Racing Cyberculture explores new media art that challenges the 'race-blind' myth of cyberspace. The particular cultural workers whose productions are addressed are the performance and installation artist Guillermo Gomez-Pena and Roberto Sifuentes, the UK new media arts collective Mongrel, the conceptual artists and composer Keith Obadike, and the multimedia artist Prema Murthy. The author looks at how works by these artists bring forward questions of racial and cultural identity as they intersect with information technology.
Winner, 2021 Harry Shaw and Katrina Hazzard-Donald Award for Outstanding Work in African-American Popular Culture Studies, given by the Popular Culture Association Winner, 2021 Nancy Baym Annual Book Award, given by the Association of Internet Researchers An explanation of the digital practices of the black Internet From BlackPlanet to #BlackGirlMagic, Distributed Blackness places blackness at the very center of internet culture. André Brock Jr. claims issues of race and ethnicity as inextricable from and formative of contemporary digital culture in the United States. Distributed Blackness analyzes a host of platforms and practices (from Black Twitter to Instagram, YouTube, and app development) to trace how digital media have reconfigured the meanings and performances of African American identity. Brock moves beyond widely circulated deficit models of respectability, bringing together discourse analysis with a close reading of technological interfaces to develop nuanced arguments about how “blackness” gets worked out in various technological domains. As Brock demonstrates, there’s nothing niche or subcultural about expressions of blackness on social media: internet use and practice now set the terms for what constitutes normative participation. Drawing on critical race theory, linguistics, rhetoric, information studies, and science and technology studies, Brock tabs between black-dominated technologies, websites, and social media to build a set of black beliefs about technology. In explaining black relationships with and alongside technology, Brock centers the unique joy and sense of community in being black online now.
First published in 2002. In Cybertypes, Lisa Nakamura turn sour assumption that the Net is color-blind on its head. Examining all facets of everyday web-life, she shows that racial and ethnic stereotypes, or 'cybertypes' are hardwired into our online interactions: Identity tourists masquerade in chat rooms as Asian_Geisha or Alatiniolover. Web directories sharply delimit racial categories. Anonymous computer users are assumed to be white. Lively, provocative, Cybertypes takes up computer relationship between race, ethnicity and technology and offers a candid and nuanced understanding of identity in the information age.
How culture uses games and how games use culture: an examination of Latin America's gaming practices and the representation of the region's cultures in games. Video games are becoming an ever more ubiquitous element of daily life, played by millions on devices that range from smart phones to desktop computers. An examination of this phenomenon reveals that video games are increasingly being converted into cultural currency. For video game designers, culture is a resource that can be incorporated into games; for players, local gaming practices and specific social contexts can affect their playing experiences. In Cultural Code, Phillip Penix-Tadsen shows how culture uses games and how games use culture, looking at examples related to Latin America. Both static code and subjective play have been shown to contribute to the meaning of games; Penix-Tadsen introduces culture as a third level of creating meaning. Penix-Tadsen focuses first on how culture uses games, looking at the diverse practices of play in Latin America, the ideological and intellectual uses of games, and the creative and economic possibilities opened up by video games in Latin America—the evolution of regional game design and development. Examining how games use culture, Penix-Tadsen discusses in-game cultural representations of Latin America in a range of popular titles (pointing out, for example, appearances of Rio de Janeiro's Christ the Redeemer statue in games from Call of Duty to the tourism-promoting Brasil Quest). He analyzes this through semiotics, the signifying systems of video games and the specific signifiers of Latin American culture; space, how culture is incorporated into different types of game environments; and simulation, the ways that cultural meaning is conveyed procedurally and algorithmically through gameplay mechanics.
Liking, sharing, friending, going viral: what would it mean to recognize these current modes of media interaction as promiscuous? In a contemporary network culture characterized by a proliferation of new forms of intimate mediated sociality, this book argues that promiscuity is a new standard of user engagement. Intimate relations among media users and between users and their media are increasingly structured by an entrepreneurial logic and put to work for the economic interests of media corporations. But these multiple intimacies can also be understood as technologies of promiscuous desire serving both to liberalize mediated social connection and to contain it within normative frames of value. Payne brings crucial questions of gender, sexuality, intimacy, and attention back into conversation with recent thinking on network culture and social media, identifying the queer undercurrents of these current media dynamics.
This book examines the complex network of influences that collide in the culture of digital fighting games. Players from all over the world engage in competitive combat with one another, forming communities in both real and virtual spaces, attending tournaments and battling online via internet-connected home game consoles. But what is the logic behind their shared playstyle and culture? What are the threads that tie them together, and how does this inform our understanding of competitive gaming, community, and identity? Informed by observations made at one of the biggest fighting game events in the world – the Evolution Series tournament, or "EVO" – and interviews with fighting game players themselves, this book covers everything from the influence of arcade spaces, to the place of gender and ethnicity in the community, to the clash of philosophies over how these games should be played in the first place. In the process, it establishes the role of technology, gameplay, and community in how these players define both themselves and the games that they play.
This volume explores one of the central issues that has been debated in internet studies in recent years: locality, and the extent to which cultural production online can be embedded in a specific place. The particular focus of the book is on the practices of net artists in Latin America, and how their work interrogates some of the central place-based concerns of Latin(o) American identity through their on- and offline cultural practice. Six particular works by artists of different countries in Latin America and within Latina/o communities in the US are studied in detail, with one each from Uruguay, Chile, Argentina, Colombia, the US-Mexico border, and the US. Each chapter explores how each artist represents place in their works, and, in particular how traditional place-based affiliations, or notions of territorial identity, end up reproduced, re-affirmed, or even transformed online. At the same time, the book explores how these net.artists make use of new media technologies to express alternative viewpoints about the locations they represent, and use the internet as a space for the recuperation of cultural memory.
This work indexes the literature of the German Early and High Middle Ages according to geographical location. Separate articles investigate the major literary centers - such as Fulda, Regensburg, and Braunschweig. The compilation illustrates both the regional concentrations and interconnections of the period, providing for the first time a compact reference work for regional literary historiography.
Cyberpop is an analysis of cyberculture and its popular cultural productions. The study begins with a Foucaultian model of cyberculture as a discursive formation, and explains how some key concepts (such as 'virtuality,' 'speed,' and 'Connectivity') operate as a conceptual architecture network linking technologies to information and individual subjects. The chapters then each focus on a particular cyberfiguration, including Hollywood films (GATTACA,The Matrix), popular literature (William Gibson's Neuromancer, Scott Westerfeld's Polymorph), advertising for digital products and services (Apple Computer's '1984/McIntosh' campaign, AT&T's 'mLife' campaign), digital artworks (including virtual females such as Motorola's 'Mya' and Elite Modeling Agency's 'Webbie Tookay,' and work by visual artist Daniel Lee for Microsoft's 'Evolution' campaign), and video games (TombRaider). Each close reading illustrates the ways in which representations of digital lifestyles and identities - which typically fetishize computers and celebrate a 'high tech' aesthetic encourage participation in digital capitalism and commodity cyberculture. Matrix argues that popular representations of cyberculture often function as forms of social criticism that creatively inspire audiences to 'think different' (in the words of Mac advertising) about the consequences of the digitalization of everyday life.
