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Beyond Style and Genre
Popular culture today manifests itself in a dense network of styles and genres, while the aesthetic preferences of the audience are highly differentiated. Besides, popular culture also implies a diversity of aesthetic strategies, discourses and value systems that traverse the symbolic demarcations between styles and genres and are effective across different artistic fields and individual media. Aesthetic concepts such as camp, retro or trash are expressions of a transgressive mode of production that facilitates a multitude of cross-connections between aesthetic spaces of experience. The volume brings together authors from different disciplines who approach aesthetic concepts in popular culture on a historical, theoretical and methodological level, analyze them on the basis of various aesthetic phenomena, or discuss aspects relevant to their theoretical contextualization, such as the emergence and establishment of artistic practices and aesthetic value systems.
The Colors of Photography
The Colors of Photography aims to provide a deeper understanding of what color is in the field of photography. Until today, color photography has marked the "here and now," while black and white photographs have been linked to our image of history and have formed our collective memory. However, such general dichotomies start to crumble when considering the aesthetic, cultural, and political complexity of color in photography. With essays by Charlotte Cotton, Bettina Gockel, Tanya Sheehan, Blake Stimson, Kim Timby, Kelley Wilder, Deborah Willis. Photographic contributions by Hans Danuser and Raymond Meier.
The Powers of the False
Introduction -- The truth of narration and the powers of the false -- Accepting complicated legacies by being once removed from the world : Everything is illuminated (Foer 2002) -- "He looked for truth in facts and not in stories" : crimes of historiography and forces of fabulation in Richard Flanagan's Gould's book of fish (2003) -- Making time, undoing race: Richard Powers' The time of our singing (2003) -- Conclusion.
Appetite for Self-Destruction
For the first time, Appetite for Self-Destruction recounts the epic story of the precipitous rise and fall of the modern recording industry, from an author who has been writing about it for more than ten years. With unparalleled access to those intimately involved in the music world’s highs and lows—including Warner Music chairman Edgar Bronfman Jr., renegade Napster creator Shawn Fanning, and more than 200 others—Steve Knopper is the first to offer such a detailed and sweeping contemporary history of the industry’s wild ride through the past three decades. From the birth of the compact disc, the explosion of CD sales, and the emergence of MP3-sharing websites that led to iTunes, to the current collapse of the industry as CD sales plummet, Knopper takes us inside the boardrooms, recording studios, private estates, garage computer labs, company jets, corporate infighting, and secret deals of the big names and behind-the-scenes players who made it all happen. Just as the incredible success of the CD turned the music business into one of the most glamorous, high-profile industries in the world, the advent of file sharing brought it to its knees, and Knopper saw it all.
The Citizen Machine
This is the untold political history of television's formative era. The author, an historian, goes behind the scenes of early television programming, revealing that producers, sponsors, and scriptwriters had far more in mind than simply entertaining (and selling products). Long before the age of PBS, leaders from business, philanthropy, and social reform movements as well as public intellectuals were all obsessively concerned with TV's potential to mold the right kind of citizen. After World War II, inspired by the perceived threats of Soviet communism, class war, and racial violence, members of what was then known as "the Establishment" were drawn together by a shared conviction that televi...
Pioneering Participatory Art Practices
Participatory art practices allow members of an audience to actively contribute to the creation of art. Annemarie Kok provides a detailed analysis and explanation of the use of participatory strategies in art in the so-called ›long sixties‹ (starting around 1958 and ending around 1974) in Western Europe. Drawing on extensive archival materials and with the help of the toolbox of the actor-network theory, she maps out the various actors of three case studies of participatory projects by John Dugger and David Medalla, Piotr Kowalski, and telewissen, all of which were part of documenta 5 (Kassel, 1972).
Digital Culture & Society (DCS)
Capturing personal data in exchange for free services is now ubiquitous in networked media and recently led to diagnoses of surveillance and platform capitalism. In social media discourse, dataveillance and data mining have been criticized as new forms of capitalist exploitation for some time. From social photos, selfies and image communities on the internet to connected viewing and streaming, and video conferencing during the Corona pandemic - the digital image is not only predominantly networked but also accessed through platforms and structured by their economic imperatives, data acquisition techniques and algorithmic processing. In this issue, the contributors show how participation and commodification are closely linked to the production, circulation, consumption and operativity of images and visual communication, raising the question of the role networked images play for and within the proliferating surveillance capitalism.
Mapping the Moving Image
In Mapping the Moving Image, Pasi Valiaho offers a compelling study of how the medium of film came to shape our experience and thinking of the world and ourselves. By locating the moving image in new ways of seeing and saying as manifest in the arts, science and philosophy at the turn of the twentieth century, the book redefines the cinema as one of the most important anthropological processes of modernity. Moving beyond the typical understanding of cinema based on optical and linguistic models, Mapping the Moving Image takes the notion of rhythm as its cue in conceptualizing the medium's morphogenetic potentialities to generate affectivity, behaviour, and logics of sense. It provides a clear picture of how the forms of early film, while mobilizing bodily gestures and demanding intimate, affective engagement from the viewer, emerged in relation to bio-political investments in the body. The book also charts from a fresh perspective how the new gestural dynamics and visuality of the moving image fed into our thinking of time, memory and the unconscious.
German Colonialism, Visual Culture, and Modern Memory
There is no overarching master narrative in understanding the history of German colonialism, and over the past decade, the study of Germany’s colonial past has experienced a dramatic transformation in its scope of inquiry. Influenced by new theoretical and methodological approaches to the study of race, nationalism, and globalization, these new studies initiate a process of reevaluating and redefining the parameters within which German Colonialism is understood. The role of visual materials, in particular, is ideal for exploring the porousness of disciplinary boundaries, though visual culture studies pertaining to German history – and especially German colonialism – have previously bee...
Cultural Techniques
This volume presents the preliminary results of the work carried out by the interdisciplinary cultural techniques research lab at the University of Erfurt. Taking up an impulse from media studies, its contributions examine —from a variety of disciplinary perspectives—the interplay between the formative processes of knowledge and action outlined within the conceptual framework of cultural techniques. Case studies in the fields of history, literary (and media) studies, and the history of science reconstruct seemingly fundamental demarcations such as nature and culture, the human and the nonhuman, and materiality and the symbolical order as the result of concrete practices and operations. These studies reveal that particularly basic operations of spatialization form the very conditions that determine emergence within any cultural order. Ranging from manual and philological "paper work" to practices of opening up and closing off spaces and collective techniques of assembly, these case studies replace the grand narratives of cultural history focusing on micrological examinations of specific constellations between human and nonhuman actors.
