Suchergebnisse

Hauptmotiv zur Durchführung der Analyse von Biographieverläufen deutscher, professioneller Techno-DJs ist vor allem die Entdeckung des Verfassers gewesen, dass in der soziologischen bzw. kulturwissenschaftlichen Forschung keine Untersuchungen über die eigentlichen Protagonisten der Szene, die DJs, vorliegen. Das Ziel der Studie ist eine explorative, hypothesenfreie Herangehensweise an das Leben und Arbeiten deutscher Techno-DJs gewesen. Vermieden wird dabei eine Verwissenschaftlichung der Lebenswelt. Es handelt sich um eine pragmatische Betrachtung der DJ-Umgebung(en) im Jahr 2008, die jedoch Hinweise für mögliche Anbindungen auf soziologische Theorien liefert bzw. auf bereits erfolgte Bezüge verweist. Als empirische Methode dient das narrative Interview nach Fritz Schütze, das den Befragten durch die geringe, fast abwesende Standardisierung die größtmögliche Offenheit zur Ausgestaltung ihrer Stegreifrage gewährt. (ICF2)

As digital labour becomes more widespread across the uneven geographies of race, gender, class and ability, and as histories of colonialism and inequality get drawn into these forms of labour, our imagination of what these worlds contain similarly needs to expand. Beyond the sensationalist images of the 'brogrammer' and the call-centre worker lie intersecting labour practices that bring together histories of bodies and materiality in new ways. In the recent past, these entanglements have yielded oppressive results. As scandals over predictive policing, data mining and algorithmic racism unfold, digital labourers need both to be accounted for in analyses of algorithmic technologies and to be counted among the designers of these platforms. This article attempts to do both of these by highlighting particular cases in which digital labour frames embodied subjects, and to propose ways digital workers might train themselves to recognise ethical problems as they are emerging. I use the idea of attunements as a way to grasp what these forms of care might look like for the digital worker.

Résumé Le rythme d'évolution des technologies est irréductible au cycle de diffusion des innovations, tel qu'il a été formalisé par le sociologue Everett Rogers. Le techno-rythme n'est pas économique, mais culturel. En tant que tel, il est constitué de la multiplicité d'usages, souvent imprévisibles, qui s'approprient et détournent les produits et services, pour parfois les retourner contre le pouvoir. Deux temps forts illustrent ce rythme : 1966-1969, l'explosion psychédélique, et 1986-1989, la naissance de l' acid house .

This paper adopts a "geography of innovation" approach to test for France the hypothesis that patent activity within each administrative region is related to corporate expenditures in R&D in that territory, as well as research expenditures undertaken in universities located in the same area. It emerges that French manufacturing firms (both private and state-owned) benefit significantly from knowledge produced within the geographical area in which they are located, although the coefficient estimated for the university R&D variable is equally significant but higher than that for the industry R&D one. At the reginal level, university research therefore turns out to be the most crucial source of knowledge spillovers for the innovative activities of manufacturing firms.

"At the dawn of the digital revolution, the internet was going to be the great equalizer, a global democratic force. Instead, with the money printed electronically to bail out banks, Wall Street ended up funding a new breed of serial capitalists, the Techtitans, who embraced rapid, transformational change while stripping their workers of rights and enriching themselves beyond anybody's wildest imagination; and the Space Barons, who mine new frontiers for precious resources. Then came the gig-economy, another supposed digital equalizer, where everybody was their own boss, but it was just another illusion. Tech pioneers like Google, Facebook, Apple, Uber, and Microsoft never had any intention of spreading democracy. Those who control and own the technology are the absolute masters. As artificial intelligence enters the labor market, companies like Uber are able to cut labor costs to the barest of minimums, by squeezing workers' privileges and rights. In Techno-Capitalism, Napoleoni describes these phenomena as the genesis of a new paradigm, born in a period of extraordinary change in which the acceleration of transformational change has caused a dizzying, anxiety-induced paralysis from the FTX collapse to AI, private space companies to the war in Ukraine, from inflation to the dirty environmental truth of EV car batteries. Technological transformation is occurring at a speed that is existentially unbearable for most of us. We must fight for our common good to address today's real challenges of global warming and militarism and the soulessness of capitalist endeavor. Napoleoni shows us how."

After the British marketing of Detroit's take on electronic dance music in 1988, with the compilation Techno! The New Sound of Detroit, techno music has been interwoven with a particular representation of this North American city. Resonating internationally with other electronic dance music scenes, a unique mythology of Detroit techno draws new audiences to what was the capital of the Fordist automobile industry. Opening the discussion with Movement, the electronic festival central to Detroit's annual Techno Week, we argue that Detroit and its citizens activate techno music to promote the renaissance of this once powerful industrial metropolis. Techno, and its associated cultural capital, act as value producers in the context of macro-economic urban regeneration processes within the local history and African-American futurist music aesthetics. From Detroit in the current era we trace back key issues, such as the mythology of Detroit as the "Techno City" and its DJ-producers, contrasting politics in Detroit's techno scenes, and the appropriation of abandoned industrial spaces. Finally, the chapter addresses a dialogue of emerging techno music producers with the aesthetics of house music in Midwestern American industrial metropolis, Chicago. It is argued that techno dance music has articulated the technoculture since the late 1980s: in other words, it signifies lived experience of culture dominated by information and communication technologies in a city that had partly morphed into a post-industrial ruin.

[Vol.] 2, 1910 issued in 7 parts: 1. Maschinen-Technik --2. Elektrotechnik --3. Bau-Technik --4. Berg- und Hütten-Technik --5. Chemie --6. Militär- und Marine-Technik --6. Supplement. ; Mode of access: Internet. ; Also issued monthly under title: Technische Auskunft (English ed.: Engineering abstracts). ; "Neue Folge des Früher im Kaiserl. Patentamt Bearbeiteten- Repertoriums der technischen Journal-Literatur."