scholarly journals Adolescents of the 1960s and 1970s: An Italian-Portuguese comparison between two generations of audiences

2012 ◽  
Vol 6 (2) ◽  
Author(s):  
Piermarco Aroldi ◽  
Cristina Ponte
Keyword(s):  
New Media ◽  
Life Story ◽  
Structural Constraints ◽  
Collective Identities ◽  
International Media ◽  
Media Technologies ◽  
Two Generations ◽  
1960S And 1970S ◽  
Media Systems ◽  
The 1960S

This article explores how far the media technologies, contents and habits experienced in the years of youth contribute to the shaping of collective identities, which are shared by all the members of a generation. On the basis of two sets of empirical research developed in Italy and Portugal according to a life-story approach, it compares the self accounts and media memories of two generations of audiences living their youth in the 1950’s, 1960’s and 1970s. The relevance of national and international media systems as a part of the “structure of opportunity” that contributes to the forming of generational identities was identified as framed by other structural constraints on political, socioeconomic, educational and cultural levels. In each country, attitudes toward technological innovation and media domestication lived in their years of youth also affected the first contact of people belonging to these generations with ICTs and new media in the 1980s and 1990s.

scholarly journals Photographing Fingerprints: Data Collection and State Surveillance

2002 ◽  
Vol 3 (1) ◽  
Author(s):  
Jonathan Finn
Keyword(s):  
Law Enforcement ◽  
Data Collection ◽  
New Media ◽  
The State ◽  
Visual Surveillance ◽  
Fingerprint Identification ◽  
Media Technologies ◽  
State Surveillance ◽  
1960S And 1970S ◽  
The 1960S

This paper examines fingerprint identification as a mode of state surveillance. Drawing on but critiquing the work of Simon Cole, it argues that the technique yielded a greater, more pervasive form of state surveillance by giving rise to new practices of data collection. This paper also highlights the photograph's role in fingerprint identification to argue for an essential transformation in law enforcement and surveillance practices announced by the intersection of fingerprinting and photography at the turn of the twentieth century. In contrast to traditional forms of visual surveillance, the collaboration of fingerprint identification and photography extended the surveillance gaze of the state in a manner often attributed to the rise of CCTV, enabling the state to bring all bodies – criminal and non-criminal alike – under surveillance. However, the unique capabilities afforded to the state through the intersection of fingerprint identification and photography remained largely theoretical until the advent of digital technologies in the 1960s and 1970s. At the start of the twenty-first century, advanced visual technologies and new media technologies reflect a restructuring of law enforcement and surveillance practices based on the aggregate collection of identification data. This paper argues that the continued photographing of fingerprints in contemporary law enforcement and state initiatives constitute heightened state surveillance and, as such, demands serious critical attention.

scholarly journals Välfärden, samhällskritiken och medierna

2020 ◽  
Vol 26 (3-4) ◽  
Author(s):  
Lundälv Jörgen
Keyword(s):  
Social Work ◽  
Social Policy ◽  
New Media ◽  
Social Workers ◽  
Social Services ◽  
National Board ◽  
International Media ◽  
Media System ◽  
The Media ◽  
Media Systems

Welfare, critique and the media – social workers’ voices in podcasts in social policy and social workSocial workers and social policy researchers can engage in social work and critical social policy, in traditional media and in the new media. In recent years, the social media have been increasing in both the international media systems and in the media system in Sweden. One channel for social workers to use to be able to make their voice heard in society is to participate, debate and discuss social policy in podcasts. In 2016, the Union for Professionals, Akademikerförbundet SSR, developed ”Social Services Podcasts”. At the same time the National Board of Health and Welfare introduce a new podcast on social services and health care that is called ”Podcast in the Deep”. This article examines voices and themes in social policy and social work in a total of 112 programmes in two podcasts: ”Socialtjänstpodden” and ”In Depth” during the years 2016–2019. There are several challenges for the storytelling tradition and social criticism in social policy and social work in podcasts, which is highlighted in this article.

Illusions of Empowerment

2012 ◽  
Vol 2 (1) ◽  
pp. 36-51 ◽  
Author(s):  
Corinne Weisgerber
Keyword(s):  
Social Media ◽  
New Media ◽  
The Public ◽  
Media Technologies ◽  
Digital Democracy ◽  
Internet Users ◽  
Attention Economy ◽  
The Social ◽  
Social Media Platforms ◽  
Media Systems

This article calls into question the social media empowerment narrative and the underlying idea that social media platforms are empowering everyday netizens to have their voices heard. The author argues that social media technologies may simply privilege only those Internet users who are new media savvy and have leisure time to participate in the so-called digital democracy. While social media systems might have lowered the entrance threshold for civic engagement, hurdles such as the growing competition in an attention economy, the odds of standing out amidst millions of other individual voices, knowledge of new media technologies required to achieve visibility, and time demands make the social media empowerment vision more difficult to attain than the architects of the empowerment ideology have made the public to believe.

scholarly journals Marcel Duchamp and New Zealand Art, 1965 – 2007 By Means of Duchamp’s Peripheral Vision: Case Studies in a History of Reception

2021 ◽  
Author(s):  
◽  
Marcus T. G. Moore
Keyword(s):  
New Zealand ◽  
Peripheral Vision ◽  
Life Story ◽  
Special Importance ◽  
Master Narrative ◽  
Global Culture ◽  
Marcel Duchamp ◽  
International Trends ◽  
1960S And 1970S ◽  
The 1960S

<p><b>This thesis examines the reception to Marcel Duchamp in New Zealand from 1965 to 2007. It takes as its subject two exceptional occasions when Duchamp’s work arrived in New Zealand and the various ways in which select New Zealand artists have responded to his work since that date. In doing so, this thesis acknowledges the shifting ideologies that underpin the reception of Duchamp which are characteristic of each decade. Thus it reads Duchamp’s reception through the conceptual and ‘linguistic turn’ in post-formalist practices in the late 1960s and 1970s; the neo-avantgarde strategies of the late 1970s and 1980s; a third-wave response to the readymade in the 1990s − which leads to an expanded notion of art as installation practice in the mid- to late 1990s. Finally, it offers a take on the readymade paradigm after post-modernism, as seen in a return to artisanal craft.</b></p> <p>This historical account of artistic practice in New Zealand is woven around two remarkable events that entailed Duchamp’s works actually coming to New Zealand, which I reconstruct for the first time. These are: Marcel Duchamp 78 Works: The Mary Sisler Collection (1904–1963), the exhibition that toured Auckland, Wellington and Christchurch in 1967; and the bequest of Judge Julius Isaacs and Betty Isaacs to the National Art Gallery in 1982 which included three works by Duchamp. The first took place in the 1960s during the first wave of exhibitions that brought Duchamp to a global audience. Here I argue that, rather than a belated response, this was contemporaneous with other events, proving that New Zealand was an active participant in the initial global reception of Duchamp. The second concerns the process by which Duchamp’s works entered a public collection. Here, I offer an account that reveals the uniqueness of Duchamp’s gifting of artworks to friends, and argues for the special importance of this gift, given the scarcity of Duchamp’s work, due to his limited output.</p> <p>This thesis also reads Duchamp through the lens provided by New Zealand’s situation on the periphery. Thus it offers an analysis of Duchamp’s life and work that, while acknowledging his centrality in twentieth-century art, takes from his example those components of his practice deemed relevant to the situation of art and artists here in New Zealand. By this means I locate those elements of Duchamp’s life story, his work and legacy that tell us something new about how to diffuse the power of the centre. Drawing on the consequences of the processes of decentralisation that have reshaped the landscape of global culture, this account reveals new relationships between margin and centre that provide new ways to connect Duchamp with subsequent generations of New Zealand artists. The aim here is to defy the assumed separation of New Zealand from international trends, rethink our subservient ties to England, to offer a new version of a local art history that knits our artists into a global mainstream without rendering them beholden to a master narrative that derives from elsewhere.</p>

Lost Archives, Lost Lands: Rereading New Mexico’s Imagined Environments

2020 ◽  
Vol 92 (2) ◽  
pp. 309-341
Author(s):  
Carlos Alonso Nugent
Keyword(s):  
Cultural Traditions ◽  
Environmental Writing ◽  
The Us ◽  
Two Generations ◽  
1960S And 1970S ◽  
The 1960S ◽  
The Way

Abstract This article describes how Nuevomexicanas/os have used texts, images, and other media to reclaim the lands they lost in the US-Mexico War. Along the way, it models a method for reading “imagined environments”—the frameworks through which human groups have represented, related to, and resided in their more-than-human worlds. This article focuses on two generations of writer-activists. In the 1930s, 1940s, and 1950s, Adelina Otero-Warren and Fabiola Cabeza de Baca situated themselves in the Precarious Desert, an imagined environment of constraints, contingencies, and struggles for survival. Then, in the 1960s and 1970s, the Alianza Federal de Mercedes revived the Pueblo Olvidado, an imagined environment saturated with laws, treaties, and cultural traditions. Despite many differences, both generations shared a desire to settle on and profit from Native lands. But though they never became environmentalists, they experimented with environmental writing and politics. By recovering these experiments, this article shows how media produce—rather than simply portray—lands and waters. Ultimately it tells the story of the borderlands as a series of struggles over what environments are, whom they can contain, and how they should be used.

scholarly journals Marcel Duchamp and New Zealand Art, 1965 – 2007 By Means of Duchamp’s Peripheral Vision: Case Studies in a History of Reception

2021 ◽  
Author(s):  
◽  
Marcus T. G. Moore
Keyword(s):  
New Zealand ◽  
Peripheral Vision ◽  
Life Story ◽  
Special Importance ◽  
Master Narrative ◽  
Global Culture ◽  
Marcel Duchamp ◽  
International Trends ◽  
1960S And 1970S ◽  
The 1960S

<p><b>This thesis examines the reception to Marcel Duchamp in New Zealand from 1965 to 2007. It takes as its subject two exceptional occasions when Duchamp’s work arrived in New Zealand and the various ways in which select New Zealand artists have responded to his work since that date. In doing so, this thesis acknowledges the shifting ideologies that underpin the reception of Duchamp which are characteristic of each decade. Thus it reads Duchamp’s reception through the conceptual and ‘linguistic turn’ in post-formalist practices in the late 1960s and 1970s; the neo-avantgarde strategies of the late 1970s and 1980s; a third-wave response to the readymade in the 1990s − which leads to an expanded notion of art as installation practice in the mid- to late 1990s. Finally, it offers a take on the readymade paradigm after post-modernism, as seen in a return to artisanal craft.</b></p> <p>This historical account of artistic practice in New Zealand is woven around two remarkable events that entailed Duchamp’s works actually coming to New Zealand, which I reconstruct for the first time. These are: Marcel Duchamp 78 Works: The Mary Sisler Collection (1904–1963), the exhibition that toured Auckland, Wellington and Christchurch in 1967; and the bequest of Judge Julius Isaacs and Betty Isaacs to the National Art Gallery in 1982 which included three works by Duchamp. The first took place in the 1960s during the first wave of exhibitions that brought Duchamp to a global audience. Here I argue that, rather than a belated response, this was contemporaneous with other events, proving that New Zealand was an active participant in the initial global reception of Duchamp. The second concerns the process by which Duchamp’s works entered a public collection. Here, I offer an account that reveals the uniqueness of Duchamp’s gifting of artworks to friends, and argues for the special importance of this gift, given the scarcity of Duchamp’s work, due to his limited output.</p> <p>This thesis also reads Duchamp through the lens provided by New Zealand’s situation on the periphery. Thus it offers an analysis of Duchamp’s life and work that, while acknowledging his centrality in twentieth-century art, takes from his example those components of his practice deemed relevant to the situation of art and artists here in New Zealand. By this means I locate those elements of Duchamp’s life story, his work and legacy that tell us something new about how to diffuse the power of the centre. Drawing on the consequences of the processes of decentralisation that have reshaped the landscape of global culture, this account reveals new relationships between margin and centre that provide new ways to connect Duchamp with subsequent generations of New Zealand artists. The aim here is to defy the assumed separation of New Zealand from international trends, rethink our subservient ties to England, to offer a new version of a local art history that knits our artists into a global mainstream without rendering them beholden to a master narrative that derives from elsewhere.</p>

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