Self-Publishing

2020 ◽  
pp. 327-341
Author(s):  
Jeffrey R. Di Leo
Keyword(s):  
Cultural Capital ◽  
Electronic Devices ◽  
First Century ◽  
The Internet ◽  
Discussion Forums ◽  
The Road ◽  
Twenty First Century ◽  
Traditional Print ◽  
Print Format

In the twenty-first century, the barriers to authorship are lower than ever. Whether on blogs or on communal discussion forums, Facebook ‘walls’, or Twitter threads, anyone with access to the internet can fancy him or herself an author. The road to genuine cultural capital, however, still passes through the book, whether in its traditional print format or in the guise of ebooks consumed on Kindles, Nooks, and other electronic devices. Here too, though, a publishing revolution is underway. Thanks to services such as CreateSpace or iUniverse, it is cheaper than ever to self-publish a book, and, thanks to Amazon, it is easier to disseminate one. In this chapter, Jeffrey Di Leo shows how the results of this development are dramatic, both in a numeric sense and in a qualitative one.

History Has Its Eyes on You

2018 ◽  
Author(s):  
Laurence Maslon
Keyword(s):  
Popular Culture ◽  
Pop Culture ◽  
Technological Advance ◽  
First Century ◽  
The Internet ◽  
Generational Change ◽  
Personal Preference ◽  
Broadway Musical ◽  
Twenty First Century ◽  
Consumer Habits

A generational change at the beginning of the twenty-first century intersected with the technological advance of the Internet to provide a renaissance of Broadway music in popular culture. Downloading playlists allowed the home listener to become, in essence, his/her own record producer; length, narrative, performer were now all in the hands of the consumer’s personal preference. Following in the footsteps of Rent (as a favorite of a younger demographic), Lin-Manuel Miranda’s Hamilton emerged as the greatest pop culture/Broadway musical phenomenon of the twenty-first century; its cast album and cover recording shot up near the top of music’s pop charts. A rediscovery of the power of Broadway’s music to transform listening and consumer habits seems imminent with the addition of Hamilton and Dear Evan Hansen to a devoted fan base—and beyond.

Messiah with the Microphone? Oral Historians, Technology, and Sound Archives

2012 ◽  
Author(s):  
Robert B. Perks
Keyword(s):  
Oral History ◽  
First Century ◽  
The Internet ◽  
Digital Audio ◽  
Digital Revolution ◽  
The World ◽  
Technological Skills ◽  
Twenty First Century ◽  
The Relationship

For decades, oral historians and their tape recorders have been inseparable, but it has also been an uneasy marriage of convenience. The recorder is both our “tool of trade” and also that part of the interview with which historians are least comfortable. Oral historians' relationship with archivists has been an uneasy one. From the very beginnings of the modern oral history movement in the 1940s, archivists have played an important role. The arrival of “artifact-free” digital audio recorders and mass access via the Internet has transformed the relationship between the historian and the source. Accomplished twenty-first-century oral history practitioners are now expected to acquire advanced technological skills to capture, preserve, analyze, edit, and present their data to ever larger audiences. The development of oral history in many parts of the world was influenced by the involvement of sound archivists and librarians. Digital revolution in the present century continues to influence oral history.

The Internet at the eco-village: Performing sustainability in the twenty-first century

First Monday ◽  
2016 ◽  
Author(s):  
Teresa Cerratto-Pargman ◽  
Daniel Pargman ◽  
Bonnie Nardi
Keyword(s):  
Blind Spot ◽  
First Century ◽  
The Internet ◽  
Ecological Communities ◽  
Peak Oil ◽  
Digital Devices ◽  
Social Technologies ◽  
Twenty First Century ◽  
The One ◽  
Eco Village

Is the digital infrastructure and its footprint an ideological blind spot for recently emerging ecological communities, including eco-villages? This paper examines how a group of people who are concerned with environmental issues such as peak oil and climate change are orchestrating a transition toward a more sustainable and resilient way of living. We studied a Swedish eco-village, considering how computing in this community contributes to defining what alternative ways of living might look like in the twenty-first century. Drawing on a social-ecological perspective, the analysis illustrates, on the one hand, that the Internet, along with the digital devices we use to access it, capitalizes and mobilizes values, knowledge and social relationships that in turn enhance resilience in the eco-village. On the other hand, the analysis shows that an explicit focus on ecological values is not sufficient for a community of individuals to significantly transform Internet use to conform to ecological ideals. This work contributes to a deeper understanding of the imbrication of social technologies with practices that are oriented to perform sustainable and resilient ways of living.

“We're Gonna Capture Johnny Depp”: Making Kin with Cinematic Comanches

2017 ◽  
Vol 41 (2) ◽  
pp. 23-42 ◽  
Author(s):  
Dustin Tahmahkera
Keyword(s):  
Cultural Capital ◽  
Cultural Politics ◽  
Cultural Knowledge ◽  
First Century ◽  
Self Determination ◽  
Social Actors ◽  
Twenty First Century

This article analyzes Comanche elder LaDonna Harris's adoption of actor Johnny Depp as a response to the cultural politics of Disney's casting him as a Comanche Tonto in The Lone Ranger 2013. In addition to onscreen performers and characters like Depp's Tonto, in my reading “cinematic Comanches” also include offscreen cultural critics and social actors who, like Harris, maneuver through thorny layers of representing the indigenous. Focusing my inquiry on how Harris and other cinematic Comanches created opportunities to make kin with Depp, engage Disney, and expand the convoluted discourse on producing Comanche representation and cultural knowledge, I discuss Lone Ranger's hype and protest, Harris's reframing of the adoption as captivity, and post-captivity collaborations between Comanches, Depp, and Disney. I suggest that by recreating a traditional Comanche mode of kinship in the twenty-first century, Harris took Depp in as a son to honor his onscreen efforts, to express Comanche self-determination in kinship, and to increase the cultural capital of the Comanche Nation.

Digital Diplomacy and US Foreign Policy

2011 ◽  
Vol 6 (3-4) ◽  
pp. 451-455 ◽  
Author(s):  
Alec Ross
Keyword(s):  
Information Technology ◽  
Foreign Policy ◽  
International Relations ◽  
Us Foreign Policy ◽  
First Century ◽  
Social Progress ◽  
The Internet ◽  
Protest Movements ◽  
Twenty First Century ◽  
Digital Diplomacy

We live in an era of pervasive connectivity. At an astonishing pace, much of the world’s population is joining a common network. The proliferation of communications and information technology creates very significant changes for statecraft. But we have to keep in mind that the Internet is not a magic potion for political and social progress. Technology by itself is agnostic. It simply amplifies the existing sociologies on the ground, for good or ill. And it is much better at organizing protest movements than organizing institutions to support new governments in place of those that have been toppled. Diplomacy in the twenty-first century must grapple with both the potential and the limits of technology in foreign policy, and respond to the disruptions that it causes in international relations.

Australian Masculinity on the Road

2000 ◽  
Vol 95 (1) ◽  
pp. 227-236
Author(s):  
Philip Butterss
Keyword(s):  
First Century ◽  
The Road ◽  
True Love ◽  
New Form ◽  
Twenty First Century ◽  
On The Road ◽  
Ways Of Being

In an Australia where the old images of masculinity are no longer serviceable, the road provides an ideal site for films wishing to explore ways of being a man at the dawn of the twenty-first century. The Adventures of Priscilla, Queen of the Desert, True Love and Chaos, Doing Time for Patsy Cline and Kiss or Kill critique or destabilise traditional models of masculinity, and use the road as a space where masculinity is free to change. However, as Pamela Robertson (1997: 271) has pointed out, the road movie is ‘a genre obsessed with home’. The closure of all four films involves establishing a new form of home, and in doing so demonstrates how difficult it is to reintegrate credibly the changes experienced on the road into a domestic unit that is fulfilling for all its members.

Non‐functional motives for online shoppers: why we click

2002 ◽  
Vol 19 (5) ◽  
pp. 380-392 ◽  
Author(s):  
Andrew G. Parsons
Keyword(s):  
Market Share ◽  
First Century ◽  
The Internet ◽  
Internet Shopping ◽  
Social Motives ◽  
Projective Technique ◽  
Functional Aspects ◽  
Online Shoppers ◽  
Twenty First Century

This study applies Tauber’s personal and social motives, as representative of Sheth’s non‐functional motives for shopping, to Internet shoppers. Two studies are conducted; in the first a sample of current online shoppers is surveyed on how well Tauber’s motives describe their motivation for Internet shopping. Projective technique is used in the second study, in which a group of consumers are asked to discuss how the motives may impact on online shoppers, as a means of explaining how the motives apply in the Internet setting. Results suggest that Tauber’s non‐functional motives can be adapted to the twenty‐first century mode of shopping. This leads to some strong implications for researchers and practitioners who so far have concentrated on the functional aspects of Internet shopping with respect to gaining shopping market share.

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