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Chapter 1: Introduction -- Chapter 2: Ideological Contention -- Chapter 3: Incipient Practice and Culture -- Chapter 4: Incipient Practice, Class, and Ideology -- Chapter 5: The Factory Without Bosses -- Chapter 6: Incipient Practice and Subaltern Groups -- Chapter 7:Conclusion.

1. Cartographic imaginaries : mapping Latin(o) America's place in a world of networked digital technologies -- 2. Reworking the 'lettered city' : the resistant reterritorialisation of urban place -- 3. From Macondo to Macon.doc : contemporary Latin American hypertext fiction -- 4. Civilisation and barbarism : new frontiers and barbarous borders online -- 5. Mestiz@Cyborgs : the performance of Latin American-ness as (critical) racial identity -- 6. Revolucion.com? the Latin American revolutionary tradition in the age of new media (revolutions).

ABSTRACT  The paper begins with a discussion of the definition of cultural industries. The paper's three main themes are concerned with, first: 1) a contestation of the generic application of the global commodity chain concept, 2) the need for a unique focus on cultural industries associated with the particular nature of its production process, and 3) the role of embedded judgments of quality is an integral part of this process. Second, the paper suggests that a restyled focus on production chains (involving the full cycle of production to use) might be more appropriate than "commodity chains" for this application. Finally, issues of spatiality and scale are discussed: it is argued that although global commodity chain debates explore linkages at a regional and national scale, they downplay linkages at the local level.

Introduction: negotiating cultural production in a racial democracy -- Two faces of racial democracy -- Quilombhoje as a cultural collective -- Beyond the curtains : unveiling Afro-Brazilian women writers -- (Un)broken linkages -- The tropicalist legacy of Gilberto Gil -- Afro-Brazilian carnival -- Film and fragmentation -- Ancestrality and the dynamics of Afro-modernity -- The forerunners of Afro-modernity -- (Un)transgressed tradition -- Ancestrality, memory, and citizenship -- Quilombo without frontiers -- Ancestral motherhood of Leci Brandão -- Conclusion: the future of Afro-Brazilian cultural production

Cultural production concerns the creation, diffusion, and consumption of cultural products. In this article, we discuss cultural production as related to the marketing and consumption of aesthetics. The article addresses the following topics: the nature of cultural production, including the roles that producers, cultural intermediaries and consumers play in the process; emerging perspectives and ideas on cultural production; aesthetics and art in cultural production; new epistemologies concerning postmodernism and posthumanism as related to cultural production; and the implications of the cultural production processes for the marketing aspects of cultural industries. This article sets forth marketing as the context and framework for the functioning of the cultural production system.

Intro -- Acknowledgements -- Contents -- Chapter 1: Introduction -- 1.1 The Scale of Music Studies -- 1.2 Towards the Cultural Production of Scale: An Unfinished Project -- References -- Chapter 2: Musical Metropolis: Janelle Monáe's Scalar Agility -- References -- Chapter 3: A Postcode-Scale Genre: Grime's Scale as 'Level of Resolution' -- References -- Chapter 4: Musical Scale-Jumping: 'What a Wonderful World' from Lysekil to Lviv -- References -- Chapter 5: The Cultural Production of Scalability: Music, Colonialism and the Moravian Missionary Project -- References -- Chapter 6: From the Particulars to the General: A Small-Scale Conclusion -- Index.

This article constructs a theoretical model of digital intermediation: a process of three key, and unseen, components for cultural production in our contemporary media environment. Digital intermediation is a content production and consumption process that incorporates the cultural characteristics of technologies, agencies and automation. First, the article describes the key components of digital intermediation that bring about the production and distribution of cultural artefacts. Second, the article describes digital intermediation as a process of production and consumption amid these three components. Third, the article articulates the problems digital intermediation creates by examining the loss of user agency over the production of and access to cultural artefacts. Finally, the article highlights how digital intermediation problems can be addressed by cultural institutions, specifically public service media, to shore up user agency within automated media environments.