DOCSLIB.ORG

Media Distortions

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Media Distortions Media Distortions is about the power behind the production of deviant media catego- ries. It shows the politics behind categories we take for granted such as spam and Media Distortions noise, and what it means to our broader understanding of, and engagement with media. The book synthesizes media theory, sound studies, science and technology studies (STS), feminist technoscience, and software studies into a new composition to explore media power. Media Distortions argues that using sound as a conceptual Media framework is more useful due to its ability to cross boundaries and strategically move between multiple spaces—which is essential for multi-layered mediated spaces. Drawing on repositories of legal, technical and archival sources, the book amplifi es three stories about the construction and negotiation of the ‘deviant’ in media. The Distortions book starts in the early 20th century with Bell Telephone’s production of noise, tuning into the training of their telephone operators and their involvement with the Noise Understanding the Power Behind Abatement Commission in New York City. The next story jumps several decades to the early 2000s focusing on web metric standardization in the European Union and Spam, Noise, and Other Deviant Media shows how the digital advertising industry constructed web-cookies as legitimate com- munication while making spam illegal. The fi nal story focuses on the recent decade and the way Facebook fi lters out antisocial behaviors to engineer a sociality that Elinor Carmi produces more value. These stories show how deviant categories re-draw boundaries between human and non-human, public and private spaces, and importantly, social and antisocial. Dr. @Elinor_Carmi is a feminist, researcher, journalist and digital rights advocate, who has been working on deviant media, internet standards, sound studies, and in- ternet governance for the past decade. Elinor is a Postdoc Research Associate at the Communication and Media Department at Liverpool University in the United Kingdom, working on the project “Me and My Big Data: Understanding Citizens Data Literacies”. Before academia, Elinor worked in the EDM industry, edited music television channels and was a radio broadcaster. In 2013, she published her fi rst book TranceMission. 121 Elinor Carmi WWW.PETERLANG.COM Cover Image: ©iStock.com/solarseven Media Distortions is about the power behind the production of deviant media catego- ries. It shows the politics behind categories we take for granted such as spam and Media Distortions noise, and what it means to our broader understanding of, and engagement with media. The book synthesizes media theory, sound studies, science and technology studies (STS), feminist technoscience, and software studies into a new composition to explore media power. Media Distortions argues that using sound as a conceptual Media framework is more useful due to its ability to cross boundaries and strategically move between multiple spaces—which is essential for multi-layered mediated spaces. Drawing on repositories of legal, technical and archival sources, the book amplifi es three stories about the construction and negotiation of the ‘deviant’ in media. The Distortions book starts in the early 20th century with Bell Telephone’s production of noise, tuning into the training of their telephone operators and their involvement with the Noise Understanding the Power Behind Abatement Commission in New York City. The next story jumps several decades to the early 2000s focusing on web metric standardization in the European Union and Spam, Noise, and Other Deviant Media shows how the digital advertising industry constructed web-cookies as legitimate com- munication while making spam illegal. The fi nal story focuses on the recent decade and the way Facebook fi lters out antisocial behaviors to engineer a sociality that Elinor Carmi produces more value. These stories show how deviant categories re-draw boundaries between human and non-human, public and private spaces, and importantly, social and antisocial. Dr. @Elinor_Carmi is a feminist, researcher, journalist and digital rights advocate, who has been working on deviant media, internet standards, sound studies, and in- ternet governance for the past decade. Elinor is a Postdoc Research Associate at the Communication and Media Department at Liverpool University in the United Kingdom, working on the project “Me and My Big Data: Understanding Citizens Data Literacies”. Before academia, Elinor worked in the EDM industry, edited music television channels and was a radio broadcaster. In 2013, she published her fi rst book TranceMission. 121 Elinor Carmi WWW.PETERLANG.COM Cover Image: ©iStock.com/solarseven ADVANCE PRAISE FOR Media Distortions “Media Distortions provides an original, insightful and engaging counter-account of spam and noise as deviant media which have been paradoxically constituted as such to bring about a series of crucial transformations in our technologies and cultures of communication. Drawing on specific historical case studies and extending right into our present, by reverse engineering of the history of spam, Elinor Carmi brings a fresh perspective to bear on a media phenomenon which has received little critical attention.” —Tiziana Terranova, University of Naples, author of Network Culture: Politics For the Information Age (2004) “Elinor Carmi offers a lucid and detailed examination of the taken-for-granted ‘deviant’ categories and processes of spam and noise. Significantly, through the focus on seven strategies of practitioners, the book convincingly demonstrates how common sense perceptions of these two categories are produced by power relations that make up both online and offline spaces of the everyday.” —Evelyn Ruppert, Goldsmiths, University of London, author of Being Digital Citizens (2015) “‘Distort and deviate’ is the best summary for the mode of power Elinor Carmi’s exciting book analyses. The book’s rhythmic approach to noise and spam demonstrates how those seemingly unwanted aspects are at the centre of how contemporary territories and subjectivities are being formed and trained, measured and counted. Media Distortions is essential reading to understand contemporary network culture through a new pair ears, and many many new ideas.” —Jussi Parikka, Winchester School of Art, author of Digital Contagions: A Media Archaeology of Computer Viruses (Peter Lang, 2016) “In Media Distortions, Elinor Carmi offers an innovative approach to digital media. By drawing on sound studies, Media Distortions puts forward a novel conceptual framework of ‘processed listening,’ which enables us to rethink noises, digital disturbances, spam, and deviant media in our lives. For Carmi, the sound of noise is not a nuisance, but an invitation to reveal hidden power relations that deeply shape who we are and how we think.” —Robert W. Gehl, University of Utah, author of Weaving the Dark Web: Legitimacy on Freenet, Tor, and I2P (2018) Media Distortions is about the power behind the production of deviant media catego- ries. It shows the politics behind categories we take for granted such as spam and Media Distortions noise, and what it means to our broader understanding of, and engagement with media. The book synthesizes media theory, sound studies, science and technology studies (STS), feminist technoscience, and software studies into a new composition to explore media power. Media Distortions argues that using sound as a conceptual Media framework is more useful due to its ability to cross boundaries and strategically move between multiple spaces—which is essential for multi-layered mediated spaces. Drawing on repositories of legal, technical and archival sources, the book amplifi es Media Distortions three stories about the construction and negotiation of the ‘deviant’ in media. The Distortions book starts in the early 20th century with Bell Telephone’s production of noise, tuning into the training of their telephone operators and their involvement with the Noise Understanding the Power Behind Abatement Commission in New York City. The next story jumps several decades to the early 2000s focusing on web metric standardization in the European Union and Spam, Noise, and Other Deviant Media shows how the digital advertising industry constructed web-cookies as legitimate com- munication while making spam illegal. The fi nal story focuses on the recent decade and the way Facebook fi lters out antisocial behaviors to engineer a sociality that Elinor Carmi produces more value. These stories show how deviant categories re-draw boundaries between human and non-human, public and private spaces, and importantly, social and antisocial. Dr. @Elinor_Carmi is a feminist, researcher, journalist and digital rights advocate, who has been working on deviant media, internet standards, sound studies, and in- ternet governance for the past decade. Elinor is a Postdoc Research Associate at the Communication and Media Department at Liverpool University in the United Kingdom, working on the project “Me and My Big Data: Understanding Citizens Data Literacies”. Before academia, Elinor worked in the EDM industry, edited music television channels and was a radio broadcaster. In 2013, she published her fi rst book TranceMission. 121 Elinor Carmi WWW.PETERLANG.COM Cover Image: ©iStock.com/solarseven Steve Jones General Editor Vol. 121 The Digital Formations series is part of the Peter Lang Media and Communication list. Every volume is peer reviewed and meets the highest quality standards for content and production. PETER
Load more

Recommended publications
  • 'Slut I Hate You': a Critical Discourse Analysis of Gendered Conflict On
    1 ‘Slut I hate you’: A Critical Discourse Analysis of gendered conflict on YouTube Sagredos Christos, Nikolova Evelin Abstract Research on gendered conflict, including language aggression against women has tended to focus on the analysis of discourses that sustain violence against women, disregarding counter-discourses on this phenomenon. Adopting a Critical Discourse Analysis perspective, this paper draws on the Discourse Historical Approach to examine the linguistic and discursive strategies involved in the online conflict that emerges from the polarisation of discourses on violence against women. An analysis of 2,304 consecutive YouTube comments posted in response to the sexist Greek song Καριόλα σε μισώ ‘Slut I hate you’ revealed that conflict revolves around five main topics: (a) gendered aggression, (b) the song, (c) the singer, (d) other users’ reactions to the song and (e) contemporary socio-political concerns. Findings also suggest that commenters favouring patriarchal gender ideologies differ in the lexicogrammatical choices and discursive strategies they employ from those who challenge them. Keywords: violence against women, language aggression, conflicting discourses, conflict on YouTube 2 1. Introduction The proliferation of online public spaces through social media can among others be seen as some kind of opening the “access to prestigious discourse types” and, therefore, as offering a greater or lesser potential for “democratisation of public discourse” (Fairclough 1992, 201). However, there is little consensus about the democratic potential afforded by such new technologies. While some focus on the plurality of voices that are allowed to be heard and the diverse identities that may gain visibility, others highlight that anonymity in digitally mediated communication may foster a feeling of unaccountability, thus reinforcing online incivility and polarisation of ideas (Garcés-Conejos Blitvich 2010; Papacharissi 2009; van Zoonen et al.
    [Show full text]
  • Boys and Girls by Alice Munro
    Boys and Girls by Alice Munro My father was a fox farmer. That is, he raised silver foxes, in pens; and in the fall and early winter, when their fur was prime, he killed them and skinned them and sold their pelts to the Hudson's Bay Company or the Montreal Fur Traders. These companies supplied us with heroic calendars to hang, one on each side of the kitchen door. Against a background of cold blue sky and black pine forests and treacherous northern rivers, plumed adventures planted the flags of England and or of France; magnificent savages bent their backs to the portage. For several weeks before Christmas, my father worked after supper in the cellar of our house. The cellar was whitewashed, and lit by a hundred-watt bulb over the worktable. My brother Laird and I sat on the top step and watched. My father removed the pelt inside-out from the body of the fox, which looked surprisingly small, mean, and rat-like, deprived of its arrogant weight of fur. The naked, slippery bodies were collected in a sack and buried in the dump. One time the hired man, Henry Bailey, had taken a swipe at me with this sack, saying, "Christmas present!" My mother thought that was not funny. In fact she disliked the whole pelting operation--that was what the killing, skinning, and preparation of the furs was called – and wished it did not have to take place in the house. There was the smell. After the pelt had been stretched inside-out on a long board my father scraped away delicately, removing the little clotted webs of blood vessels, the bubbles of fat; the smell of blood and animal fat, with the strong primitive odour of the fox itself, penetrated all parts of the house.
    [Show full text]
  • 'Titanium' | David Guetta (Feat. Sia)
    ‘Titanium’ David Guetta (feat. Sia) ‘Titanium’ | David Guetta (feat. Sia) ‘Titanium’ was a number one hit for French DJ and music producer David Guetta, featuring vocals from Australian singer Sia. Initially released digitally as one of four promotional singles for the album Nothing but the Beat in August 2011, the hit was o!cially released as the fourth single from the album in December of that same year. ‘Titanium’ was well received in many of the top music markets worldwide, achieving number 1s in four countries and top 10s in an incredible twenty "ve countries across the globe. #e single was met with positive reviews, with many claiming it to be the show stopper of the album thanks to Sia’s collaboration on lyrics and phenomenal vocal performance. Described as “epic and energising”, ‘Titanium’ was musically likened to the works of Coldplay and Sia’s vocal was compared to that of Fergie. Many reviewers raved about Sia’s delivery of the song’s hook, stating that ‘Titanium’ was by far the “most intriguing hook-up” of Guetta’s "$h studio album. #e single was certi"ed 3 x Platinum in the UK with sales just short of two million copies, and 2 x Platinum in the US with four million records sold. Guetta’s album Nothing But !e Beat topped the album charts in the DJ’s home nation of France, as well as Australia, Belgium, Germany, Spain and Switzerland. While some reviewers felt it was lacking somewhat in comparison to his earlier works, the album was well-received by many with tracks ‘Night of Your Life’ and ‘Titanium’ being highlighted as the strongest on the release.
    [Show full text]
  • Sia - Elastic Heart Feat
    antyteksty.com - teksty, które coś znaczą Dominika Bona Sia - Elastic Heart feat. Shia LaBeouf & Maddie Ziegler Sia - Elastic Heart feat. Shia LaBeouf & Maddie Ziegler „Elastic Heart” to utwór nagrany na potrzeby filmu „Igrzyska Śmierci: W pierścieniu ognia”. Teledysk przedstawia zamkniętą w klatce parę, która poprzez taniec stara się wyrazić swoje uczucia związane z rozstaniem. W role bohaterów wcielili sie 28-letni aktor Shia LaBeouf oraz 12-letnia tancerka Maddie Ziegler znana z klipu do „Chandelier”. Sia Kate Isobelle Furler, znana pod pseudonimem Sia, swoją karierę rozpoczęła śpiewając w zespole Crisp, z którym nagrała album “Only See”. Przed 2000 przeprowadziła się do Anglii, gdzie podpisała kontrakt z Dance Pool (sub-label Sony Music). W tym samym roku rozpoczęła karierę solową, wyda- jąc płytę „Healing Is Difficult”. Utwór „Taken For Granted”, zamieszczony w tym samym albumie,- znalazł się w pierwszej dziesiątce na liście angielskich przebojów. W 2004 podpisała kontrakt z Go!Beat Records. Wtedy też nagrała album „Colour the Small One”. Tekst piosenki Sia — Elastic Heart feat. Shia LaBe- Tłumaczenie Sia — Elastic Heart feat. Shia LaBe- ouf & Maddie Ziegler ouf & Maddie Ziegler And another one bites the dust I kolejna osoba gryzie ziemię Oh, why can I not conquer love Dlaczego nie mogę przezwyciężyć miłości And I might have thought that we were one A mogłam pomyśleć, że byliśmy jednością Wanted to fight this war without weapons Chciałam walczyć w tej wojnie bez broni And I wanted it, I wanted it bad Pragnęłam tego, bardzo chciałam
    [Show full text]
  • Dalibor Davidović After the End of the World on Music
    Dalibor Davidović After the End of the World On Music in Hans Jürgen Syberberg's Café Zilm “Because I desire to reveal myself, to stop being too easy a riddle for you to solve.” (Gombrowicz 2012: 44) Entering the square from the southern side, I immediately found what I was looking for: a scaffold construction made of metal planks partially covered by plastic sheeting. Since I approached it laterally, I could see something like a marquee inside, like those which can be found on city squares during Christmas time. The front of the marquee was not visible. At the plastic sheeting there was a printed photograph of an old building, possibly from the nineteenth century, which had the inscription “Café Zilm” on the facade. The front door in the photograph had been replaced with a real wooden front door in front of which stood a chalkboard with the following inscription: “Today, on Friday October 13 from 4 PM on coffee and cake - homemade! - At 7 PM: Live! For and with Marlies Hamann (94) Songs for singing along. The Café Zilm is heated.” Inside the marquee there were some round tables with tableclothes made of white damask and small flower arrangements. The carpet, the chandelier and the elegant chairs gave an impression of a certain age. Next to the entrance there was a table with the different sorts of cakes, a coffee machine and the accessories. I introduced myself to the hosts and we sat at one of the tables. That evening the music which formed part of the programme was announced, and the programme itself was dedicated to Marlies Hamann, whose name I was until that moment unfamiliar with.
    [Show full text]
  • Punk Rock and the Socio-Politics of Place Dissertation Presented
    Building a Better Tomorrow: Punk Rock and the Socio-Politics of Place Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University by Jeffrey Samuel Debies-Carl Graduate Program in Sociology The Ohio State University 2009 Dissertation Committee: Townsand Price-Spratlen, Advisor J. Craig Jenkins Amy Shuman Jared Gardner Copyright by Jeffrey S. Debies-Carl 2009 Abstract Every social group must establish a unique place or set of places with which to facilitate and perpetuate its way of life and social organization. However, not all groups have an equal ability to do so. Rather, much of the physical environment is designed to facilitate the needs of the economy—the needs of exchange and capital accumulation— and is not as well suited to meet the needs of people who must live in it, nor for those whose needs are otherwise at odds with this dominant spatial order. Using punk subculture as a case study, this dissertation investigates how an unconventional and marginalized group strives to manage ‘place’ in order to maintain its survival and to facilitate its way of life despite being positioned in a relatively incompatible social and physical environment. To understand the importance of ‘place’—a physical location that is also attributed with meaning—the dissertation first explores the characteristics and concerns of punk subculture. Contrary to much previous research that focuses on music, style, and self-indulgence, what emerged from the data was that punk is most adequately described in terms of a general set of concerns and collective interests: individualism, community, egalitarianism, antiauthoritarianism, and a do-it-yourself ethic.
    [Show full text]
  • Place and Persona in the Essays of Joan Didion And
    CALIFORNIA DREAMING: PLACE AND PERSONA IN THE ESSAYS OF JOAN DIDION AND EVE BABITZ Claire Elizabeth Christoff Submitted to the faculty of the University Graduate School in partial fulfillment of the requirements for the degree Master of Arts in the Department of English, Indiana University December 2019 Accepted by the Graduate Faculty, Indiana University, in partial fulfillment of the requirements for the degree of Master of Arts. Master’s Thesis Committee ______________________________ Robert Rebein, MFA, PhD, Chair ______________________________ Karen Kovacik, PhD ______________________________ Kyle Minor, MFA ii ACKNOWLEDGMENTS Firstly, thank you to Dr. Robert Rebein, without whom this project would not have been possible. I am grateful not just for your time, patience, and thoughtful honesty, but for teaching me, way back in the fall of 2015, about the boundless possibilities of creative nonfiction. Thanks to Dr. Karen Kovacik for the invaluable guidance, patience, editorial help, and psychic hand-holding—I will forever want to be you when I grow up. Last but not least, thanks to Kyle Minor for all the advice and all the crazy ideas. I am totally indebted to each of you for your mentorship and support over the years. Thank you also to Dan Wakefield for the stories, the pep talks, so many cups of coffee, and the idea for the title of this thesis. iii Claire Elizabeth Christoff CALIFORNIA DREAMING: PLACE AND PERSONA IN THE ESSAYS OF JOAN DIDION AND EVE BABITZ Joan Didion, a native of Sacramento, California, is the author of many acclaimed collections of journalism and memoir, the first of which were Slouching Towards Bethlehem (1968) and The White Album (1979).
    [Show full text]
  • The Care-Centered Economy Rediscovering What Has Been Taken for Granted
    ECONOMY + SOCIAL ISSUES VOLUME 16 The Care-Centered Economy VOLUME 16 The Care-Centered Economy Rediscovering what has been taken for granted An essay by Ina Praetorius THE CARE-CENTERED ECONOMY PUBLICATION SERIES ECONOMY + SOCIAL ISSUES VOLUME 16 The Care-Centered Economy Rediscovering what has been taken for granted An essay by Ina Praetorius Edited by the Heinrich Böll Foundation The author Ina Praetorius, Dr. theol., is a graduate in German literature and a Protestant theologian. She was a research fellow at the Institute for Social Ethics at the University of Zurich from 1983 to 1987. She obtained her doctorate in Heidelberg in 1992; her dissertation was entitled «Anthropology and the image of women in German-language theology.» A freelance writer and speaker, she has been living in Wattwil, Switzerland, with her family since 1987. www.inapraetorius.ch Published under the following Creative Commons License: http://creativecommons.org/licenses/by-nc-nd/3.0 . Attribution — You must attribute the work in the manner speci!ed by the author or licensor (but not in any way that suggests that they endorse you or your use of the work). Noncommercial — You may not use this work for commercial purposes. No derivatives — If you remix, transform, or build upon the material, you may not distribute the modi!ed material. "e Care-Centered Economy Rediscovering what has been taken for granted An essay by Ina Praetorius Volume 16 of the Publication Series Economy + Social Issues Edited by the Heinrich Böll Foundation 2015 Translators: Sandra H. Lustig (Hamburg), Nancy Chapple (Berlin) Copy Editor: Matthew Harris (Buchen im Odenwald) Layout and design: feinkost Designnetzwerk, Sebastian Langer (predesigned by blotto design) Cover photo: J.-C.
    [Show full text]
  • The Land Ethic
    E THE UPSHOT THE LAND ETHIC an area usable either for recreation, or for science, or for raw wilderness gives definition and meaning to the human wildlife, but the creation of new wilderness in the full sense enterprise. of the word is impossible. It follows, then, that any wilderness program is a rear- guard action, through which retreats are reduced to a mini- mum. The Wilderness Society was organized in 1935 'for the one purpose of saving the wilderness remnants in America.' It does not suffice, however, to have such a society. Unless there be wilderness-minded men scattered through all the conservation bureaus, the society may never learn of new invasions until the time for action has passed. Furthermore a militant minority of wilderness-minded citizens must be on watch throughout the nation, and available for action in a pinch. In Europe, where wilderness has now retreated to the Carpathians and Siberia, every thinking conservationist be- moans its loss. Even in Britain, which has less room for land- luxuries than almost any other civilized country, there is a vigorous if belated movement for saving a few small spots of semi-wild land. The Land Ethic Ability to see the cultural value of wilderness boils down, in the last analysis, to a question of intellectual humility. The shallow-minded modern who has lost his rootage in the When god-like Odysseus returned from the wars in Troy, land assumes that he has already discovered what is im- he hanged all on one rope a dozen slave-girls of his house- portant; it is such who prate of empires, political or eco- hold whom he suspected of misbehavior during his absence.
    [Show full text]
  • On the Road to Rajneeshpuram
    On The Road To Rajneeshpuram By BECKY DODSON read the front-page headline which appeared and in the Times last summer. The article stated R A Y BORST that the Rajneeshees were often referred to as a “sex cult.” “Open displays of sexual fon­ 4 4 W T h a t a r e w e d o i n g h e r e ?” we dling seem to be taken for granted,” it said. \ i \ l groaned as we turned our rented To us, this surely meant rape. V ¥ green Oldsmobile off the desolate After traveling several more miles without central Oregon highway and onto the dirt seeing another car or even a cow, we came road. We were already two-and-a-half hours upon what resembled an old Bonanza set with from Portland, and 40 miles from the nearest a few ramshackled houses and dusty interstate. The sign pointing to the steep buildings. single lane path we followed read: “This is Antelope — the town they tried to “Rajneeshpuram, 28.” take over,” one of us observed. Sure enough, Looking through the haze at the ominous we soon saw what used to be the Antelope trees, tumbleweeds and hairpin turns, we General Store, but is now a vegetarian couldn’t help but wonder what we were get­ restaurant with “Zorba The Buddha” painted ting ourselves into. across the top of the building in bright red Armed with only a mandate from the Daily letters. Nexus and UCSB Religious Studies Professor We stopped to take a picture but became Walter Capps, we set out to investigate a aware of two men watching us from inside a controversial Oregon commune run by police car.
    [Show full text]
  • Kvarterakademisk
    kvarter Volume 09 • 2014 akademiskacademic quarter Air Hunger The Sublime In Nursing Practice Erika Goble is a doctoral candidate in the Department of Secondary Education at the University of Alberta and the Research Manager at NorQuest College. Her research interests include aesthetic experience, health care ethics, images in teaching, research, and practice, and the phe- nomenology of practice. Brenda L. Cameron is a Professor Emerita in the Faculty of Nursing, University of Al- berta. Her research focuses on reducing health disparities for mar- ginalized populations in local and global settings through com- munity based participatory action research. Her originary work focuses on delineating also focuses on delineating philosophical understandings of nursing as revealed in the practices of nursing through hermeneutic phenomenology. Abstract: In sublime moments in practice we may be brought close, incredi- bly close, to what normally remains at a distance. Or we may mo- mentarily discern what has always been before us and so close to us that it has never before been truly noticed. Two different nurs- ing situations show how meaningful, yet ineffable the sublime in practice can be when it is evoked and how difficult it is to articulate aesthetic dimensions of nursing practices without covering them over with theory and theoretical knowledge. We consider the expe- rience of taken for granted breathing when suddenly severe breath- lessness appears. What is it to be present to those in extremis, to be close to the inside workings of human bodies? Using Jean-Luc Nancy’s (1993) understanding of the sublime, we consider how the experience of a patient’s breath can be existentially revelatory of nursing practice.
    [Show full text]
  • The Routledge Companion to Remix Studies
    THE ROUTLEDGE COMPANION TO REMIX STUDIES The Routledge Companion to Remix Studies comprises contemporary texts by key authors and artists who are active in the emerging field of remix studies. As an organic interna- tional movement, remix culture originated in the popular music culture of the 1970s, and has since grown into a rich cultural activity encompassing numerous forms of media. The act of recombining pre-existing material brings up pressing questions of authen- ticity, reception, authorship, copyright, and the techno-politics of media activism. This book approaches remix studies from various angles, including sections on history, aes- thetics, ethics, politics, and practice, and presents theoretical chapters alongside case studies of remix projects. The Routledge Companion to Remix Studies is a valuable resource for both researchers and remix practitioners, as well as a teaching tool for instructors using remix practices in the classroom. Eduardo Navas is the author of Remix Theory: The Aesthetics of Sampling (Springer, 2012). He researches and teaches principles of cultural analytics and digital humanities in the School of Visual Arts at The Pennsylvania State University, PA. Navas is a 2010–12 Post- Doctoral Fellow in the Department of Information Science and Media Studies at the University of Bergen, Norway, and received his PhD from the Program of Art and Media History, Theory, and Criticism at the University of California in San Diego. Owen Gallagher received his PhD in Visual Culture from the National College of Art and Design (NCAD) in Dublin. He is the founder of TotalRecut.com, an online com- munity archive of remix videos, and a co-founder of the Remix Theory & Praxis seminar group.
    [Show full text]