Suchergebnisse

China's cities are being remade and rebranded with light emanating from ubiquitous digital media in the form of media architecture, urban screens, mediated retail environments, and mobile media in taxis, elevators, personal devices, and public transport. Chongqing is saturated with an increasing density of urban media making it a particularly pertinent exemplar of China's urban future and its complex urban media ecologies. This research maps Chongqing's urban media ecology using insights derived from expert interviews to establish the viability of further research testing co-designed urban media and participatory design as tools for urban planners, government, industry, and citizens. The findings suggest that in this cultural context the potential of urban media to introduce novel participatory methods benefiting urban planning is dependent on collaborations with property developers, manufacturers, and architects open to testing small scale interventions at a community level.

ABSTRACTThis PAPER DEALS with the performance of trash screens on culverts on urban watercourses. An assessment of the scope of problems associated with screens has been obtained from a survey of land drainage authorities in urban areas in England and Wales. The findings have been analysed and this has resulted in the development of four basic design criteria for screens. A detailed survey of the performance of some 17 sites in the river Ravensbourne catchment of the Thames Water Authority was undertaken over a number of years allowing relationships to be identified between debris amounts and types of upstream catchment area, screen/culvert area ratios, and priority of location.The paper describes considerations to be taken when providing a screen and advocates an individual design for each location rather than installing a standard arrangement. The lack of practical information in the UK, and the high level of problems experienced overall underlines the need for proper consideration to be given to this subject. Current research work is being undertaken to obtain preferred efficient screen configurations, but it is concluded that this should complement rather than replace the need for good trash screen design.

This article considers how networked large urban screens can act as a platform for the creation of an experimental transnational public sphere. It takes as a case study a specific Australia-Korea cultural event that linked large screens in Federation Square, Melbourne, and Tomorrow City, Incheon, 1 through the presentation of SMS-based interactive media art works. The article combines theoretical analyses of global citizenship, mobility, digital technologies, and networked public space with empirical analyses of audience response research data collected during the screen event. The central argument is that large public screens can offer a strategic site for examining transformations in the constitution of public agency in a digitized, globalized environment. The idea of 'aesthetic cosmopolitanism' is finally proposed as a conceptual framework for understanding how new forms of transnational public agency in mediated public spaces might operate.

Introduction. Spaces of communication / Scott McQuire and Sun Wei -- Searching for the communicative city : a search backwards and forward / Gary Gumpert and Susan Drucker -- Architecture, media, and spaces of urban communication / Scott McQuire -- Multispace : a non-media-centric approach to mediated cities / Zlatan Krajina -- Embodied publicness : urban life in the age of mobile networks / Sun Wei -- Digitising children's public play spaces / Bjorn Nansen and Tom Apperley -- Decorating and imagining the new city with public art? Study on the sculptures and installations on Modern Avenue in Suzhou Industrial Park / Chen Lin -- smART city - turbulent city? Artistic engagements with urban ecologies in Delhi / Christiane Brosius -- Urban screens and spaces of civic communication / Stephanie Hannon -- Capturing ambient participation : Indian Independence Day at Federation Square / Nikos Papastergiadis, Danielle Wyatt and Millicent Weber -- Ambient participation, place-making and urban screens / Audrey Yue -- Trams as urban media : public transportation and the construction of Shanghai's "circulation civilization" in the early 20th century / Zhang Yuchen -- Spectacular cities and weak cosmopolitanism : international students and Melbourne / Alex Lambert and Jasmin Pfefferkorn -- Digitalized seeing : the reconstruction of urban communication network by UAV aerial photography in the big data era / Zhou Haiyan -- Spatial practices and asymmetric alignment of temporalities : how "Shanghai Fabu" Wechat account transforms government communication in Shanghai / Pan Ji.

The Building as Screen: A History, Theory, and Practice of Massive Media describes, historicizes, theorizes, and creatively deploys massive media - a set of techno-social assemblages and practices that include large outdoor projections, programmable architectural façades, and urban screens -- in order to better understand their critical and creative potential. Massive media is named as such not only because of the size and subsequent visibility of this phenomenon but also for its characteristic networks and interactive screen and cinema-like qualities. Examples include the programmable lighting of the Empire State Building and the interactive projections of Montreal's Quartier des spectacles, as well as a number of works created by the author himself. This book argues that massive media enables and necessitates the development of new practices of expanded cinema, public data visualization, and installation art and curation that blend the logics of urban space, monumentality, and the public sphere with the aesthetics and affordances of digital information and the moving image.

Following current literature on public and mobile screens, this paper discuses the relevance that screens have in our everyday lives by focusing on the combination of mobile and temporary screen-based practices in the digital mediation of a single public commemorative event. We present an ethnographic account of different screen practices at the Anzac Day dawn Service, an annual Australian commemorative ceremony on a public holiday, 25 April. By focusing our analysis in a single place for a limited time, we analyse how people relate to screens in different ways, from media reception to spatial organization to online connection. We suggest that screens form a fundamental element of the entanglement between public space and political narrative that needs further investigation because this relationship holds implications for both urban life and citizenship.

Intro -- Table of Contents -- Series page -- Title page -- Copyright page -- Dedication -- Acknowledgments -- Abbreviations -- Introduction: A Screen Culture History -- What is Screen Culture? -- Context: Place and Situation -- Life with and without Screen Media -- Nationalism, Colonialism, and Global Media -- Organization of the Book -- Notes -- 1: American Cinema to World War I -- Historical Context -- Early Moving Picture Exhibition -- Urban Nickelodeons and Neighborhood Audiences -- Film Text and Culture -- Screen Culture and Culture -- Notes -- 2: Global Cinema, 1900-1920 -- Early European Film Culture -- Colonial Contexts -- Notes -- 3: The Hollywood Studio Era, 1910s-1940s -- What was Hollywood? -- 'The Product': A Normative Message -- Movie Palaces and Neighborhood Houses -- Notes -- 4: Global Hollywood, 1920s-1950s -- American Film Hegemony -- European Movie-Goers -- Colonial and Post-Colonial Markets: Africa, Asia, Latin America -- Indigenous Film: India, China, and Egypt -- Patterns and Trends -- Notes -- 5: Western Television in the Broadcast Era, 1945-1990 -- Living in Fifties America -- British Television -- European Television and Nationalism -- Comparisons -- Notes -- 6: Post-Colonial Television, 1960s-1990s -- Protecting National Sovereignty -- Latin America: Brazil and Telenovela -- Indian Telenovelas -- Muslim Television: Middle East, North, and West Africa -- China: Late Development -- Global Patterns -- Notes -- 7: Digital Media in the New Millennium -- Digitization -- Technical Convergence -- Industry Convergence -- Surveillance -- Notes -- 8: Using Digital Media -- Mobile Mediated Interaction -- Mediating Collective Action -- Notes -- 9: Globalized Media in the New Millennium -- Access and Affordability -- Hollywood Hegemony -- Multi-Centered Globalization -- Local Audiences: Nollywood -- Glocal: Same but Different -- Notes.

Cover -- Half Title -- Series -- Title -- Copyright -- Contents -- List of illustrations -- List of contributors -- Acknowledgments -- Introduction -- Part I Border crossings -- 1 Mobility and transnational relationships in alternative media discourse: migration actors, objects and emotions on the road -- 2 Physical, affective and symbolic immobility in the videos made by Sub-Saharan migrants at the EU external borders in Northern Africa -- 3 Orientalism, deterritorialization and the universe of refugees in the Brazilian Telenovela: the case of Orphans of a Nation -- 4 Representing diversity during COVID-19: minority and migrant communities in UK television news -- 5 Transnational queer screen mobilities: quick media application, home, love, and sex online -- Part II Transnational encounters -- 6 Global service, transnational stories: streaming privileged and precarious mobility in Netflix's original films -- 7 Going Viral: YouTube, Village Life and Digital Cultures in South India -- 8 Reimagining pastoral life in China: rural microcelebrities on YouTube -- 9 Remixing transcultural mobilities on screen: Remapping Europe, a Remix Project (2013) -- Part III Connections and dislocations -- 10 Mobility, place and geographic filming in South African Broadcasting Corporation's Khumbulekhaya: giving meaning to apartheid and post-apartheid dislocation(s) of the South African black people -- 11 Traversing the Urban Sitcom: the Narrative Trope of Transport and Urban Sociality in NBC's 'Must-See TV' Sitcoms -- 12 Televised stations in Italy: the visualisation of mobility on transportation hubs video networks -- 13 Booktubing and bookstagramming: the boundary spanning and disembedded nostalgia of shelfies -- Part IV Symbolic geographies -- 14 Entertainment mobilisation: Nordic noir fans and screen tourism.

Abstract
As a vernacular dwelling form, the historical hutong districts in Beijing have represented local people's traditional ways of living and thinking. However, in recent decades, such urban memories have dissipated as the old cityscape has gradually been overwritten by modernist, international-style designs. To ensure that locality and identity are not forgotten, this article examines the potential role of fiction films as a form of digital 'lieux de mémoire' (sites of memory), which not only archives but also evokes nostalgia for memories lost in urban transition. This interdisciplinary study rereads the extensive modernist transformation of Beijing's historical hutong area through the lens of film (1940s–2010s), and thus brings a humanized, historical insight into this vernacular cityscape by focusing on reviving and strengthening the fading urban qualities.

Our interactions with screens have changed profoundly over the past several decades- from the development of mobile devices to the continued importance of digital technology, the intersection of mobility and visuality is a fascinating and timely subject for study. Looking at the cultural practices that ground our relationship with screens, Nanna Verhoeff offers a historical and comparative approach to screen-based media and digital culture. This smart, sharp addition to the field of media studies focuses on the innovation and transformation of mobile, urban, and location-based screens. An important work for scholars who study technology, geography, and art, Mobile Screens offers a powerful look at the emergent visual culture of navigation and the way in which we engage with screens as part of our spatial, temporal, and tangible experiences of the world

ABSTRACTCombined sewer overflows are a known source of aesthetic pollution in urban watercourses, and screens have traditionally been used as a means of preventing such pollution. The authors have established the effectiveness of combined‐sewer overflow bar screens in preventing the visual pollution of rivers and have determined the factors which influence screen efficiency so that guidance can be given on improving the performance of future installations. A field study has been undertaken to monitor existing bar screens with different bar spacings. The hydraulic performance of the overflow chambers has been established, and the sources and type of visual pollutants have been identified. Analysis of the field data has established that screen performance (for the main polluting solids) depends on (a) screen bar spacing, (b) mean rate of flow through the screens, and (c) frequency of raking. Overall, mechanically raked bar screens are likely to achieve retention efficiencies of less than 50%.

This chapter brings together the practice-based creative research of artists Charlotte Gould and Paul Sermon, culminating in collaborative interactive installations for urban screens that investigate new forms of social and/or political narratives in site-specific urban environments. The authors' current creative practice looks specifically at the concepts of social presence and performance and attempts to bridge two remote locations either virtually (using online virtual environments such as Second Life) or in the physical space through mixed reality techniques and interfaces that allow the public to direct the narrative and creative outcomes of the artwork.