outlines how the naturalisation of machine vision involves a range of subjects, juxtaposed along different conflictual lines: ontological (human-machine), biopolitical (classifier-classified), socio-technical (tech worker-data cleaner), political (AI-viewing public). Embracing the ambiguity inherent in the shifting boundaries of these subjects, I analyse works by different new media artists who approach one or more of these juxtapositions by engaging with diverse forms of tagging. The practice of tagging is often discussed through data-driven analyses of hashtags and how related publics can be mapped, but in my framework, tagging can encompass a wider spectrum of techno-social practices of connection (e.g. geotagging, tagging users). I discuss artworks by Kate Crawford and Trevor Paglen, Dries Depoorter and Max Dovey to illustrate how these practices can be leveraged artistically to make visible and even 'stitch together' the manifold subjects of machine vision. I explain how those taggings denaturalise processes of socio-technical classification by activating awareness, if not agency, through the sheer proximity they enact. Far from being a tool to map knowledge and essentialised identities, tagging aesthetics are ways to perform the techno-social and shape future cultural encounters with various forms of others. By exploring different approaches to tagging aesthetics – (dis)identification, semi-automated assembly and embodied encounter – this paper illustrates how tagging can be used to culturally negotiate the impact of machine vision in terms of issues such as surveillance and the performance of digital identity.