What’s New?

2020 ◽  
Vol 21 (6) ◽  
pp. 664-670 ◽  
Author(s):  
Shawn Shimpach
Keyword(s):  
New Media ◽  
Media Studies ◽  
New Technologies ◽  
Television Studies ◽  
Specific Category ◽  
History Of ◽  
Industrial Modernity

New media is of course the great disruptor. So, too, should be its study. Television Studies’ and Media Studies’ embrace of the “new” and their continuing focus on new media forms, practices, and technologies is not itself anything new. The new has a history and is, in fact, a historically specific category. All media were once new, the new regularly remediates the old, and because the “new” is a product and effect of industrial modernity, there has never been a time when we were not confronted with new media and new technologies. The fact of the history of both new media and its study, therefore, is worth revisiting so that we may be more reflective and skeptical in approaching the latest, newest media things. The implications of unreflective emphasis on the new are only becoming more urgent and the potential for dire consequences increasingly apparent.

scholarly journals The Virus Covid-19 and Dilemmas of Online Technology

2020 ◽  
Vol 1 (2) ◽  
pp. 64-71
Author(s):  
R. Smith
Keyword(s):  
New Media ◽  
New Technologies ◽  
Human Relations ◽  
Evaluative Inquiry ◽  
Use Of Technology ◽  
The Arts ◽  
Medical Issues ◽  
Political Interests ◽  
Physical Presence ◽  
History Of

Commentary on the COVID-19 pandemic must necessarily consider the medical issues in social and political context. This paper discusses one important dimension of the context, the long-term history of human activity as intrinsically technological in its nature. The pandemic has accelerated the use of technology to mediate relations between people “at a distance”. This involves not only a change in the skills people have (though acquiring these skills has become the central project of work for many people), but changes the sort of person they are. Our notions of “closeness” and “distance”, or of “touching” and “being touched”, and so on, refer simultaneously to states that are spatial and emotional, factual and evaluative. Inquiry into the differences in human relations where there is physical presence and where there is not raises very significant questions. What are the differences and why are they thought, and felt, to matter? What are the differences when the relationship is supposed to be a therapeutic one? What are the financial and political interests at work in enforcing relations at a distance by new media, i.e., “mediated” relations? How is a person’s agency affected by a lack of freedom to move or a lack of face-to-face contact? What happens to all those human relations for which physical presence was previously the norm, relations such as those performed in the rituals of birth, marriage and death, or in activities like sport and the arts? Can it be said that new technologies involve a “loss of soul”? The present paper seeks to provide a reflective and open-ended framework for asking such questions.

scholarly journals The Impact of Social and Digital Medias on Senegalese Society

2017 ◽  
Vol 5 (2) ◽  
pp. 1
Author(s):  
Ousmane Sall
Keyword(s):  
Social Media ◽  
New Media ◽  
New Technologies ◽  
Text Message ◽  
Oral Communication ◽  
West African ◽  
African Countries ◽  
History Of ◽  
The Impact ◽  
Rich History

West African countries especially Senegal, have a very rich history of written and oral communication based on their culture and traditions. Today, Senegal is inescapable about the adoption and use of new technologies in Africa. Senegal experienced a boom of cell phones users over the past 5 years in 2012 for example, we noticed “88% mobile subscriptions” compared with “46% mobile subscriptions in 2008” {world bank,2013}. That explains mobile phones are no more to make a call or to send a text message but also to interact with people around and entertain. In fact, digital communication is expanding in all Senegalese spheres like the workplace, school, universities... in the latter half of the 20th century before the explosion of social media, people only depended on old media like TV, Radio, Newspapers… to get informed. For this study, we are going to focus on how social media are impacting economically and politically on Senegalese society and how young people are managing the transition between traditional media and new media.

Introduction

Media in Mind ◽  
2019 ◽  
pp. 1-18
Author(s):  
Daniel Reynolds
Keyword(s):  
New Media ◽  
Media Studies ◽  
Significant Influence ◽  
Media Theory ◽  
Contemporary Philosophy ◽  
The World ◽  
History Of ◽  
The Mind

The introduction argues that conceptual discontinuity, or dualism, has had a significant influence on the development of media theory. Many theories have held media and the mind apart from one another and from the world at large. The introduction argues that this is often a result of media theorists importing dualist conceptions of the mind into their approaches to media. It outlines an alternative history of antidualist thought in media studies, from surrealism in the 1920s through contemporary philosophy of new media, but it argues that an antidualist orientation does not always result in nondualism. The introduction suggests that an embodied, extended understanding of the mind will be key for a truly nondualist theory of media. It provides an overview of the remainder of the book, showing how the chapters work together in articulating a new theory of media and mind.

scholarly journals Photo Filter Apps: Understanding Analogue Nostalgia in the New Media Ecology

2014 ◽  
Vol 7 (2) ◽  
Author(s):  
Elena Caoduro
Keyword(s):  
New Media ◽  
Digital Media ◽  
New Technologies ◽  
Digital Evolution ◽  
Media Archaeology ◽  
The Past ◽  
Critical History ◽  
Start Up ◽  
Photo Sharing ◽  
History Of

As digital media have become more pervasive and entrenched in our daily routines, a nostalgic countertrend has increasingly valued the physical and tactile nature of the analogue image. In the past few years, technologically obsolete devices, such as lo-fi cameras and vinyl records, have not faded out of sight completely but are instead experiencing a comeback. At the same time, digital media capitalise on the nostalgia for the analogue and fetishise the retro aesthetics of old technologies. This article explores the emergence of photo filter and effect applications which allow users to modify digital photos, adding signifiers of age such as washed-out colours, scratches and torn borders. It is argued that these new technologies, with programs such as Instagram, Hipstamatic and Camera 360, bring back the illusory physicality of picture-taking through digital skeuomorphism. Drawing on media archaeology practice, this article interrogates the limits of the retro sensibility and the fetishisation of the past in the context of digital media, in particular by focusing on the case study of the start-up Instagram. This photo filter application neither merely stresses the twilight nature of photography nor represents the straightforward digital evolution of previous analogue features. Rather, it responds to the necessity to feel connected to the past by clear and valued signs of age, mimicking a perceived sense of loss. Faced with the persistent hipster culture and the newness of digital media, photo filter apps create comfortable memories, ageing pictures and adding personal value. As such, it will be argued that this phenomenon of nostalgia for analogue photography can be linked to the concepts of ritual and totem. By providing a critical history of Instagram as a photo-sharing social network, this article aims to explain new directions in the rapidly changing system of connective media.

A Media Interpretation of the Negative Impact of Cloud Technologies

2016 ◽  
pp. 403-420
Author(s):  
Michael S. Tang ◽  
Arunprakash T. Karunanithi
Keyword(s):  
Social Media ◽  
New Media ◽  
New Technologies ◽  
Negative Impact ◽  
Communication Technologies ◽  
Marshall Mcluhan ◽  
Media Communication ◽  
Media Technologies ◽  
History Of ◽  
Cloud Technologies

This chapter presents a media studies interpretation of the impact of Cloud communication technologies on traditional academic achievement. According to social media critics following the “medium is the message” theory of Marshall McLuhan, the hidden “message” in the new Cloud communication education technologies conflicts with the old message of the printed textbook, the traditional medium of communication in education since the printing press in the 16th and 17th centuries. The chapter begins with a brief history of media technologies in education to gain understanding into the nature of this conflict and follows with a review of research and studies that document the conflict's cause and consequences with the conclusion that a major factor in the proliferation of any new media communication technology is its commercial value. Moreover, because new technologies in education are driven by commercial interests, its pedagogical value becomes secondary resulting in what social media and other critics view as the dumbing down of the American student. These social media critics contend that not only have American students been declining intellectually, computer technologies, including the Cloud Internet communication technologies are the direct cause of this decline, raising the question, “is education technology an oxymoron?” Given this analysis of media communication technologies' impact on education, the authors then offer a possible way out of the current situation by proposing a more human factors approach towards Cloud technologies based on constructivist educational and cognitive styles theory.

The interaction between technologies and society: Lessons learned from 160 evolutionary years of online news services

First Monday ◽  
2007 ◽  
Author(s):  
An Nguyen
Keyword(s):  
New Media ◽  
New Technologies ◽  
Online Communication ◽  
Evolutionary Process ◽  
Online News ◽  
Lessons Learned ◽  
Web Based ◽  
History Of ◽  
Computer Based ◽  
Definition Of

In mapping the evolutionary process of online news and the socio-cultural factors determining this development, this paper has a dual purpose. First, in reworking the definition of “online communication”, it argues that despite its seemingly sudden emergence in the 1990s, the history of online news started right in the early days of the telegraphs and spread throughout the development of the telephone and the fax machine before becoming computer-based in the 1980s and Web-based in the 1990s. Second, merging macro-perspectives on the dynamic of media evolution by DeFleur and Ball-Rokeach (1989) and Winston (1998), the paper consolidates a critical point for thinking about new media development: that something technically feasible does not always mean that it will be socially accepted and/or demanded. From a producer-centric perspective, the birth and development of pre-Web online news forms have been more or less generated by the traditional media’s sometimes excessive hype about the power of new technologies. However, placing such an emphasis on technological potentials at the expense of their social conditions not only can be misleading but also can be detrimental to the development of new media, including the potential of today’s online news.

scholarly journals Contemporary Art and Politics in Exhibitions by Halil Altindere and Ei Arakawa

2018 ◽  
pp. 113
Author(s):  
Marija Riboškić Jovanović
Keyword(s):  
New Media ◽  
Media Studies ◽  
Contemporary Art ◽  
New Technologies ◽  
Virtual Space ◽  
Art And Politics ◽  
Practical Possibility ◽  
Media Channels ◽  
Technical Construction ◽  
Better Than

The issue of contemporary art in the last three decades and the possibility of developing, acting, replicating, experimenting, storing and reactivating art through new technologies has encouraged theoreticians to re-evaluate the capabilities and capacities of the art itself. I think that only art today analyses how our reality is constructed through media channels. For the analysis, I will use the Berlin Biennale for Contemporary Art 2016 “The Present in Drag”. Today we are living in a world of image implosion. Since the world is rapidly changing with techno-images and virtual space, today art generally has not to explain anything, but it can, with the help of projects and concepts, create its own world and form our presence in it. Nowadays, subjectivity has become a technical construction, and the current myth of the possibility of creating live images through technical reproduction in combination with new media has become both a theoretical and practical possibility. With this work and with several examples from contemporary art I will show that artists who deal with current political problems present the situation better than mainstream global news carriers. Article received: March 24, 2018; Article accepted: April 10, 2018; Published online: September 15, 2018; Preliminary report – Short CommunicationsHow to cite this article: Riboškić Jovanović, Marija. "Contemporary Art and Politics in Exhibitions by Halil Altindere and Ei Arakawa." AM Journal of Art and Media Studies 16 (2018): 113−122. doi: 10.25038/am.v0i16.258

scholarly journals Screening Piety, Invoking Fervour: The Strange Case of Italy's Televised Mass

2014 ◽  
Vol 3 (1) ◽  
pp. 56-83
Author(s):  
Davide Zordan
Keyword(s):  
Media Studies ◽  
Television Studies ◽  
Ritual Action ◽  
Interdisciplinary Perspective ◽  
Television Broadcasting ◽  
Religion And Media ◽  
History Of ◽  
The Common

This paper discusses the television broadcasting of Catholic Masses in Italy today from an interdisciplinary perspective that integrates theology with religion and media studies as well as television studies. After a brief overview of the history of television broadcasting of the Mass and a discussion of its rapid theological acceptance, the paper analyzes the unique success and “proliferation” of televised Masses in Italy. Looking at some of the common characteristics of televised Masses across Italian broadcasting channels, the paper concludes with a reflection on the specificity of (televised) Mass as a ritual action.

Misreading Egypt

2018 ◽  
Author(s):  
Jesse Schotter
Keyword(s):  
New Media ◽  
Narrative Form ◽  
Experimental Film ◽  
Tower Of Babel ◽  
Avant Garde ◽  
Sergei Eisenstein ◽  
History Of ◽  
The One ◽  
The Relationship ◽  
Modern Technologies

The first chapter of Hieroglyphic Modernisms exposes the complex history of Western misconceptions of Egyptian writing from antiquity to the present. Hieroglyphs bridge the gap between modern technologies and the ancient past, looking forward to the rise of new media and backward to the dispersal of languages in the mythical moment of the Tower of Babel. The contradictory ways in which hieroglyphs were interpreted in the West come to shape the differing ways that modernist writers and filmmakers understood the relationship between writing, film, and other new media. On the one hand, poets like Ezra Pound and film theorists like Vachel Lindsay and Sergei Eisenstein use the visual languages of China and of Egypt as a more primal or direct alternative to written words. But Freud, Proust, and the later Eisenstein conversely emphasize the phonetic qualities of Egyptian writing, its similarity to alphabetical scripts. The chapter concludes by arguing that even avant-garde invocations of hieroglyphics depend on narrative form through an examination of Hollis Frampton’s experimental film Zorns Lemma.

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