This new book examines whether television can be used as a tool not just for capitalism, but for democracy. Throughout television’s history, activists have attempted to access it for that very reason. New technologies—cable, satellite, and the internet—provided brief openings for amateur and activist engagement with television. This book elaborates on this history by using ethnographic data to build a new iteration of liberalism, technoliberalism, which sees Silicon Valley technology and the free market of Hollywood end the need for a politics of participation.
When we oppose or disagree with something important, do we ever really do it dispassionately? Isn't setting the world to rights or condemning a political opponent always done with a hint of relish, or at least enthusiasm? This book's challenging essays explore the modes in which that transgressive pleasure of political 'jouissance' operates. Rather than delegitimizing or depoliticising, the tacit enjoyment of outrage can in fact facilitate different forms of engagement. The tendency for groups to be bonded by a common enemy, for example, brings with it a protection from censure or persecution, and a way of alleviating guilt. In this collection, the authors seek out jouissance in the battle against patriarchy, in social revolts, in the age of mechanical surveillance, in the necrosociety of neoliberalism, or the proliferation of conspiracy theories. Drawing on Lacan's insistence that jouissance is intrinsically political by its nature, we can understand how readily psychoanalytic ideas can be put to use across the geopolitical spectrum.
An authoritative and accessible guide to the world’s most influential force – the contemporary media Our lives are more mediated than ever before. Adults in economically advanced countries spend, on average, over eight hours per day interacting with the media. The news and entertainment industries are being transformed by the shift to digital platforms. But how much is really changing in terms of what shapes media content? What are the impacts on our public and imaginative life? And is the Internet a democratising tool of social protest, or of state and commercial manipulation? Drawing on decades of research to examine these and other questions, Understanding Media interrogates claims about the Internet, explores how representations in TV and film may influence perceptions of self, and traces overarching trends while attending to crucial local context, from the United States to China, Norway to Malaysia, and Brazil to Britain. Understanding Media is an accessible and essential guide to the world's most influential force - the contemporary media.
Since prehistory, bunkers have been built as protection from cataclysmic social and environmental forces, and as places of power and transformation. Today, the bunker has become the extreme expression of our greatest fears- from pandemics to climate change and nuclear war. And once you look, it doesn't take long to start seeing bunkers everywhere. In Bunker, acclaimed urban explorer and cultural geographer Bradley Garrett explores the global and rapidly growing movement of 'prepping' for social and environmental collapse, or 'Doomsday'. From the 'dread merchants' hustling safe spaces in the American mid-West to eco-fortresses in Thailand, from geoscrapers to armoured mobile bunkers, Bunker is a brilliant, original and never less than deeply disturbing story from the frontlines of the way we live now, an illuminating reflection on our age of disquiet and dread that brings it into new, sharp focus. The bunker, Garrett shows, is all around us, in malls, airports, gated communities, the vehicles we drive. Most of all, he shows, it's in our minds.
This book attacks the conventional history of the press as a story of progress; offers a critical defence and history of public service broadcasting; provides a myth-busting account of the internet; gives a subtle account of the impact of social media; and explores key debates about the role and politics of the media. Power Without Responsibility has become a standard textbook on media and other courses, but it has also gone beyond an academic audience to reach a wider public. Hailed as a book that has ‘cracked the canon’ by the Times Higher Educational Supplement, it has been translated into five languages. In 2019, it was awarded the International Communication Association's Fellows Book Award. This ninth edition is based on a major overhaul of its content to take account of new developments (such as generative AI) and new scholarship in the field. It also contains a new chapter on the transformed opportunity for a reformed and buccaneering public service broadcasting in the face of automated misinformation and social division, locally, nationally and internationally. This trailblazing text is essential reading for all students and scholars interested in British media and contemporary media and society.
The definitive reference work with comprehensive analysis and review of peer production Peer production is no longer the sole domain of small groups of technical or academic elites. The internet has enabled millions of people to collectively produce, revise, and distribute everything from computer operating systems and applications to encyclopedia articles and film and television databases. Today, peer production has branched out to include wireless networks, online currencies, biohacking, and peer-to-peer urbanism, amongst others. The Handbook of Peer Production outlines central concepts, examines current and emerging areas of application, and analyzes the forms and principles of cooperation that continue to impact multiple areas of production and sociality. Featuring contributions from an international team of experts in the field, this landmark work maps the origins and manifestations of peer production, discusses the factors and conditions that are enabling, advancing, and co-opting peer production, and considers its current impact and potential consequences for the social order. Detailed chapters address the governance, political economy, and cultures of peer production, user motivations, social rules and norms, the role of peer production in social change and activism, and much more. Filling a gap in available literature as the only extensive overview of peer production’s modes of generating informational goods and services, this groundbreaking volume: Offers accessible, up-to-date information to both specialists and non-specialists across academia, industry, journalism, and public advocacy Includes interviews with leading practitioners discussing the future of peer production Discusses the history, traditions, key debates, and pioneers of peer production Explores technologies for peer production, openness and licensing, peer learning, open design and manufacturing, and free and open-source software The Handbook of Peer Production is an indispensable resource for students, instructors, researchers, and professionals working in fields including communication studies, science and technology studies, sociology, and management studies, as well as those interested in the network information economy, the public domain, and new forms of organization and networking.
Museum Object Lessons for the Digital Age explores the nature of digital objects in museums, asking us to question our assumptions about the material, social and political foundations of digital practices. Through four wide-ranging chapters, each focused on a single object – a box, pen, effigy and cloak – this short, accessible book explores the legacies of earlier museum practices of collection, older forms of media (from dioramas to photography), and theories of how knowledge is produced in museums on a wide range of digital projects. Swooping from Ethnographic to Decorative Arts Collections, from the Google Art Project to bespoke digital experiments, Haidy Geismar explores the object lessons contained in digital form and asks what they can tell us about both the past and the future. Drawing on the author’s extensive experience working with collections across the world, Geismar argues for an understanding of digital media as material, rather than immaterial, and advocates for a more nuanced, ethnographic and historicised view of museum digitisation projects than those usually adopted in the celebratory accounts of new media in museums. By locating the digital as part of a longer history of material engagements, transformations and processes of translation, this book broadens our understanding of the reality effects that digital technologies create, and of how digital media can be mobilised in different parts of the world to very different effects.
In the wake of Edward Snowden's revelations, and concern that the internet has heightened rather than combated various forms of political and social inequality, it is time we ask: what comes after a broken internet? Ramesh Srinivasan and Adam Fish reimagine the internet from the perspective of grassroots activists and citizens on the margins of political and economic power. They explore how the fragments of the existing internet are being utilized - alongside a range of peoples, places, and laws - to make change possible. From indigenous and non-Western communities and activists in Tahrir Square, to imprisoned hackers and whistleblowers, this book illustrates how post-digital cultures are changing the internet as we know it - from a system which is increasingly centralized, commodified, and "personalized," into something more in line with its original spirit: autonomous, creative, subversive. The book looks past the limitations of the internet, reconceptualizing network technology in relation to principles of justice and equality. Srinivasan and Fish advocate for an internet that blends the local concerns of grassroots communities and activists with the need to achieve scalable change and transformation.
Drones are revolutionizing ocean conservation. By flying closer and seeing more, drones enhance intimate contact between ocean scientists and activists and marine life. In the process, new dependencies between nature, technology, and humans emerge, and a paradox becomes apparent: Can we have a wild ocean whose survival is reliant upon technology? In Oceaning, Adam Fish answers this question through eight stories of piloting drones to stop the killing of porpoises, sharks, and seabirds and to check the vitality of whales, seals, turtles, and coral reefs. Drone conservation is not the end of nature. Instead, drone conservation results in an ocean whose flourishing both depends upon and escapes the control of technologies. Faulty technology, oceanic and atmospheric turbulence, political corruption, and the inadequacies of basic science serve to foil governance over nature. Fish contends that what emerges is an ocean/culture—a flourishing ocean that is distinct from but exists alongside humanity.
