scholarly journals M/C Event: Directions for Cyberculture in the New Economy

M/C Journal ◽  
2000 ◽  
Vol 3 (3) ◽  
Author(s):  
Geert Lovink ◽  
Greg Hearn ◽  
David Marshall
Keyword(s):  
New Media ◽  
Design Education ◽  
New Economy ◽  
Digital Culture ◽  
Law And Order ◽  
Conference Room ◽  
Art And Technology ◽  
First Response ◽  
The Media ◽  
The University

An M/C Event held in the Conference Room of the University of Queensland Library on 12 May 2000 The early, mythological phase of digital culture is now rapidly running out of its utopian energies. Law and order are taking command over the last pockets of digital wilderness. The taming of the cyberculture by "click 'n mortar" businesses and their willing government executors took only a few years. The time of institutionalization, mega mergers and security paranoia has arrived. These new conditions, driven by the current hyper-growth, have an as yet invisible effect on the cultural new media sector (arts, design, education), which had perceived itself for so long as "ahead of the wave". To prevent Internet from turning into a nightmare (from which it then has to awake), neither the utopian vision has to be eliminated, nor do we need to withdraw to the apocalyptic pole, which states that the world and its network will collapse anyhow -- with or without our interference. The conflict between utopia and negativism needs to be played out. The deeper we are drawn into the Virtual, the more there is a need to stage its inherent paradoxes and contradictions. But how ? The recordings from this event are available in RealAudio and Windows Media streaming audio formats.   "Directions for Cyberculture in the New Economy" Geert Lovink, Media Scholar and Activist Responses by Greg Hearn and David Marshall M/C Event University of Queensland 12 May 2000         Introduction and Acknowledgements Axel Bruns  28k  56k  28k  56k "Directions for Cyberculture in the New Economy" Geert Lovink  28k  56k  28k  56k First Response Greg Hearn  28k  56k  28k  56k Second Response David Marshall  28k  56k  28k  56k Reply to Respondents Geert Lovink  28k  56k  28k  56k Audience Questions & Answers - Part 1 Geert Lovink Greg Hearn David Marshall  28k  56k  28k  56k Audience Questions & Answers - Part 2 Geert Lovink Greg Hearn David Marshall  28k  56k  28k  56k Acknowledgements Geert Lovink visited Brisbane as a participant in Alchemy, an International Masterclass for New Media Artists and Curators, which was organised by the Australian Network for Art and Technology in association with the Brisbane Powerhouse - Centre for the Live Arts from 8 May to 9 June 2000. M/C and the Media and Cultural Studies Centre are highly grateful to ANAT and Geert Lovink as well as the Australian Key Centre for Cultural and Media Policy for making this event possible. Citation reference for this article MLA style: Geert Lovink, with Greg Hearn and David Marshall. "Directions for Cyberculture in the New Economy." M/C: A Journal of Media and Culture 3.3 (2000). [your date of access] <http://www.api-network.com/mc/0006/cyberculture.php>. Chicago style: Geert Lovink, with Greg Hearn and David Marshall, "Directions for Cyberculture in the New Economy," M/C: A Journal of Media and Culture 3, no. 3 (2000), <http://www.api-network.com/mc/0006/cyberculture.php> ([your date of access]). APA style: Geert Lovink, with Greg Hearn and David Marshall. (2000) Directions for cyberculture in the new economy. M/C: A Journal of Media and Culture 3(3). <http://www.api-network.com/mc/0006/cyberculture.php> ([your date of access]).

scholarly journals New Media Art: Aligning Artistic Creativity And Technological Media

2021 ◽  
Vol 22 (1) ◽  
pp. 206-216
Author(s):  
Cătălin Soreanu
Keyword(s):  
New Media ◽  
The Internet ◽  
Media Art ◽  
Technological Environment ◽  
New Media Art ◽  
Technological Culture ◽  
Art And Technology ◽  
Internet Art ◽  
The Media ◽  
The Relationship

Abstract This article investigates the relationship between art and technology, pointing the constants of a process of cultural digestion which is mediated by the very sovereign technological environment – the Internet. Relying on the multiplicity and hybridization of the content formats, and also on the user involved interactivity as constructive vector-relationships, new media art and the internet art are natural consequences of the artistic practices of creative appropriation of contemporary technological media. As the complexity of the relationship between art and the technological environment becomes richer than ever, we assist to the creation of a contemporary ultra-technological culture, structurally dependent on the media and responsible for relativizing the critical positioning of the art consumer. Defining the premises of the interaction with a technologically interfaced world of art, the user (reader) of the Internet as a medium of expression is – equally – a consumer, and a producer of information (content).

scholarly journals Introduction to M/C

M/C Journal ◽  
1998 ◽  
Vol 1 (1) ◽  
Author(s):  
P. David Marshall
Keyword(s):  
Cultural Studies ◽  
New Media ◽  
Research Unit ◽  
Place And Space ◽  
Working Through ◽  
The Gift ◽  
History Of ◽  
The Media ◽  
Cultural Power ◽  
The University

This is a magazine that plays with the push/pull characteristics of the Web. We're writing, investigating, analysing, critiquing the meeting of media and culture. These are large concepts: we're working through the various refractive powers that media forms have on culture. Perceiving through a particular medium mediates the way in which we conceptualise the world; the approach we take to the transnational, nation, state, city, suburb, neighbourhood, etc. We are, of course, aware that any particular medium does not overdetermine actions in some transparent McLuhanesque way; rather we're working through the cultural power of media forms to conceptualise and to organise (or disorganise) our world-views. Naturally, we're operating from a place and space within these debates about the organisation of culture. This journal is arising from an institution within an institution, and thus is informed by certain approaches. It is an initiative of the Media and Cultural Studies Centre, a research unit in the Department of English at the University of Queensland, Australia. Although who writes for the journal may change, it is starting from a history of cultural studies, a postgraduate subject entitled "New Media Culture", and students and staff who are genuinely interested in embarking upon critical analyses of media and culture. You'll notice patterns in the writing, then, that indicate these origins to the cognoscenti. Each issue is organised around a theme. The first issue's theme is particularly appropriate for a birthing process, and the move from the apparent simplicity of beginnings to the complexity of sustaining life. We're looking at the concept of "New", and we're approaching it from a variety of angles and avenues. Most of the essays are short interventions. One essay for each issue will engage with the concept for a little bit longer. A couple of warning notes may be necessary for your first read. The journal has a slash in the title, which may be just another graphic pirouette, or it may be some awkward bow to the Internet aesthetic of cursors and schizophrenia. Without grounding its meaning (the dance of meaning is important to us) the slash "/" is to highlight that this is a crossover journal between the popular and the academic. It is attempting to engage with the 'popular', and integrate the work of 'scholarship' in media and cultural studies into our critical work. We take seriously the need to move ideas outward, so that our cultural debates may have some resonance with wider political and cultural interests. Also, in the interests of pulling, we want response and replies. Each issue will be followed in some way by a responding issue that integrates the variety of interventions received. Jump in. Yes, we have provided a pattern, but feel free to respond to our pattern. You can even respond by submitting for future issues. Of course, you can decide not to respond to us; but if you find something useful acknowledge us and provide links to our work -- we'll provide the same courtesy for what intrigues us. It is the courtesy of the gift of information, which through a slash becomes a form of knowledge. It's tempting to conclude with something that derives from the pure pop of television: "Engage" -- but we wouldn't do that. You make the links. Citation reference for this article MLA style: P. David Marshall. "Introduction to M/C." M/C: A Journal of Media and Culture 1.1 (1998). [your date of access] <http://www.uq.edu.au/mc/9807/intro.php>. Chicago style: P. David Marshall, "Introduction to M/C," M/C: A Journal of Media and Culture 1, no. 1 (1998), <http://www.uq.edu.au/mc/9807/intro.php> ([your date of access]). APA style: P. David Marshall. (1998) Introduction to M/C. M/C: A Journal of Media and Culture 1(1). <http://www.uq.edu.au/mc/9807/intro.php> ([your date of access]).

‘Doing’ media studies: The media lab as entangled media praxis

2019 ◽  
Vol 25 (2) ◽  
pp. 186-208
Author(s):  
Martyn Thayne ◽  
Andrew West
Keyword(s):  
New Media ◽  
Media Studies ◽  
Cultural Theory ◽  
Digital Culture ◽  
Practice Research ◽  
Peer Production ◽  
The Arts ◽  
The Media ◽  
Research And Education ◽  
Media Lab

Typically understood in relation to innovations in new media and modes of peer-production, the ‘media lab’ has emerged as a contemporary phenomenon encompassing a variety of ‘maker-spaces’, ‘fablabs’ and ‘hackathons’. This article seeks to resituate the ‘media lab’ in the context of media research and education, drawing inspiration from the recent ‘nonrepresentational’ and ‘nonhuman’ turns in media and cultural theory that examine our entanglement with media on a social, cultural and biological level (Grusin, 2015b; Thrift, 2007; Vannini, 2015; Zylinska, 2012). This article contributes to such debates by presenting the lab as entangled media praxis as a set of 10 principles for teaching media as mediation: a reflexive form of ‘doing’ contemporary media studies that is primarily concerned with developing an embodied ‘attunement’ to the entangled relations of media lab participants. This framework calls for transdisciplinary modes of practice research and ‘critical making’, whereby students, artists, creative technologists and academics work collaboratively to address the affective and subjective conditions of contemporary digital culture. This article will explore these methods in relation to the concept of media entanglement, drawing out the underlying principles of the ‘entangled media praxis’ framework by examining two pilot media labs facilitated by the Arts Council England-funded project, 1215.today.

The Media Lab at the University of the West of England, Bristol

1996 ◽  
Vol 11 (2) ◽  
pp. 181-184 ◽  
Author(s):  
Linda Skinner
Keyword(s):  
New Media ◽  
Digital Media ◽  
Lessons Learned ◽  
Local Economy ◽  
Set Design ◽  
The West ◽  
Interactive Storytelling ◽  
The Media ◽  
The University ◽  
Media Lab

This article describes the background and early steps undertaken to establish a Media Lab at the University of the West of England. The Media Lab is an industry-related research and development facility for creative technology projects involving new media; for example, interactive storytelling in virtual reality, distributed media production, visualisation of the environment, automatic set design and the development of digital media devices and services. The project is described under the headings: background, project activities, implementation issues, impact on the local economy, and lessons learned.

KEEFEKTIFAN MEDIA KOMUNIKASI VISUAL SEBAGAI PENUNJANG PROMOSI PADA PERGURUAN TINGGI RAHARJA

CCIT Journal ◽  
2015 ◽  
Vol 9 (1) ◽  
pp. 77-86
Author(s):  
Lusyani Sunarya ◽  
Po Abas Sunarya ◽  
Jasmine Dara Assyifa
Keyword(s):  
Visual Communication ◽  
Communication Media ◽  
Media Campaign ◽  
Prospective Students ◽  
Media Campaigns ◽  
Great Opportunity ◽  
Information And Communication ◽  
The Media ◽  
Fierce Competition ◽  
The University

The development of visual communication media at this time is very helpful in supporting information and communication. But often presented visual communication  media  are  less  effective  and appropriate. While so many universities in Indonesia, the increasingly fierce competition in attracting new students. Media Visual Communication can be applied to college in introducing or raising the image and popularity or promote and provide information to prospective students. In essence, in this case the effectiveness of media campaigns assessed in spreading information, influence or persuade prospective students and new student to join the university. The method used by the questionnaires to assess the effectiveness of implemented that have been implemented such as  brochures,  banners, posters, billboards, catalogs, paper bag,  flyers  and  merchandise.  In  conclusion,  this  article specifically assess visual communication media from case studies in Perguruan Tinggi Raharja considered effective and consistent contribution.. This study found a great opportunity to improve the promotion of additional digital marketing media campaign called the college through the  stages resulting in some visual communication media that can be received by the target audience. To create a media campaign needs planning in accordance with the background of the problem so that the media are made to overcome the problems encountered

Disruptive Fixation

2017 ◽  
Author(s):  
Christo Sims
Keyword(s):  
New York ◽  
New York City ◽  
New Media ◽  
Media Technologies ◽  
Complex Processes ◽  
Middle Schoolers ◽  
The Social ◽  
The Media ◽  
Class Divisions ◽  
Conventional Type

In New York City in 2009, a new kind of public school opened its doors to its inaugural class of middle schoolers. Conceived by a team of game designers and progressive educational reformers and backed by prominent philanthropic foundations, it promised to reinvent the classroom for the digital age. This book documents the life of the school from its planning stages to the graduation of its first eighth-grade class. It is the account of how this “school for digital kids,” heralded as a model of tech-driven educational reform, reverted to a more conventional type of schooling with rote learning, an emphasis on discipline, and traditional hierarchies of authority. Troubling gender and racialized class divisions also emerged. The book shows how the philanthropic possibilities of new media technologies are repeatedly idealized even though actual interventions routinely fall short of the desired outcomes. It traces the complex processes by which idealistic tech-reform perennially takes root, unsettles the worlds into which it intervenes, and eventually stabilizes in ways that remake and extend many of the social predicaments reformers hope to fix. It offers a nuanced look at the roles that powerful elites, experts, the media, and the intended beneficiaries of reform—in this case, the students and their parents—play in perpetuating the cycle. The book offers a timely examination of techno-philanthropism and the yearnings and dilemmas it seeks to address, revealing what failed interventions do manage to accomplish—and for whom.

The Role of The Students Association in The Promotion of Students' Speech Skills at The Khalid Bin Al Walid Institute at University of Muhammadiyah Mataram (ar)

2019 ◽  
Vol 7 (2) ◽  
pp. 59-72
Author(s):  
Erwin Erwin ◽  
Nasarudin Nasarudin ◽  
Husnan Husnan
Keyword(s):  
Student Organizations ◽  
Language Game ◽  
Qualitative Approach ◽  
The Media ◽  
Role Based ◽  
The University ◽  
Good Deeds ◽  
Speaking Skills

The purpose of this research is to explain the importance of the student organizations and describe their efforts to improve the speaking skills of students at the Mahad Khalid Bin Al Waleed at the University of Muhammadiyah Mataram. This research uses the qualitative approach with the descriptive type. The result shows the student organizations play an important role based on their objectives and functions. The objectives are to help the foundation and all parties in the Ma'had develop the students’ potential and qualification, and to be the place for the students to share their problems and complaints, while the functions are as one of the media to develop students’ quality, both the members of the non-member, and as the good examples and pioneers of any good deeds. The efforts done by student organizations in improving speaking skills are such as by making activities that lead to improving students' speaking skills like sticking vocabularies in each class and Friday activities such as language game, Arabic debate and short lecture.

Selfi es

2018 ◽  
Vol 2018 (1) ◽  
pp. 83-96
Author(s):  
Ramon Reichert
Keyword(s):  
Present Article ◽  
Digital Communication ◽  
Role Expectations ◽  
Digital Culture ◽  
Final Part ◽  
Human Face ◽  
History Of ◽  
The Media ◽  
Front Stage

The history of the human face is the history of its social coding and the media- conditions of its appearance. The best way to explain the »selfie«-practices of today’s digital culture is to understand such practices as both participative and commercialized cultural techniques that allow their users to fashion their selves in ways they consider relevant for their identities as individuals. Whereas they may put their image of themselves front stage with their selfies, such images for being socially shared have to match determinate role-expectations, body-norms and ideals of beauty. Against this backdrop, collectively shared repertoires of images of normalized subjectivity have developed and leave their mark on the culture of digital communication. In the critical and reflexive discourses that surround the exigencies of auto-medial self-thematization we find reactions that are critical of self-representation as such, and we find strategies of de-subjectification with reflexive awareness of their media conditions. Both strands of critical reactions however remain ambivalent as reactions of protest. The final part of the present article focuses on inter-discourses, in particular discourses that construe the phenomenon of selfies thoroughly as an expression of juvenile narcissism. The author shows how this commonly accepted reading which has precedents in the history of pictorial art reproduces resentment against women and tends to stylize adolescent persons into a homogenous »generation« lost in self-love

Filthy Material

2018 ◽  
Author(s):  
Chris Forster
Keyword(s):  
Twentieth Century ◽  
New Media ◽  
Twentieth Century Literature ◽  
Modernist Literature ◽  
Literary Value ◽  
Radclyffe Hall ◽  
Media Technologies ◽  
The Face ◽  
History Of ◽  
The Media

Modernist literature is inextricable from the history of obscenity. The trials of such figures as James Joyce, D. H. Lawrence, and Radclyffe Hall loom large in accounts of twentieth-century literature. Filthy Material: Modernism and the Media of Obscenity reveals the ways that debates about obscenity and literature were shaped by changes in the history of media. The emergence of film, photography, and new printing technologies shaped how “literary value” was understood, altering how obscenity was defined and which texts were considered obscene. Filthy Material rereads the history of modernist obscenity to discover the role played by technological media in debates about obscenity. The shift from the intense censorship of the early twentieth century to the effective “end of obscenity” for literature at the middle of the century was not simply a product of cultural liberalization but also of a changing media ecology. Filthy Material brings together media theory and archival research to offer a fresh account of modernist obscenity with novel readings of works of modernist literature. It sheds new light on figures at the center of modernism’s obscenity trials (such as Joyce and Lawrence), demonstrates the relevance of the discourse of obscenity to understanding figures not typically associated with obscenity debates (such as T. S. Eliot and Wyndham Lewis), and introduces new figures to our account of modernism (such as Norah James and Jack Kahane). It reveals how modernist obscenity reflected a contest over the literary in the face of new media technologies.

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