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Explores the use of images, sounds and videos in Jihadi media and how people engage with themFosters theoretical approaches to audiovisuality in the context of 'propagandistic' imageryPoints to strategies and logics of appropriation within and around Jihadi audiovisuality, such as humour, re-enactments and memetic forms of cultural resistanceConsiders cultural and aesthetic expressions that evolve in response to Jihadi media output Presents empirically grounded research, combined with historical, multi-modal, rhetorical, ethnomusicological and digital audio-visual analysis and interpretationsCase studies include: an exploration of: staged violence in IS productions; the appropriation of IS's nashīd Ṣalīl al-Ṣawārim in digital contexts; the responses by social workers and former supporters of jihadi groups and movements; and how researchers themselves are part of the entanglements caused by politicisation and securitisation of IslamISIS is often described as a terrorist organisation that uses social media to empower its supporters and reinforce its message. Through 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

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

Abstract
The article explores ethical challenges in digital media ethnography in the field of militant political Islam, pointing to the dilemma that arises in doing research on Islam as part of the securitised research funding system. Expanding on discussions in anthropology about the principles of "do no harm" and "be open and honest about your work", the authors reflectively contextualise the interrelated notions of "Jihadism" and "Salafism" and examine how these categories serve as "floating signifiers". Examining one particular incident from the digital fieldwork leads to discussions of transparency, anonymity and shifting forms of "publicness" in the digital sphere.

The entanglement of Jihad, Political Violence, and Media has determined the lives of Muslims in Europe and the US over the past 20 years. This book unravels the nexus of these elements, to critically examine how their conjunction is perpetuated, reproduced, or disputed. In 16 case studies, the contributors critically reflect on the identification of jihad with political violence, address the academic, legal, political and broader public production of knowledge on this topic, examine the aesthetic formations involved in the mediation and reaffirmation of this narrow understanding, explore the experiential worlds of people whose ideas and actions are labelled as and affected by notions of violent jihad, and illuminate the institutional and media contexts (e.g. of archives) in which an entanglement of jihad and political violence takes effect, with profound consequences.

Mit dem Fokus auf Medienpraktiken bündelt dieses Heft aktuelle Positionen zur empirischen Erforschung von Medien. Die Beiträge gehen davon aus, dass Medien erst durch ihren Gebrauch zu Medien werden. Medienpraktiken zu erforschen, bedeutet jedoch nicht nur herauszufinden, was Menschen mit Medien tun, sondern auch was Medien mit Menschen machen. Diese für die Medienpraktikenforschung zentrale Einsicht lösen die interdisziplinären Beiträge des Bandes ein, indem sie aus den jeweiligen Positionen und Konstellationen verdeutlichen, wie Medien und Praktiken sich gegenseitig bedingen.

Medienpraktikenforschung erfordert erstens, medienpraktische Phänomene in einem hohen Detailgrad zu fassen, um die Relation der beteiligten menschlichen und medialen Akteure zueinander in situ und in actu nachzuvollziehen. Erst durch die analytische Durchdringung dieser situativen Vollzugsmomente lässt sich zweitens der Status von Medien klären: was durch Praktiken zu einem Medium wird und wie die Praktiken unter Berücksichtigung der an ihnen konstitutiv beteiligten Medien beschaffen sind. Dadurch lassen sich ebenso übersituative Bezüge zur Praxis herstellen, durch die die Praktiken zur situativen Entfaltung kommen. Drittens muss dabei berücksichtigt werden, inwiefern die eigenen Medienpraktiken der Erforschung in ihren jeweiligen situativen Stadien die (Analyse der) Medienpraktik zurichten.

Die Beiträge dieses Bandes lösen diese Forderungen in unterschiedlicher Gewichtung ein. Sie befassen sich aus medienethnologischer, kultursoziologischer, literaturwissenschaftlicher, historischer, soziologischer und medienwissenschaftlicher Perspektive damit, was jeweils als situierte Medienpraktik verstanden werden kann. Gemeinsam ist damit allen Beiträgen, dass sie erst aus ihren jeweiligen Untersuchungen und Perspektiven heraus bestimmen, was genau als Medienpraktik und Medien, die in ihnen zum Tragen kommen, gefasst werden kann.

Der vorliegende Band untersucht systematisch das Verhältnis von digitalen Kameras und ihren softwaretechnischen Grundlagen, die wir unter "Apps" zusammenfassen. Als konzeptuelles Framing in der Auseinandersetzung mit dieser medialen Verbindung aus Kamera/App wählen wir das ästhetische wie theoretische Spektrum aus Techniken des Appropriierens und Applizierens und damit verbundene Theorietraditionen der Filmwissenschaft sowie der Software, Platform und App Studies. Mit dem programmatischen Befund 'Deine Kamera ist eine App' soll in vier dialogischen Textpaaren dem offenen Themenfeld zwischen Appropriation/Applikation und seiner zeitgenössischen Brisanz wie historischen Tiefe entlang übergreifender Konzepte wie Partizipation, Format und Widerstand nachgegangen werden. Dabei beleuchtet der Band die Verbindung von Ästhetik und Technik, Kunst und Software und wendet sich neben dem Film auch den sogenannten Medienkünsten, dokumentarischen Videoformaten, Selbstdokumentationen und dem Gaming zu.

The authors would like to thank the leadership of the Deep Ocean Stewardship Initiative (DOSI), including Lisa Levin, Maria Baker, and Kristina Gjerde, for their support in developing this review. This work evolved from a meeting of the DOSI Oil and Gas working group supported by the J.M. Kaplan Fund, and associated with the Deep-Sea Biology Symposium in Aveiro, Portugal in September 2015. The members of the Oil and Gas working group that contributed to our discussions at that meeting or through the listserve are acknowledged for their contributions to this work. We would also like to thank the three reviewers and the editor who provided valuable comments and insight into the work presented here. DJ and AD were supported by funding from the European Union's Horizon 2020 research and innovation programme under the MERCES (Marine Ecosystem Restoration in Changing European Seas) project, grant agreement No 689518. AB was supported by CNPq grants 301412/2013-8 and 200504/2015-0. LH acknowledges funding provided by a Natural Environment Research Council grant (NE/L008181/1). This output reflects only the authors' views and the funders cannot be held responsible for any use that may be made of the information contained therein. ; Peer reviewed ; Publisher PDF