A concise introduction to content and the content industry, from the early internet to the Instagram egg. From the time we roll out of bed to check overnight updates to our last posts, likes, and views of the previous day, we're consuming and producing content. But what does the term “content” even mean? When did it become ubiquitous? And at what cost? In this volume in the MIT Press Essential Knowledge series, Kate Eichhorn offers a concise introduction to content and the content industry, examining the far-reaching effects content has on culture, politics, and labor in a digital age. Eichhorn traces the evolution of our current understanding of content from the early internet to the current social mediaverse. The quintessential example of content, she says, is the Instagram egg—an image that imparted no information or knowledge and circulated simply for the sake of circulation. Eichhorn explores what differentiates user-generated content from content produced by compensated (although often undercompensated) workers; examines how fields from art and literature to journalism and politics have weathered the rise of the content industry; and investigates the increasing importance of artists’ “content capital”—the ability of artists, writers, and performers to produce content not about their work but about their status as artists.
Thanks to Facebook and Instagram, our childhoods have been captured and preserved online, never to go away. But what happens when we can’t leave our most embarrassing moments behind? Until recently, the awkward moments of growing up could be forgotten. But today we may be on the verge of losing the ability to leave our pasts behind. In The End of Forgetting, Kate Eichhorn explores what happens when images of our younger selves persist, often remaining just a click away. For today’s teenagers, many of whom spend hours each day posting on social media platforms, efforts to move beyond moments they regret face new and seemingly insurmountable obstacles. Unlike a high school yearbook or a shoebox full of old photos, the information that accumulates on social media is here to stay. What was once fleeting is now documented and tagged, always ready to surface and interrupt our future lives. Moreover, new innovations such as automated facial recognition also mean that the reappearance of our past is increasingly out of our control. Historically, growing up has been about moving on—achieving a safe distance from painful events that typically mark childhood and adolescence. But what happens when one remains tethered to the past? From the earliest days of the internet, critics have been concerned that it would endanger the innocence of childhood. The greater danger, Eichhorn warns, may ultimately be what happens when young adults find they are unable to distance themselves from their pasts. Rather than a childhood cut short by a premature loss of innocence, the real crisis of the digital age may be the specter of a childhood that can never be forgotten.
How xerography became a creative medium and political tool, arming artists and activists on the margins with an accessible means of making their messages public. This is the story of how the xerographic copier, or “Xerox machine,” became a creative medium for artists and activists during the last few decades of the twentieth century. Paper jams, mangled pages, and even fires made early versions of this clunky office machine a source of fear, rage, dread, and disappointment. But eventually, xerography democratized print culture by making it convenient and affordable for renegade publishers, zinesters, artists, punks, anarchists, queers, feminists, street activists, and others to publish their work and to get their messages out on the street. The xerographic copier adjusted the lived and imagined margins of society, Eichhorn argues, by supporting artistic and political expression and mobilizing subcultural movements. Eichhorn describes early efforts to use xerography to create art and the occasional scapegoating of urban copy shops and xerographic technologies following political panics, using the post-9/11 raid on a Toronto copy shop as her central example. She examines New York's downtown art and punk scenes of the 1970s to 1990s, arguing that xerography—including photocopied posters, mail art, and zines—changed what cities looked like and how we experienced them. And she looks at how a generation of activists and artists deployed the copy machine in AIDS and queer activism while simultaneously introducing the copy machine's gritty, DIY aesthetics into international art markets. Xerographic copy machines are now defunct. Office copiers are digital, and activists rely on social media more than photocopied posters. And yet, Eichhorn argues, even though we now live in a post-xerographic era, the grassroots aesthetics and political legacy of xerography persists.
A concise introduction to content and the content industry, from the early internet to the Instagram egg. From the time we roll out of bed to check overnight updates to our last posts, likes, and views of the previous day, we're consuming and producing content. But what does the term “content” even mean? When did it become ubiquitous? And at what cost? In this volume in the MIT Press Essential Knowledge series, Kate Eichhorn offers a concise introduction to content and the content industry, examining the far-reaching effects content has on culture, politics, and labor in a digital age. Eichhorn traces the evolution of our current understanding of content from the early internet to the current social mediaverse. The quintessential example of content, she says, is the Instagram egg—an image that imparted no information or knowledge and circulated simply for the sake of circulation. Eichhorn explores what differentiates user-generated content from content produced by compensated (although often undercompensated) workers; examines how fields from art and literature to journalism and politics have weathered the rise of the content industry; and investigates the increasing importance of artists’ “content capital”—the ability of artists, writers, and performers to produce content not about their work but about their status as artists.
Thanks to Facebook and Instagram, our childhoods have been captured and preserved online, never to go away. But what happens when we can’t leave our most embarrassing moments behind? Until recently, the awkward moments of growing up could be forgotten. But today we may be on the verge of losing the ability to leave our pasts behind. In The End of Forgetting, Kate Eichhorn explores what happens when images of our younger selves persist, often remaining just a click away. For today’s teenagers, many of whom spend hours each day posting on social media platforms, efforts to move beyond moments they regret face new and seemingly insurmountable obstacles. Unlike a high school yearbook or a shoebox full of old photos, the information that accumulates on social media is here to stay. What was once fleeting is now documented and tagged, always ready to surface and interrupt our future lives. Moreover, new innovations such as automated facial recognition also mean that the reappearance of our past is increasingly out of our control. Historically, growing up has been about moving on—achieving a safe distance from painful events that typically mark childhood and adolescence. But what happens when one remains tethered to the past? From the earliest days of the internet, critics have been concerned that it would endanger the innocence of childhood. The greater danger, Eichhorn warns, may ultimately be what happens when young adults find they are unable to distance themselves from their pasts. Rather than a childhood cut short by a premature loss of innocence, the real crisis of the digital age may be the specter of a childhood that can never be forgotten.
This book considers the largely under-recognised contribution that young writers have made to life writing genres such as memoir, letter writing and diaries, as well as their innovative use of independent and social media. The authors argue that these contributions have been historically silenced, subsumed within other literary genres, culturally marginalised or co-opted for political ends. Furthermore, the book considers how life narrative is an important means for youth agency and cultural participation. By engaging in private and public modes of self-representation, young people have contested public discourses around the representation of youth, including media, health and welfare, and legal discourses, and found means for re-engaging and re-appropriating self-images and representations. Locating their research within broader theoretical debates from childhood and youth studies: youth creative practice and associated cultural implications; youth citizenship and autonomy; the rights of the child; generations and power relationships, Poletti and Douglas also position their inquiry within life narrative scholarship and wider discussions of self-representation from the margins, representations of conflict and trauma, and theories of ethical scholarship.
What is Generation Scot Y? Born in the 1980s and 1990s and comprising primarily of the children of the baby boomers, Generation Y is often perceived as being the generation that wants it all. Think you know what makes Scotland's 20-somethings tick? Knowing who Generation Y in Scotland - Generation Scott Y - is, matters for our economy, our society and our political culture. Generation has grown up with devolution: are they ready to embrace full nationhood? How has Scotland's independence referendum affected them and what does it mean for their future? In this book, political blogger at Burdz Eye View, Kate Higgins explores all this and more - Generation Scott Y's identity, influences, values, voting behaviours and aspirations. Far from being frivolous, this is a serious generation for serious times. This book only skims the surface but dip in and you'll discover something you never knew - I did and I'm the mother of one. And ultimately, you'll find that far from wanting to have it all, they just want a little of all that we've had. KATE HIGGINS
Emergency and Trauma Care is written for Australian emergency care providers including paramedics, emergency nurses, pre-hospital care providers, nurse practitioners, general practice nurses and allied health practitioners including occupational therapists and physiotherapists who are caring for trauma patients.This book follows the patient journey from pre-hospital to definitive care. Using a body systems approach, each chapter provides comprehensive coverage of all aspects of adult and paediatric emergencies. Implications for clinical practice is supported by chapters of professional practice, clinical skills, research, evidence-based practice, and legal, ethical and cultural issues. Clinical assessment, physiology, management and rationale for intervention of common and not so common emergency presentations are provided, with each chapter providing clear and relevant examples for both Paramedics and Nurses.Emergency and Trauma Care brings together a team of highly respected clinical practitioners and academics to deliver the most up-to-date text dealing with the practical procedures and evidence experienced by emergency and trauma care providers every day. - Chapter 2 Pre-hospital care overview in Australia and NZ - Chapter 10 Scene assessment, management and rescue - Chapter 11 Pre-Hospital Clinical Reasoning, Triage and Communication - Pre-hospital and emergency nursing considerations included in all relevant chapters - Chapter 5 Cultural Considerations in Emergency Care addresses cultural diversity, beliefs and values and focuses on Aboriginal and Torres Strait Islander health and Maori health - Chapter 19 Resuscitation includes advanced life support, airway management and incorporates the 2010 Australian Resuscitation Council guidelines - Chapter 37 People with disabilities provides assessment, examination and communication strategies for working with clients with intellectual and physical disabilities - Section 5 focuses on examination and communication strategies for working with unique population groups, including the elderly, disabled, obstetric and paediatric patients - Section 6 details major trauma assessment and management, blast injury, and trauma to specific body regions - Essentials outline the main points addressed in each chapter - Practice tips assist with communication skills, procedures and assessment - Case studies supported by questions throughout - Summaries and Key points, review questions, web links and references provide for consolidation and further research. - Evolve resources include Power point slides, 30 additional Case studies, image bank, web links - Three paramedic specific chapters (including scene assessment and management)
A graphic novel of the dramatic life and death of German revolutionary Rosa Luxemburg A giant of the political left, Rosa Luxemburg is one of the foremost minds in the canon of revolutionary socialist thought. But she was much more than just a thinker. She made herself heard in a world inimical to the voices of strong-willed women. She overcame physical infirmity and the prejudice she faced as a Jew to become an active revolutionary whose philosophy enriched every corner of an incredibly productive and creative life—her many friendships, her sexual intimacies, and her love of science, nature and art. Always opposed to the First World War, when others on the German left were swept up on a tide of nationalism, she was imprisoned and murdered in 1919 fighting for a revolution she knew to be doomed. In this beautifully drawn work of graphic biography, writer and artist Kate Evans has opened up her subject’s intellectual world to a new audience, grounding Luxemburg’s ideas in the realities of an inspirational and deeply affecting life.
Viking Mediologies is a study of pre-modern multimedia rooted in the embodied poetic practice of Viking Age skalds. Prior study of the skaldic tradition has focused on authorship—distinctions of poetic style, historical contexts, and attention to the oeuvres of the skalds whose names are preserved in the written tradition. Kate Heslop reconsiders these not as texts but as pieces in a pre-modern media landscape, focusing on poetry’s medial capacity to embody memory, visuality, and sound. Mobile, hybrid, diasporic social formations—bands of raiders and traders, petty kingdoms, colonial expeditions—achieved new prominence in the Viking Age. Skalds offered the leaders of these groups something uniquely valuable. With their complicated poetry, they claimed to be able to capture shared contingent meanings and re-mediate them in named, memorable, reproducible works. The commemorative poetry in kviðuháttr remembers histories of ruin and loss. Skaldic ekphrasis discloses and reproduces the presence of the gods. Dróttkvætt encomium evokes for the leader’s retinue the soundscape of battle. As writing arrived in Scandinavia in the wake of Christianization, the media landscape shifted. In the poetry of the twelfth and thirteenth centuries, skalds adjusted to the demands of a literate audience, while the historical and poetological texts of the Icelandic High Middle Ages opened a dialogue between Latin Christian ideas of mediation and local traditions. In the Second Grammatical Treatise, for example, the literate technology of the grid is used to analyze the complex resonances of dróttkvætt as the output of a syllable-spewing hurdy-gurdy—a poetry machine. Offering both new readings of both canonical works such as Ynglingatal, Ragnarsdrápa, and Háttatal, and examinations of lesser-known texts like Glymdrápa, Líknarbraut, and Sturla Þórðarson’s Hákonarkviða, Viking Mediologies explores the powers and limits of poetic mediation.
In this first full-length study of the war veteran in literature, Kate McLoughlin draws new critical attention to a figure central to national life. Offering fresh readings of canonical and non-canonical works, she shows how authors from William Wordsworth to J. K. Rowling have deployed veterans to explore questions that are simultaneously personal, political, and philosophical: What does a community owe to those who serve it? What can be recovered from the past? Do people stay the same over time? Are there right times of life at which to do certain things? Is there value in experience? How can wisdom be shared? Veteran Poetics features veterans who travel in time, cause havoc with their reappearances, solve murders, refuse to stop talking about the wars they have been in, and refuse to say a word about them. Through this last trait, they also prompt consideration of possible critical responses to silence.
A bold and revolutionary perspective on the science and cultural history of menstruation Menstruation is something half the world does for a week at a time, for months and years on end, yet it remains largely misunderstood. Scientists once thought of an individual’s period as useless, and some doctors still believe it’s unsafe for a menstruating person to swim in the ocean wearing a tampon. Period counters the false theories that have long defined the study of the uterus, exposing the eugenic history of gynecology while providing an intersectional feminist perspective on menstruation science. Blending interviews and personal experience with engaging stories from her own pioneering research, Kate Clancy challenges a host of myths and false assumptions. There is no such a thing as a “normal” menstrual cycle. In fact, menstrual cycles are incredibly variable and highly responsive to environmental and psychological stressors. Clancy takes up a host of timely issues surrounding menstruation, from bodily autonomy, menstrual hygiene, and the COVID-19 vaccine to the ways racism, sexism, and medical betrayal warp public perceptions of menstruation and erase it from public life. Offering a revelatory new perspective on one of the most captivating biological processes in the human body, Period will change the way you think about the past, present, and future of periods.
The Manual of Strategic Planning for Cultural Organizations adopts a hollistic approach to the creative world of cultural institutions. By encompassing museums, art galleries, gardens, zoos, science centers, historic sites, cultural centers, festivals, and performing arts, this book responds to the reality that boundaries are being blurred among institutional types—with many gardens incorporating exhibitions, many museums part of multidisciplinary cultural centers and festivals.. As cultural leaders transform the arts in the twenty-first century, this “whole career” manual will prepare readers for every stage. Three key areas covered are: Leadership change. This chapter explains the role of strategic planning when an institution is going through the process of hiring a new director. A question we are frequently asked is “Should the strategic plan precede the search process or should it wait until the new director takes up the position?” Institutional change. Increasingly, cultural organizations are going through major change: from public-sector agencies to nonprofit corporations; from private ownership to non-profit status; from nonprofit status to a foundation, and many other variations. This book addresses the role of strategic planning during these transitions. Staff empowerment. This manual addresses the opportunities for staff at all levelsto grow by participating in strategic planning. This edition focuses on how to engage and empower staff. A Guide for Museums, Performing Arts, Science Centers, Public Gardens, Heritage Sites, Libraries, Archives, and Zoos is a game-changing book with broad reach into the cultural sector, while still serving the museum community.
How xerography became a creative medium and political tool, arming artists and activists on the margins with an accessible means of making their messages public. This is the story of how the xerographic copier, or “Xerox machine,” became a creative medium for artists and activists during the last few decades of the twentieth century. Paper jams, mangled pages, and even fires made early versions of this clunky office machine a source of fear, rage, dread, and disappointment. But eventually, xerography democratized print culture by making it convenient and affordable for renegade publishers, zinesters, artists, punks, anarchists, queers, feminists, street activists, and others to publish their work and to get their messages out on the street. The xerographic copier adjusted the lived and imagined margins of society, Eichhorn argues, by supporting artistic and political expression and mobilizing subcultural movements. Eichhorn describes early efforts to use xerography to create art and the occasional scapegoating of urban copy shops and xerographic technologies following political panics, using the post-9/11 raid on a Toronto copy shop as her central example. She examines New York's downtown art and punk scenes of the 1970s to 1990s, arguing that xerography—including photocopied posters, mail art, and zines—changed what cities looked like and how we experienced them. And she looks at how a generation of activists and artists deployed the copy machine in AIDS and queer activism while simultaneously introducing the copy machine's gritty, DIY aesthetics into international art markets. Xerographic copy machines are now defunct. Office copiers are digital, and activists rely on social media more than photocopied posters. And yet, Eichhorn argues, even though we now live in a post-xerographic era, the grassroots aesthetics and political legacy of xerography persists.
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