Introduction
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Notes Introduction 1. Thomas Shevory and Patricia Zimmermann, “Festival Codirectors’ Welcome,” Finger Lakes Environmental Film Festival catalogue (Ithaca, New York: Ithaca College, 2007): n.p. 2. Nicholas Mirzoeff, An Introduction to Visual Culture (London and New York: Routledge, 1999); W. J. T. Mitchell, Picture Theory: Essays on Verbal and Visual Representation (Chicago and London: University of Chicago Press, 1994). For an analysis, see Keith Moxey, “Visual Studies and the Iconic Turn,” Journal of Visual Studies 7.2 (2008): 131–146. 3. Lev Manovich, “Cinema and Digital Media,” in Technology and Culture: The Film Reader, ed. Andrew Utterson (London and New York: Routledge, 2005): 29. 4. Holly Willis, New Digital Cinema: Reinventing the Moving Image (London and New York: Wallflower, 2005): 35, 56. 5. Ibid., 33. 6. Lev Manovich, The Language of New Media (Cambridge and London: MIT Press, 2001): 187–223. 7. See Dan Harries, “Watching the Internet,” in The New Media Book, ed. Harries (London: British Film Institute, 2002): 171–182. 8. Tara McPherson, “Self, Other, and Electronic Media,” in The New Media Book, ed. Dan Harries (London: British Film Institute, 2002): 192. 9. Beth Kolko, Lisa Nakamura, and Gilbert Rodman Rodman, eds., Race in Cyberspace (New York and London: Routledge, 2000); Lisa Nakamura, Digitizing Race: Visual Cultures of the Internet (Minneapolis and London: University of Minnesota Press, 2008); Lisa Nakamura, Peter Chow-White, and Alondra Nelson, eds., Race After the Internet (London and New York: Routledge, 2011). 10. Faye Ginsburg, “The Parallax Effect: The Impact of Indigenous Media on Ethnographical Film,” in Collecting Visible Evidence, ed. Jane M. Gaines and Michael Renov (Minneapolis and London: University of Minnesota Press, 1999): 156–175. 11. Mark Tribe and Reena Jana, New Media Art (Köln: Taschen, 2007): 10. 12. See, for example, Enrique Dussel, Philosophy of Liberation (1980), trans. Aquilina Martinez and Christine Morkovsky (Eugene: Wipf and Stock, 234 Notes 2003); Dilip Parameshwar Gaonkar, “On Alternative Modernities,” in Alternative Modernities, ed. D. P. Gaonkar (Durham: Duke University Press, 2001): 1–23; Renato Ortiz, “From Incomplete Modernity to World Modernity,” Daedalus 129.1 (Winter 2000): 249–260; Ravi Sundaram, Pirate Modernity: Delhi’s Media Urbanism (London and New York: Routledge, 2010); Awam Amkpa, “Africa: Colonial Photography and Outlaws of History,” in African Photography from the Walther Collection: Distance and Desire: Encounters with the African Archive, ed. Tamar Garb (Göttingen: Steidl Verlag, 2013): 241–252. 13. Japan’s Competing Modernities: Issues in Culture and Democracy, 1900– 1930, ed. Sharon A. Minichiello (Honolulu: University of Hawai’i Press, 1998); and Collaborative Research Project “Competing Modernities” at the German Historical Institute in Washington DC in the United States. 14. Laura U. Marks, Enfoldment and Infinity: An Islamic Genealogy of New Media Art (Cambridge and London: MIT Press, 2010): 37–70. 15. For a thorough discussion, see Ania Loomba, Colonialism/Postcolonialism, 2nd ed. (New York and London: Routledge, 2005). 16. See Robert J. C. Young, “Postcolonial Remains,” New Literary History 43.1 (Winter 2012): 19–42. 17. Nicholas Negroponte, Being Digital (New York: Vintage, 1995/1996): 4. 18. Henry Jenkins, Sam Ford, and Joshua Green, Spreadable Media: Creating Value and Meaning in a Networked Culture (New York: New York University Press, 2013). 19. Negroponte, Being Digital, 6. 20. See, for example, Jonathan Sterne, “The Computer Race Goes to Class: How Computers in Schools Helped Shape the Racial Topography of the Internet,” in Race in Cyberspace, ed. Beth Kolko, Lisa Nakamura, and Gilbert Rodman (New York and London: Routledge, 2000): 191–212; Pippa Norris, Digital Divide: Civic Engagement, Information Poverty, and the Internet Worldwide (Cambridge: Cambridge University Press, 2001). 21. Ulises Ali Mejias, Off the Network: Disrupting the Digital World (Minneapolis and London: University of Minnesota Press, 2013): 9. 22. Manual Castels, The Rise of the Network Society (1996), 2nd ed. (Malden: Wiley-Blackwell, 2010). 23. Mejias, Off the Network, 10. 24. He suggests that control by protocol is more democratic than con- trol by panopticon, but it is “layered, stratified, and sometime hierar- chical.” Alexander R. Galloway, Protocol: How Control Exists after Decentralization (Cambridge and London: MIT Press, 2004): xvi. 25. Galloway, Protocol,12, xvi. 26. Ibid., xvi. 27. Mejias, Off the Network, 12–13, 16. 28. Timothy Murray, Digital Baroque: New Media and Cinematic Folds (Minneapolis and London: University of Minnesota, 2008): 5, 20. 29. Gerard Goggin, Global Mobile Media (New York and London: Routledge, 2011): 33–34. Notes 235 30. See Mark Andrejevic, iSpy: Surveillance and Power in the Interactive Era (Lawrence: University of Kansas, 2007). 31. Christiane Paul, “Contextual Networks: Data, Identity, and Collective Production,” in Context Providers: Conditions of Meaning in Media Arts, ed. Margot Lovejoy, Christiane Paul, and Victoria Vesna (Bristol and Chicago: Intellect, 2011): 107. 32. Ibid., 113. 33. Robert Scoble and Shel Israel, Age of Context: Mobile, Sensor, Data and the Future of Privacy (Lexington: Patrick Brewster, 2014): xiv, 1. 34. Paul, “Contextual Networks,” in Context Providers: Conditions of Meaning in Media Arts, 103. 35. Henri Lefebvre, La production de l’espace (Paris: Anthropos, 1974); Yi-Fu Tuan, Space and Place: The Perspective of Experience (Minneapolis and London: University of Minnesota Press, 1977). 36. Tim Cresswell, Place: A Short Introduction (Malden, Oxford, and Victoria: Blackwell, 2004): 12, 11. 37. Ibid., 13. 38. Doreen Massey, For Space (London: Sage, 2005). 39. Doreen Massey, “A Global Sense of Place,” Marxism Today (June 1991): 25. 40. Cresswell, Place, 84. 41. Marc Augé, Non-Places: Introduction Supermodernity (1995), trans. John Howe (London: Verso, 2009). 42. Étienne Balibar, “What Is a Border?” in Politics and the Other Scene (1997–1998), trans. Christine Jones, James Swenson, and Chris Turner (London and New York: Verso, 2002/2011): 81, 83. 43. Marc Garrett, “Revisiting the Curious World of Art and Hacktivism,” FurtherField (03 February 2012), http://www.furtherfield.org/features/ articles/revisiting-curious-world-art-hacktivism. 44. Ravi Sundaram, Pirate Modernity: Delhi’s Media Urbanism (London and New York: Routledge, 2010): 13. 45. Brian Larkin, “Degraded Images, Distorted Sounds: Nigerian Video and the Infrastructure of Piracy,” Public Culture 16.2 (Spring 2004): 297. 46. Tilman Baumgärtel, “The Culture of Piracy in the Philippines,” Pilipinas: A Journal of Philippine Studies 45 (September 2005): 29–45. 47. Moradewun Adejunmobi, “Evolving Nollywood Templates for Minor Transnational Film,” Black Camera 5.2 (Spring 2014): 85. 48. N. Katherine Hayles, How We Think: Digital Media and Contemporary Technogenesis (Chicago and London: University of Chicago Press, 2012): 11. 49. Ibid., 9–10. 50. Ibid., 10. 51. Ibid., 11. 52. In Remediation: Understanding New Media (Cambridge and London: MIT Press, 2000), Jay David Bolter and Richard Grusin describe remediation in three different ways: (1) “remediation as the mediation of mediation,” (2) “remediation as the inseparability of mediation and reality,” and (3) “reme- diation as reform” (55–56). 236 Notes 53. Alexander R. Galloway, The Interface Effect (Cambridge and Malden: Polity, 2012); Lev Manovich, Software Takes Command (New York, London, New Delhi, and Sydney: Bloomsbury, 2013). 54. Mary Louise Pratt, Imperial Eyes: Travel Writing and Transculturation (1992), 2nd ed. (New York and London: Routledge, 2008): 7–8. 55. Laura Mulvey, “Visual Pleasure and Narrative Cinema,” Screen 16.3 (Autumn 1975): 6–18; Manthia Diawara, “Black Spectatorship: Problems of Identification and Resistance,” Screen 29.4 (Autumn 1988): 66–76; Jean-Louis Baudry, “The Ideological Effects of the Basic Cinematographic Apparatus,” trans. Alan Williams, Film Quarterly 28.2 (Winter 1974–1975): 39–47; Jean-Louis Baudry, “The Apparatus: Metaphysical Approaches to the Impression of Reality in Cinema,” trans. Jean Andrew and Bernard Augst, Camera Obscura 1 (Fall 1976): 104–126; Noël Carroll, Mystifying Movies (New York: Columbia University Press, 1988). 56. Rachel Greene, Internet Art (London: Thames and Hudson, 2004): 32–33. 57. Henry K. Miller, “Home Cinema: Introduction,” Sight and Sound 23.9 (September 2013): 221. 58. Anne Friedberg, The Virtual Window: From Alberti to Microsoft (Cambridge and London: MIT Press, 2006). 59. Marsha Kinder, “Hot Spots, Avatars, and Narrative Fields Forever: Buñuel’s Legacy for New Digital Media and Interactive Database Narrative,” Film Quarterly 55 (June 2002): 6. 60. David Hogarth, Realer than Reel: Global Dimensions in Documentary (Austin: University of Texas Press, 2006): 127–129. 61. Hayles, How We Think, 5. 62. Jussi Parikka, Insect Media: An Archaeology of Animals and Technology (Minneapolis and London: University of Minnesota Press, 2010): xi. 63. Ibid., vii. 64. Jane Bennett, Vibrant Matter: A Political Ecology of Things (Durham and London: Duke University Press, 2010): viii. 65. Ibid., xvii–xviii. For Bennett, “the ethical turn encourages political theo- rists to pay more attention to films, religious practices, news media rituals, neuroscientific experiments, and other noncanonical means of ethical will formation,” so that affect is “not specific to human bodies” and “power is not transpersonal or intersubjective but impersonal” (vii). 66. Ian Bogost,