Elevators as media objects manipulating information in time

We investigate elevators as media. Our central argument is that elevators manipulate information in time. Time manipulation of elevators (movement data + genetic algorithms) produces temporal order. Elevators have become media objects because they produce data that are digitally manipulated to optimize movement. We conducted an empirical study in a multinational corporation that manufactures elevators, including 4 months of field research at multiple locations and interviewed 64 people. We show how time manipulation changes with the information architecture: first, time manipulation took place inside and during the movement of elevators by pushing the buttons. Second, time manipulation took place in the cloud by statistical mathematics. The latest development is toward decentralized social application where elevators as independent media objects manipulate time using genetic algorithms and communicate with each other. We reveal how largely hidden media affects our temporality and argue that media theory should study its implications in contemporary society.

The Typographic Imagination: Reading and Writing in Japan’s Age of Modern Print Media

A tension runs through Nathan Shockey’s well-researched book of essays on the topic of the medial transition to print culture; it is this: does the value of print material lie within its semantic content or within its market value? Although at several points the book refers to this as a dialectic as though each side of the tension were in equal balance, ultimately Shockey is more concerned with the latter notion of books and print as media objects in the world rather than as conveyors of meaning. This is evidenced by the preponderance of instances in which he highlights that reading does not matter and where writing (in the sense of the noun not the gerund) does or simply is matter.

The Loss of the Popular: Reconstructing Fifty Years of Studying Popular Culture

This article starts from the observation that popular culture resides in a contradictory space. On the one hand it seems to be thriving, in that the range of media objects that were previously studied under the rubric of popular culture has certainly expanded. Yet, cultural studies scholars rarely study these media objects <em>as</em> popular culture. Instead, concerns about immaterial labor, about the manipulation of voting behavior and public opinion, about filter bubbles and societal polarization, and about populist authoritarianism, determine the dominant frames with which the contemporary media environment is approached. This article aims to trace how this change has come to pass over the last 50 years. It argues that changes in the media environment are important, but also that cultural studies as an institutionalizing interdisciplinary project has changed. It identifies “the moment of popular culture” as a relatively short-lived but epoch-defining moment in cultural studies. This moment was subsequently displaced by a set of related yet different theoretical problematics that gradually moved the study of popular culture away from the popular. These displacements are: the hollowing out of the notion of the popular, as signaled early on by Meaghan Morris’ article “The Banality of Cultural Studies” in 1988; the institutionalization of cultural studies; the rise of the governmentality approach and a growing engagement with affect theory.

Media Screens and Media Facades in the Space of Russian Cities: Problems of Integration into the Urban Environment

The paper presents the results of the study of architectural media objects as a new phenomenon in the urban environment. The relevance of the study is associated with an ever-increasing number of both media architecture objects in a modern city, and the emerging problems of their integration into the current context from the point of view of architecture and socio-cultural values of society. Based on the analysis of media facades and media screens both in Moscow and St. Petersburg, and in a number of large Russian cities, their characteristics were determined, which made it possible to propose a classification by size and functional content. As a result, a classification by size and functional content was developed. The authors identified the problems of integrating media objects in the urban space and the main methods of urban planning placement of media screens and media facades.

Media-as-things: The Intensified Materiality of Degenerated Images

This paper adopts an art-based research model to investigate how media objects, as entangled material agencies, can become co-creators with artists and condition the viewers' memory and imagination. My work Recycled Series among other artists’ work are the subjects of this analysis. All these works involve images that are degenerated with a copy machine. The degenerated images lose coherence and become forms of ruins that the copier builds. Drawing from theories of things (Brown; Harman; Shaviro), I examine these works as the examples of “media-as-things” to show when media is misused, the potential of media is revealed. I place these works in the context of “broken-tech art” (Boym) and “haptic visuality” (Marks). I argue that these images determine a different object-subject relationship for their audience and their “thingness,” which is intensified through degeneration effects, becomes a major factor in their aesthetic reception.

Digital Human Sciences: New Objects – New Approaches

The ongoing digitization of culture and society and the ongoing production of new digital objects in culture and society require new ways of investigation, new theoretical avenues, and new multidisciplinary frameworks. In order to meet these requirements, this collection of eleven studies digs into questions concerning, for example: the epistemology of data produced and shared on social media platforms; the need of new legal concepts that regulate the increasing use of artificial intelligence in society; and the need of combinatory methods to research new media objects such as podcasts, web art, and online journals in relation to their historical, social, institutional, and political effects and contexts. The studies in this book introduce the new research field “digital human sciences,” which include the humanities, the social sciences, and law. From their different disciplinary outlooks, the authors share the aim of discussing and developing methods and approaches for investigating digital society, digital culture, and digital media objects.

Media forensics on social media platforms: a survey

The dependability of visual information on the web and the authenticity of digital media appearing virally in social media platforms has been raising unprecedented concerns. As a result, in the last years the multimedia forensics research community pursued the ambition to scale the forensic analysis to real-world web-based open systems. This survey aims at describing the work done so far on the analysis of shared data, covering three main aspects: forensics techniques performing source identification and integrity verification on media uploaded on social networks, platform provenance analysis allowing to identify sharing platforms, and multimedia verification algorithms assessing the credibility of media objects in relation to its associated textual information. The achieved results are highlighted together with current open issues and research challenges to be addressed in order to advance the field in the next future.

A Broken Mirror Held to History’s Face On the Narrative Use of Computer Screens, Multi Screen Experiences, and a Transmedia Theoretical Console in the Popular Assassin’s Creed Series

This paper presents media theorist Nanna Verhoeff’s concept of the theoretical console, as a popular and overt form of transmedia narrative. The theoretical console is taken to be a transmedia assemblage that draws attention to itself, as comprising diverse and meaningful media objects, that can be connected in a shared narrative. My main examples of this concept here are those popular video games that spatially juxtapose several types of computer screens and computer uses, with a narrative emphasis. With extensive references to theory on screened media and on transmedia narratives, Assassin’s Creed IV: Black Flag is my main example case study. Specifically, this game and its series peers encourage historiographic contemplations, by assembling a theoretical console across several media forms. Other popular video games from that series provide variations of this same transmedia constellation, this “theoretical console”. In its transmedia constellation, with a second screen mobile phone app, and other complementary screen media, the fictionalized history of Assassin’s Creed IV: Black Flag implicates elements from its actual reality, across various forms of engagement. Assassin’s Creed IV: Black Flag presents a high fidelity historical fiction, to be comprehensively enacted. It mirrors the player’s use of differing computer screens diegetically within playable frame story sections. In addition, the complementary affordances of the mobile phone app, and integrated social media websites, all encourage its player to stay involved in this fictional world, even outside immediate play. With this, the game draws many activities into a single transmedial fiction constellation. Moreover, the game diegetically references online repositories for both its fictionalized history, and actual history. This use of computer screens, to form a transmedia constellation in the form of an overt theoretical console, is shown to complement this popular game’s hypermediative narrative of a fictional shadow war secretly driving actual human history, which then meaningfully posits how to theorize history in our everyday lives.

Improvement of Mathematical Learning Outcomes Through The Media Assisted Rme Learning Model For Primary School Students

<em>The low results of learning mathematics shows not achieve the purpose of learning is optimal. It can be seen from the results of the daily test scores of grade IV SD Negeri Ronggo 03 on ordinary and mixed fraction material , it shows that 9 out of 24 students or 37% complete and 15 students or 63% are incomplete with KKM 70 The aim of research to describe enhancer of an outcome study of mathematics material fractions plain and mix in with the model pembelajarann Realistic Mathemathic Education (RME) with media objects nyata.Penelitian have implemented two cycles with the phases of planning , implementation , observation and reflection . From the results action shows an increase in mathematics learning outcomes of ordinary fractions and mixed materials through the RME learning model with real object media , it can be seen from the results of student learning evaluation in pre- cycle reaching 37%, increasing in cycle I 75%, cycle II 100% so that there is an increase from pre- cycle. cycle until cycle II amounted to 63%. The RME learning model with real object media can help students improve learning outcomes and improve the quality of learning on ordinary and mixed fraction material.</em>

Finding Meaning in Intermedial Gaps

Media is generally conceptualized as any communicative conduit that conveys ideas or meaning between one place or person and another. However, media products—and particularly intermedial products—do not always transmit meanings and ideas smoothly. This chapter explores a series of historical and contemporary media objects and performances that do not facilitate “successful” transfers of meaning, partly due to their intermedial configurations. Each of these media objects and performances both conceal and reveal, either accidentally as a byproduct of experimentation with the medium’s modalities or purposefully as an aesthetic, social, or cultural intervention. The author argues that these concealments and intermedial “gaps” generate new modes of expression, new artistic experiences for audiences and performers, and new conceptual understandings of existing genres and media.