scholarly journals Education, Media and the End of the Book: Some Remarks from Media Theory

2014 ◽  
Vol 24 (Educational Media Ecologies) ◽  
pp. 183-196
Author(s):  
Rainer Leschke ◽  
Norm Friesen
Keyword(s):  
Media Studies ◽  
Vantage Point ◽  
Media Theory ◽  
The Core ◽  
Material Characteristics ◽  
Music Film ◽  
Film Text

This paper sketches out an understanding of contemporary educational forms and practices from a vantage point afforded by recent German media studies. In so doing, it introduces a number of concepts from continental media theory. With the book – both as an artifact and an epistemic metaphor – in evident decline, what is taking its place is not any one new medium, but rather a radically new kind of media systematicity. By relentlessly reducing all content (e. g., music, film, text) to ones and zeros, digitization effectively erases the material characteristics of separate media forms, leaving behind only their conventionalized aesthetic qualities and forms. The paper builds on these arguments by concluding that the symbolic competencies which once constituted the core of all education (reading, writing, ‘rithmatic) are increasingly at odds with performative and stylistic abilities integral to this new mediatic order.

scholarly journals The Immense House of Postcards

1970 ◽  
Vol 21 (1) ◽  
pp. 43-71
Author(s):  
Hanoch Ben-Pazi
Keyword(s):  
Jacques Derrida ◽  
Emmanuel Levinas ◽  
Vantage Point ◽  
Cultural Significance ◽  
Ethical Thought ◽  
Religious Traditions ◽  
The Core ◽  
Textual Tradition ◽  
The Subject ◽  
Way Of Thinking

The subject of tradition engaged both Emmanuel Lévinas and Jacques Derrida in many of their writings, which explore both the philosophical and cultural significance of tradition and the particular significance of the latter in a specifically Jewish context. Lévinas devoted a few of his Talmudic essays to the subject, and Derrida addressed the issue from the perspective of different philosophical and religious traditions. This article uses the writings of these two thinkers to propose a new way of thinking about the idea of tradition. At the core of its inquiry lie the paradigm of the letter and the use of this metaphor as a means of describing the concept of tradition. Using the phenomenon of the letter as a vantage point for considering tradition raises important points of discussion, due to both the letter’s nature as a text that is sent and the manifest and hidden elements it contains. The focus of this essay is the phenomenon of textual tradition, which encompasses different traditions of reading and interpreting texts and a grasp of the horizon of understanding opened up in relation to the text through its many different interpretations. The attention paid here to the actions of individuals serves to highlight the importance of the interpersonal realm and of ethical thought.

scholarly journals How to Produce Novelty? Creating, Borrowing, Modifying, Repeating And Forgetting: The Process of Contemporary Fashion Aesthetics

2019 ◽  
pp. 101
Author(s):  
Ruhan Liao
Keyword(s):  
Media Studies ◽  
Early Stage ◽  
Cycle Duration ◽  
Subjective Experiences ◽  
The Core ◽  
Logical Sequence ◽  
The Future

The aesthetics of fashion can be regarded as the aesthetics of novelty since constant changes make novelty the core of fashion. Based on Colin Campbell’s theory, novelty is a judgment about our subjective experiences, indicating something we never experienced before. In the early stage of the fashion system, designers led fashion trends by creating brand-new items or borrowing foreign elements. Then, as the pace of fashion circulation increased, designers started to produce novelty by modifying details, or by repeating what was in fashion long before. Hence, fashion became cyclical. And the cycle duration would become shorter and shorter as the repetition sped up. At this stage, novelty is not based on whether the item is brand-new, but whether we still remember it. In the future, maybe the repeating of the old cannot maintain the feeling of novelty any more since the pace of fashion change is too quick to give enough time for the new to become old and forgotten. At that time, the novelty will not be based on whether we still remember it, but whether we want to forget it. Therefore, with the acceleration of fashion change, the method of how fashion produces novelty has gone through a logical sequence as follows: creating something brand-new, borrowing foreign elements, modifying details, repeating the forgotten old, and forgetting what is still new. Novelty has gone through a process from ‘externally determined’ to ‘internally determined’, moving to the direction of ‘self-deception determined’. Article received: April 20, 2019; Article accepted: June 15, 2019; Published online: September 15, 2019; Original scholarly paperHow to cite this article: Ruhan, Liao. "How to Produce Novelty? Creating, Borrowing, Modifying, Repeating And Forgetting: The Process of Contemporary Fashion Aesthetics." AM Journal of Art and Media Studies 19 (2019): 101-107. doi: 10.25038/am.v0i19.310

Introduction: travelling images

2018 ◽  
pp. 1-24
Author(s):  
Anna Dahlgren
Keyword(s):  
Media Studies ◽  
Art World ◽  
Media Archaeology ◽  
The Core ◽  
Core Concepts

The introduction expands on the rationale, aim and layout of the book. It also the develops the core concepts of the book, such as image, art world, borderlands, and image ecology. The notion ‘art world’ emphasizes that the distinctions between art and non-art are constructed by diverse agents and institutions. Moreover the term ‘borderlands’ is used to defy the idea that there is a definite demarcation or border between what is ‘inside’ and ‘outside’ of the art world. The term image ecology serves as a metaphor for a desire to understand the interrelationships of things such as the nature of change, adaption and community and as a way to locate how and why images operate in certain ‘environments’ or systems of meaning. Finally the introduction posits the book in the long tradition of image studies and also in recent development within media studies, particularly studies on mediatization and media archaeology.

The End of Media

2017 ◽  
pp. 20-37 ◽  
Author(s):  
Andréa Belliger ◽  
David John Krieger
Keyword(s):  
New Media ◽  
General Theory ◽  
Media Studies ◽  
Network Theory ◽  
Actor Network Theory ◽  
Media Theory ◽  
Network Society ◽  
Media Production ◽  
Media Convergence ◽  
Actor Network

In the network society and the age of media convergence, media production can no longer be isolated into channels, formats, technologies, and organizations. Media Studies is facing the challenge to reconceptualize its foundations. It could therefore be claimed that new media are the last media. In the case of digital versus analog, there is no continuity between new media and old media. A new and promising proposal has come from German scholars who attempt the precarious balance between media theory and a general theory of mediation based on Actor-Network Theory. Under the title of Actor-Media Theory (Akteur-Medien-Theorie) these thinkers attempt to reformulate the program of Media Studies beyond assumptions of social or technical determinism. Replacing Actor-Network Theory with Actor-Media Theory raises the question of whether exchanging the concept of “network” for the concept of “media” is methodologically and theoretically advantageous.

scholarly journals “Binge-Watching”: The New Way of Watching TV Series

2018 ◽  
pp. 15
Author(s):  
Srđan Krstić
Keyword(s):  
Social Networks ◽  
Media Studies ◽  
Media Theory ◽  
Television Series ◽  
Research Article ◽  
Central Hypothesis ◽  
Tv Shows ◽  
Watching Tv ◽  
Tv Show

In this paper I deal with the concept of the binge-watching of television series episodes. The word binge means a period of excessive indulgence in an activity. Particularly, in terms of media theory, it becomes synonymous with obsessive, marathon watching of TV shows and movies through streaming television. The central hypothesis is that binge-watching goes beyond what has for previous decades been considered a generally accepted way of watching TV content. In order to better understand this notion, it is also necessary to explain the importance of non-linear television and its distinction in relation to ‘traditional’ or linear television. I will pay special attention to social networks as an indispensable factor that completes the binge-watching experience. Social networks are also involved in the peripheral specifics of binge-watching that lead to the emergence of new occupations, which are in direct correlation with the desire of viewers to be informed about their favorite TV content. I also performed a case study of the TV show Pretty Little Liars (PLL). This show had strong effect on connecting creators with viewers through social networks. As a relatively new phenomenon, binge-watching has the potential to soon become an interesting subject of research. Article received: March 27, 2018; Article accepted: May 10, 2018; Published online: October 15, 2018; Original scholarly paperHow to cite this article: Krstić, Srđan. "'Binge-Watching': The New Way of Watching TV Series." AM Journal of Art and Media Studies 17 (2018): 15−23. doi: 10.25038/am.v0i17.266 

scholarly journals Punk as a Strategy for Body Politicization in the Ljubljana Alternative Scene of the 1980s

2017 ◽  
pp. 145
Author(s):  
Jasmina Založnik
Keyword(s):  
Media Studies ◽  
Continuous Process ◽  
The Body ◽  
National Narrative ◽  
The Core ◽  
The Past ◽  
Political Position ◽  
Sex And Sexuality ◽  
The Government ◽  
Additional Reason

The paper focuses on the notion of punk understood as a political position and as a strategy by the actors of the Ljubljana alternative scene in the 1980s. With exposing the minor, invisible and hidden subjectivities the actors and agents of the scene created a ground for experimentation with subjectivities, but also for shaking the Yugoslav Grand National narrative of ‘brotherhood and unity’.I am emphasizing mainly the notion of the body with and through the code of sex and sexuality, being still a base and the core investment of the government. No matter that the discourse has been radically changed, the procedures and protocols of power investments in their core have not. This is an additional reason and a need to recall the past and tackle the bodies that have appeared as unwanted, as ‘not right and not quiet’ identities in the past in order to evaluate and compare the position of the marginalized and suppressed today. Additionally, I am claiming that only with creating different genealogies can we fight against growing ‘intellectual redundancy’ and the continuous process of erasure of the subjectivities, which we are confronting today. Article received: June 2, 2017; Article accepted: June 12, 2017; Published online: October 15, 2017; Original scholarly paperHow to cite this article: Založnik, Jasmina. "Punk as a Strategy for Body Politicization in the Ljubljana Alternative Scene of the 1980s." AM Journal of Art and Media Studies 14 (2017): 145-156. doi: 10.25038/am.v0i14.217

scholarly journals Deconstruction and the Archival Revolution: on the Relevance and Reception of Archive Fever in New Media Studies

2021 ◽  
pp. 61-76
Author(s):  
Zvonimir Glavaš
Keyword(s):  
New Media ◽  
Media Studies ◽  
Media Theory ◽  
Academic Field ◽  
Contemporary Media ◽  
New Media Studies ◽  
The One

The paper focuses on the reception of Derrida’s Archive Fever among (new) media theorists and its relevance for the ongoing discussions in that academic field. Although this Derrida’s text is often described as the one in which he provides a statement on the pervasive revolutionary impact of new media, its reception among media theorists remains scarce. Several media scholars that tackle the text, however, have an ambivalent stance on it: they appreciate some of Derrida’s theses, but regard them largely obsolete. The first part of the paper analyzes these critiques and argues that many of the objections on Derrida’s behalf are caused by the misinterpretation of important features of the deconstructive thought. In its second part, the paper firstly deals with certain weaker points of Derrida’s reflection and then proceeds to examine his insights pertinent to the problems of contemporary media theory that were neglected in earlier reception. Finally, paper reaffirms the claim about the need for a more profound exchange between the deconstruction and media studies, albeit one that would avoid the examined shortcomings.

This is How We Dance Now!

2018 ◽  
Author(s):  
Pallabi Chakravorty
Keyword(s):  
Visual Culture ◽  
Media Studies ◽  
Postcolonial Theory ◽  
Vantage Point ◽  
Dance Studies ◽  
Dance Pedagogy ◽  
Deep Wells ◽  
Indian Dance ◽  
Bodily Knowledge ◽  
New Generation

How is cosmopolitan modernity performed in a liberalizing India? From the spectacular celebrity culture of dance television reality shows and Bollywood films to dance-making in the movie and TV studios, dance halls, rehearsals, and auditions in obscure corners of Mumbai and Kolkata, this book explores the voices, aspirations, and dance practices of a new generation of dancers and choreographers. As the old system of dance pedagogy is broken down by the growth of media, migration, and a deepening democracy, the concept of ‘remix’ has replaced it. It explains, in a word, both the new practices of bodily knowledge transmission and the new aesthetics of Indian dance. This book situates Bollywood dance and dance reality shows at the centre of the changing visual culture in India, and illuminates new and original intersections of ideas from the fields of anthropology, dance studies, philosophy, media studies, gender studies, and postcolonial theory. It tells the story of the transformation of Indian dance by drawing from the deep wells of theories from these fields, but also from the vantage point of intimate ethnographic eyes.

Is There a Common Epistemological Ground of Actor-Network Theory and Media Aesthetics?

2014 ◽  
Vol 6 (4) ◽  
pp. 56-65
Author(s):  
Veronika Pöhnl
Keyword(s):  
Media Studies ◽  
Network Theory ◽  
Scientific Research ◽  
Actor Network Theory ◽  
Media Theory ◽  
Actor Network ◽  
Similarities And Differences

Based on the increased interest in ANT in Media Studies, this paper discusses similarities and differences in the epistemological premises of ANT and German Media Studies, and in particular, Media Aesthetics. Proceeding from well received ANT investigations on the transformational processes of scientific research and the discussion of their importance and suitability for media aesthetic approaches, basic operations and metaphors of the ANT are identified and questioned. By juxtaposing the epistemological premises of ANT and those of techno-philosophically informed approaches of media theory, profound resemblances as well as fundamental differences are outlined.

Debatte: Medienwissenschaft ohne Medien | Medienwissenschaft ohne Medien? vs. Postmedial

2020 ◽  
Vol 11 (2020) ◽  
Author(s):  
Claus Pias ◽  
Katrin Peters
Keyword(s):  
Media Studies ◽  
Digital Humanities ◽  
A Priori ◽  
Affect Theory ◽  
Media Theory ◽  
Time Semantics ◽  
The Media ◽  
Post Colonialism ◽  
The Impact

Der Beitrag von Claus Pias geht von zwei Beobachtungen aus: einem Zurücktreten des Medienbegriffs innerhalb medienwissenschaftlicher Forschung und eines Desinteresses sogenannter ›Digitalisierung‹ ihr gegenüber. Er untersucht, inwiefern Medientheorie (von McLuhan und Kittler bis zu den sogenannten Digital Humanities) durch einen starken Medienbegriff an der Herausbildung von Zeitsemantiken und Narrativen von ›Digitalisierung‹ beteiligt war und von ihnen profitiert hat. Als Konsequenz fordert Pias zu medienwissenschaftlicher Grundlagenforschung auf, die mit einer strategischen Revision und Aktualisierung von ›Medien‹ als Begriff und Gegenstand einhergeht. Der Beitrag von Kathrin Peters stimmt mit dieser Lagebeschreibung nur teilweise überein. Die Skepsis gegenüber den Zukunfts- und Dringlichkeitsrhetoriken gegenwärtiger Digitalisierungsoffensiven wird von ihr geteilt, dass allerdings vor allem eine Medienwissenschaft des ›medientechnischen a priori‹ eine Antwort auf den gegenwarts- und an- wendungsfixierten Digitalisierungsdiskurs liefern könnte, erscheint Peters als zu kurz gegriffen. Andere medienwissenschaftliche Ausrichtungen sind dazu ebenso in der Lage: medienwissenschaftliche Analysen zu Kolonialität und Postkolonialität, feministische, gen- der- und queertheoretische Fragestellungen, eine medienwissenschaftlich informiert Wissenschaftsforschung und Affekttheorie – um nur einige zu nennen. Es geht um Konzepte von Medienwissenschaft als Fragestellung, die ihre Gegenstände in den verschiedensten Bereichen hervorbringen, dabei aber zugleich als Mittel und Mittler immer wieder unsichtbar werden. Debate: Media Studies without Media Claus Pias’ article starts out from two points of observation: a recession of the term media within the field of media studies and a dis- interest of the so-called digitalization in this particular term. Pias examines the impact media theory (ranging from McLuhan and Kittler to the so-called Digital Humanities) had on the development of time semantics and the narratives of ›digitalization‹ due to the use of a strong media term, and how media theory profited from it. mAs a result, Pias calls for establishing basis research in media studies, going hand in hand with a strategic revision and update of media, as a term as well as a subject. In her article, Kathrin Peters only partially agrees with this evaluation. She shares the scepticism concerning future-rhetoric as well as priority-rhetoric, both featuring heavily in current digital offensives; however, in her opinion it is not enough to hope for answers on today’s digitalization-discourse from media studies hailing the media-technical a priori. There are other approaches in media studies which are able to offer these answers: analysis of colonialism and post-colonialism, feministic, gender- and queer-theoretical questions, a media-informed science of knowledge and affect theory, just to name a few of them. It is all about concepts of media science being perceived as problems which bring forth their own subjects in various areas of research, yet as a tool as well as an intermediary, they are frequently overlooked.

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