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Based on approaches of digital ethnography and using the work of Sofia da Silva as an example, we pose reflections on future shifts and innovations in the context of qualitative educational and biographical research: What methodological questions arise when current educational science objects are viewed from a (post-)digital perspective? We assume, among other things, that due to the interweaving of analogue and digital worlds new forms of biographization emerge, which require a theory-generating exploration of hybrid modes of experience as well as of the embedded interrelation of, for example, 'body', 'education', and 'biography'. This could be achieved, for example, by a stronger mediation of ethnographic and biographical research approaches, or through an investigation of the connection between digital everyday practices, digitally mediated prefigurations and biographizations.

Although in many ways the post-digital "sucks but is useful" as Florian Cramer notes in his contribution, this issue of A Peer-Reviewed Journal About Post-Digital Research takes it to be a serious concept that deserves our critical attention. The journal issue is divided into three sections, that address the term itself, its genealogy and wider connotations, as well as its potential usefulness across different fields (including art, acoustics, aesthetic theory, political economy and philosophy). Given that the term comes from practice, it also addresses how the post-digital potentially operates as a framework for practice-based research that relate to material and historical conditions.

ABSTRACT In his contribution to the Special Issue "Digital and semiotic mechanisms of contemporary populisms", Jan Blommaert offers a communicability model which accounts for political discourse (and others) in the post-digital era we live. He starts by arguing that the idea of the public (a homogeneous entity) that was very popular in the 20th century sociological imagination of how propaganda worked in "manufacturing consent" can no longer be used to explain the fragmented audiences of our post-digital era. The author illuminates his argument by resorting to the circulation of political tweets/retweets as texts in our algorithmic-oriented world. Such a circulation aims at niched audiences. In the last section, the author argues that discourse analysts need to operate from this communicability model if they are to understand the cruciality of political discourse in our contemporary social lives.

SPRING 2021 VISITING CRITIC Max KuoFounding Partner, ALLTHATISSOLID ARCHITECTURE OF THE POST-DIGITAL FRENEMY In this lecture, Max Kuo will explore the aesthetics of a post-internet paradigm where digital networks have woven together all aspects of social and material life on this planet. As a result of this interconnectivity, everyday routines from democratic governance to pop-cultural fandom have been rewired in the most unexpected ways. While architects have historically speculated upon the techno-utopias of future technologies, Max will present a new spatio-temporal framework for discerning the aesthetic projects of our post-internet modernity. The superstitions and enemies of our past have collapsed into the unpredictable behaviors of the familiar. Through a series of projects designed by his studio ALLTHATISSOLID, Max will outline the qualities of our new architectural frenemies.

To see war as post-digital is to see how digital innovations have already been integrated into how militaries, media and societies wage, resist and understand war. Digital war is already historical. The logics of digital technologies have been integrated into the logics of pre-existing, traditional media and into long-standing geopolitical and military logics that drive war. The field of war and media is stuck between two images: continued efforts to document non-digital war and its established questions concerning legitimacy, authority and war's lessons, and startled claims of novelty, rupture and transformation so total that they inhibit efforts to explain how war is changing. Post-digital war offers a third image, but how to see post-digital war? I propose specific approaches to seeing that can allow us to address its scale, heterogeneity and locality as well as the ethics of human and posthuman behaviours; to see more but retain the ability to ask the most important, long-standing questions about why and how war occurs or does not. This is an unashamedly extensionist view of historical, technological and disciplinary change. Post-digital war may not be the term the field arrives at, but it indicates a third image and perspective that prevents war escaping explanation.

Presented in Scientific Conference Legal, Economic and Political Aspects of Security in Europe, Kielce Poland

Diese Open-Access-Publikation handelt von Digitalisierungsprojekten in kleinen und mittleren Unternehmen. Es werden Forschungsergebnisse und Praxisbeobachtungen in Beiträgen, Interviews und Handouts von Wissenschaftlern und Praktikern präsentiert.

"Regimes of Capital in the Post-digital Age provides a view of the current state of capitalism, through the interrogation of key diagnoses offered by philosophers and social theorists. With attention to questions about the manner in which the advent of the information age has shaped capitalism, the implications of the post-digital age for social capital, and the possible forms of resistance to the problematic aspects of capitalism, it will appeal to scholars of sociology, philosophy and social theory with interests in critical theory, capitalist society and digital culture"--

International audience ; This article analyses specific acts of handwriting on paper in relation to digitization. It frames the artifact of the digital image of the handwritten note as a post-digital object, which is defined by the inseparability of analogue and digital and also highlights a relation to the digital in which internal opposition is a part of it. The article discusses the media function of post-digital contingency through two particular cases of handwriting on paper that circulates online. Firstly, it analyses post-digital handwriting in the political sphere using the example of the social media posting and sharing of Donald Trump's signature after he took presidential office. Secondly, it elaborates post-digital handwriting as an aesthetic phenomenon by discussing the Instagram account of renowned Swiss curator Hans Ulrich Obrist who has posted nearly 4,500 handwritten notes to 320,000 followers over eight years. Finally, it places these discussions into the context of the philosophy of Martin Heidegger to arrive at a better understanding of how the ontological difference of post-digital handwriting is produced.

This essay explores the practical and theoretical dimensions of composing with analog tape in a post-digital age. Its point of departure is the belief that, instead of dismissing them as outmoded and impractical, we ought to embrace analog devices as invaluable tools for exploring the liminal realm in which encounters between concrete reality and abstract form take place. By working on sound as continuously varying electrical voltage as opposed to binary units of discrete value, a variety of compositional possibilities disclose themselves, particularly in relation to techniques of permutational variation. By reflecting on such techniques as implemented with analog rather than digital tools, crucial aesthetic insights emerge. The question of analog timbre is likewise explored, specifically in terms of aesthetic properties that testify to the unique physical origins of any given sound. Phenomenology as conceived and practiced by Husserl serves as a framework for these investigations. Its distinctive tools and methods enable exploration of the metaphysical dimensions of perceptual facts uncovered during encounters with analog and digital audio devices.

Chinese artists, activists, and netizens are pioneering a new order of pornographic representation that is in critical dialogue with global entertainment media. Jacobs examines the role of sex-positive feminists and queer communities to investigate pornography's "afterglow" (a state of crisis and decay within digital culture). Katrien Jacobs is Associate Professor of Cultural and Religious Studies at Chinese University of Hong Kong.