Liquid power: reading the infinity pool as a global semioscape

2021 ◽  
pp. 147035722098482
Author(s):  
Crispin Thurlow
Keyword(s):  
Digital Media ◽  
Cultural Politics ◽  
Primary Objective ◽  
Analytic Structure ◽  
Visual Texts ◽  
Visual Material ◽  
The World

The analytic focus of this article is the highly fashionable ‘infinity pool’, treated here as a visual-material realization of the cultural politics of super-elite mobility. The article is organized around a three-step analytic structure. First, I demonstrate how the infinity pool is mediatized as a status marker, and thus circulated and normalized. Second, I pinpoint the semiotic and ideological ways the infinity pool emerges as a mediated practice. Third, I examines how the infinity pool is also remediated on Instagram and thereby broadcast anew. Throughout, I evidence my analysis with visual texts drawn from a range of commercial, situated and digital media sources. My primary objective is to show how the infinity pool, as a mediatized, mediated and remediated practice, feeds the global semioscape, that more informal, often banal plane of cultural circulation where images, ideas and aesthetic ideals seed themselves all over the place. In this way, and however frivolous or innocuous infinity pools may seem, they also spread a particularly privileged way of looking at, and being in, the world.

Coda: The Rosetta Stone

2018 ◽  
Author(s):  
Jesse Schotter
Keyword(s):  
Twentieth Century ◽  
New Media ◽  
Digital Media ◽  
The Novel ◽  
Digital Code ◽  
Media Technologies ◽  
Rosetta Stone ◽  
The World ◽  
Western Imagination ◽  
Origin Point

Hieroglyphs have persisted for so long in the Western imagination because of the malleability of their metaphorical meanings. Emblems of readability and unreadability, universality and difference, writing and film, writing and digital media, hieroglyphs serve to encompass many of the central tensions in understandings of race, nation, language and media in the twentieth century. For Pound and Lindsay, they served as inspirations for a more direct and universal form of writing; for Woolf, as a way of treating the new medium of film and our perceptions of the world as a kind of language. For Conrad and Welles, they embodied the hybridity of writing or the images of film; for al-Hakim and Mahfouz, the persistence of links between ancient Pharaonic civilisation and a newly independent Egypt. For Joyce, hieroglyphs symbolised the origin point for the world’s cultures and nations; for Pynchon, the connection between digital code and the novel. In their modernist interpretations and applications, hieroglyphs bring together writing and new media technologies, language and the material world, and all the nations and languages of the globe....

Epistemic media and critical knowledge about the self: Thinking about algorithms with Habermas

2021 ◽  
pp. 089692052110441
Author(s):  
Eran Fisher
Keyword(s):  
Digital Media ◽  
Historical Perspective ◽  
The Self ◽  
Theory Of Knowledge ◽  
Digital Platforms ◽  
Self Reflection ◽  
Types Of Knowledge ◽  
Critical Knowledge ◽  
The World ◽  
History Of

This article explores the ontology of personal knowledge that algorithms on digital media create by locating it on two axes: historical and theoretical. Digital platforms continue a long history of epistemic media—media forms and practices, which not only communicate knowledge, but also create knowledge. As epistemic media allowed a new way to know the world, they also facilitated a new way of knowing the self. This historical perspective also underscores a key difference of digital platforms from previous epistemic media: their exclusion of self-reflection from the creation of knowledge about the self. To evaluate the ramifications of that omission, I use Habermas’s theory of knowledge, which distinguishes critical knowledge from other types of knowledge, and sees it as corresponding with a human interest in emancipation. Critical knowledge about the self, as exemplified by psychoanalysis, must involve self-reflection. As the self gains critical knowledge, deciphering the conditions under which positivist and hermeneutic knowledges are valid, it is also able to transform them and expand its realm of freedom, or subjectivity. As digital media subverts this process by demoting self-reflection, it also undermines subjectivity.

Appreciating Rapid Technology Integration in Creating Value in Enterprises

2014 ◽  
Vol 12 (1) ◽  
pp. 53-75 ◽  
Author(s):  
Mambo G. Mupepi ◽  
Sylvia C. Mupepi
Keyword(s):  
Knowledge Creation ◽  
Significant Proportion ◽  
Social Economy ◽  
Primary Objective ◽  
Social Enterprises ◽  
Use Of Technology ◽  
Wide Range ◽  
The World ◽  
Skilled Personnel ◽  
Increase Productivity

The primary objective of this paper is about innovation within specific social organization which compacts with the division of labor, knowledge creation, and the use of technology such as e-enterprise in social economy aimed at improving productivity. A significant proportion of the world's economy is organized to make profits not only for investors but to sustain the employment of many disadvantaged people throughout the world. It includes cooperative organizations, foundations and many other social enterprises that provide a wide range of products and services across the globe and generate sustainable employment. Productivity tends to increase when the job is divided into manageable portions and then performed by adequately skilled personnel. In order to succeed in an environment in which other businesses fiercely compete along with social enterprises it is imperative to take into account innovative systems such as e-enterprise to leverage competition and increase productivity.

scholarly journals Enacting Media. An Embodied Account of Enculturation Between Neuromediality and New Cognitive Media Theory

2021 ◽  
Vol 12 ◽  
Author(s):  
Joerg Fingerhut
Keyword(s):  
Digital Media ◽  
Human Mind ◽  
Generative Models ◽  
Media Theory ◽  
Media Ecology ◽  
Predictive Processing ◽  
Moving Images ◽  
The World ◽  
Media Work ◽  
The Mind

This paper argues that the still-emerging paradigm of situated cognition requires a more systematic perspective on media to capture the enculturation of the human mind. By virtue of being media, cultural artifacts present central experiential models of the world for our embodied minds to latch onto. The paper identifies references to external media within embodied, extended, enactive, and predictive approaches to cognition, which remain underdeveloped in terms of the profound impact that media have on our mind. To grasp this impact, I propose an enactive account of media that is based on expansive habits as media-structured, embodied ways of bringing forth meaning and new domains of values. We apply such habits, for instance, when seeing a picture or perceiving a movie. They become established through a process of reciprocal adaptation between media artifacts and organisms and define the range of viable actions within such a media ecology. Within an artifactual habit, we then become attuned to a specific media work (e.g., a TV series, a picture, a text, or even a city) that engages us. Both the plurality of habits and the dynamical adjustments within a habit require a more flexible neural architecture than is addressed by classical cognitive neuroscience. To detail how neural and media processes interlock, I will introduce the concept of neuromediality and discuss radical predictive processing accounts that could contribute to the externalization of the mind by treating media themselves as generative models of the world. After a short primer on general media theory, I discuss media examples in three domains: pictures and moving images; digital media; architecture and the built environment. This discussion demonstrates the need for a new cognitive media theory based on enactive artifactual habits—one that will help us gain perspective on the continuous re-mediation of our mind.

scholarly journals Konvergensi Media dalam Pemasaran Produk Kerajinan Masyarakat desa Wisata Pariangan

2021 ◽  
Vol 4 (1) ◽  
pp. 59-64
Author(s):  
Rahmatul Husna Arsyah ◽  
Astri Indah Juwita
Keyword(s):  
Digital Media ◽  
Local Community ◽  
Research Approach ◽  
It Industry ◽  
Local Revenue ◽  
The People ◽  
The World ◽  
The Media ◽  
Tourist Village ◽  
Tourism Potential

Abstract: Nagari Pariangan as the most beautiful tourist village in the world has a place to help the community's economy, increase local revenue (PAD). Local industrial products that have been owned by the community can become souvenirs for visiting tourists. However, in fact Nagari Pariangan does not have the media to promote it. This study aims to analyze the convergence of media in marketing the local industrial handicraft products of the community. This research approach is descriptive qualitative, with data collection methods, namely by means of observation and interviews and literature review. The results of this study reveal that Nagari Pariangan is an area with tourism potential that has become the spotlight of the world, there is a need for a media that helps the community in introducing local Nagari products in order to increase local community income. The main key to convergence is digitization, Nagari Pariangan does not yet have digital media as a forum for supporting community industrial output. Based on the 3C technology dimension (Communication, Compute and Contents), which consists of the IT Industry, Telcom Infrastructure Provides, and the Content Industry. Nagari Pariangan is considered capable of building a digitalized medium, in order to be able to make the economy of the people in areas that have tourism potential much better.     Keywords: convergence; craft produk; media  Abstrak: Nagari Pariangan sebagai desa wisata terindah dunia memiliki wadah untuk membantu perekonomian masyarakat, menambah pendapatan asli daerah (PAD). Hasil Industri lokal yang selama ini dimiliki oleh masyarakat bisa menjadi oleh-oleh bagi wisatawan yang berkunjung. Namun, pada kenyataanya Nagari pariangan belum memiliki media dalam mempromosikannya. Penelitian ini bertujuan untuk melakukan analisis konvergensi media dalam memasarkan produk kerajinan industri lokal masyarakat. Metode penelitian ini adalah kualitatif deskriptif, dengan metode pengumpulan data yaitu dengan cara observasi dan wawancara serta kajian literatur. Hasil dari penelitian ini mengungkapkan bahwa Nagari Pariangan merupakan daerah dengan potensi wisata yang sudah menjadi sorotan dunia, dan perlu adanya sebuah media yang membantu masyarakat dalam memperkenal produk lokal nagari agar bisa menambah pendapatan masyarakat setempat. Kunci utama konvergensi adalah digitalisasi, Nagari Pariangan belum memiliki media digital sebagai wadah dalam mendukung hasil industri masyarakat. Berdasarkan dimensi teknologi 3C (Communication, Compute and Contents), yang terdiri dari IT Industry, Telcom Infrastructure Provides, serta Content Industry. Nagari Pariangan dirasa mampu untuk membangun sebuah media yang digitalisasi, agar mampu menjadikan ekonomi masyarakat di daerah yang memiliki potensi wisata jauh lebih baik.Kata kunci: konvergensi; media; produk kerajinan

scholarly journals LOCAL MEDIA IN THE CORONA CRISIS: SIGNIFICANCE AND CHALLENGES ON THE EXAMPLE OF POŽEGA 034 PORTAL

2021 ◽  
Vol 21 (1) ◽  
Author(s):  
Ante Mandarić ◽  
Goran Matijević
Keyword(s):  
Public Health ◽  
Digital Media ◽  
Crisis Communication ◽  
The State ◽  
Public Research ◽  
The Public ◽  
Number Of Patients ◽  
Local Media ◽  
The World ◽  
The Creation

The epidemic of the disease COVID-19, in Požeština in relation to China, where it originated in other parts of Croatia, appeared somewhat later, while Požega-Slavonia County in terms of total share in relation to other counties in Croatia remained relatively well , 16th place, out of a total of 20 counties, ie a smaller number of patients was recorded. In the conditions of public health danger to the health and lives of people with expressed uncertainty, citizens around the world were flooded with numerous information, about the disease, ways of prevention, treatment that at one point threatened to turn into an infodemia, as warned by the WHO. The importance of crisis communication in such conditions is of great importance, and how governments and headquarters communicate messages about the crisis to the public, which is discussed in the first parts of the paper and points out several inconsistencies and illogicalities in the actions of the state headquarters. prohibition and permission to make recommendations contrary to the epidemiologist’s recommendations. But more important than the recommendations of headquarters and governments, today are the recommendations and news transmitted by digital media, and especially the local ones that bring news and recommendations for the area where we live. Therefore, the aim of this paper was to investigate in the central part the significance of the local 034 Portal in the Corona crisis, and its monitoring of the crisis and its impact on the public. Research through several segments, it was found that the portal maintained the level of reporting on regular events and adjusted reporting on the Crown to the conditions and situation in the county, not leading to sensationalism, concern, fear, but was a carrier of preventive activities and a good ally in the fight. against the epidemic, that is, he followed the guidelines for informing the WHO and did not contribute to the creation of an infodemia.

scholarly journals Digital Workers of the World Unite! A Framework for Critically Theorising and Analysing Digital Labour

2014 ◽  
Vol 12 (2) ◽  
Author(s):  
Christian Fuchs ◽  
Marisol Sandoval
Keyword(s):  
Production Process ◽  
Digital Media ◽  
Working Conditions ◽  
Social Relations ◽  
New Products ◽  
Analytical Tool ◽  
Work Process ◽  
The World ◽  
Labour Power ◽  
Mode Of Production

The overall task of this paper is to elaborate a typology of the forms of labour that are needed for the production, circulation and use of digital media. First, we introduce a cultural-materialist perspective on theorising digital labour. Second, we discuss the relevance of Marx’s concept of the mode of production for the analysis of digital labour. Third, we introduce a typology of the dimensions of working conditions. Fourth, based on the preceding sections we present a digital labour analysis toolbox. Finally, we draw some conclusions. We engage with the question what labour is, how it differs from work, which basic dimensions it has and how these dimensions can be used for defining digital labour. We introduce the theoretical notion of the mode of production as analytical tool for conceptualizing digital labour. Modes of production are dialectical units of relations of production and productive forces. Relations of production are the basic social relations that shape the economy. Productive forces are a combination of labour power, objects and instruments of work in a work process, in which new products are created. We have a deeper look at dimensions of the work process and the conditions under which it takes place. We present a typology that identifies dimensions of working conditions. It is a general typology that can be used for the analysis of any production process.

scholarly journals ‘FITNA’ IN EVERYDAY LIFE: Phenomena of the Digital Behavior of Indonesian Muslim Society on Dajjal Hadith

2020 ◽  
Vol 21 (1) ◽  
pp. 1
Author(s):  
D.I Ansusa Putra
Keyword(s):  
Public Sphere ◽  
Everyday Life ◽  
Digital Media ◽  
Supply And Demand ◽  
Political Life ◽  
Demand Pattern ◽  
Cultural Conditions ◽  
The World ◽  
Life Phenomena ◽  
The Many

<p><em>Dajjal appearance discussion in the last decade has been the trending among Muslim. There are massive search for religious doctrines text on Dajjal in digital media. This is oriented towards certain views about the world, social and cultural conditions, political project, political subjectivity, attitudes, and practice or competence. The behavior affects social-political life through the contextualization of hadith about Dajjal. This study aims to obtain a complete picture of digital media behavior in understanding religious doctrines related to  Fitna of Dajjal among Muslims. This article combines Muslim theory of Cosmopolitanism Khairuddin Aljunied and living hadith approach, supported by data from google trend search throughout 2019. The results showed that there were four digital behaviors of Indonesian Muslim related to Dajjal hadith, first, searching instantaneously; second, reviewing from internet; third, joining the contextualisation discussion; and fourth, liking the personalization and illustration. The most frequently sought topic is about the prayer to be protected from Fitna of Dajjal. In addition, the study also tried to prove that this digital behavior is formed massively because of supply and demand pattern. It means that there are groups producing Dajjal hadith in public sphere regularly since they are supported by the many interests of consumers.</em></p>

A Call to Otherness: Inscribing Digital Vernaculars into the Art Institution

2021 ◽  
Vol 10 (1) ◽  
pp. 94-115
Author(s):  
Gabriel Menotti
Keyword(s):  
Digital Media ◽  
Art History ◽  
Media Culture ◽  
Digital Arts ◽  
Western Art ◽  
The World ◽  
Aesthetic Forms

In the mid-2010s, a number of renowned museums and galleries across the world held retrospective exhibitions positioning digital arts within western art history. While inscribing some techno-aesthetic forms and behaviours into the contemporary arts institution, these exhibitions nevertheless cemented the exclusion of others. By examining the role and shortcomings of curatorial practices in this process, this article seeks to frame curating as an art of inclusion able to carve institutional and epistemic space for otherness. In doing so, I argue for the relevance of devices for noticing, defined as a range of tactics that enable the apprehension of digital vernaculars – everyday, ‘lower’ expressions of digital media culture – within institutional sites and discourses. Through these tactics, curators may provoke under-represented cultural actors, forms and behaviours into recognition, reverse the violence of institutional occlusion, and fertilize art histories.

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