Examining the construction, manipulation and re-definition of life in contemporary technoscientific culture, this book aims to re-focus concern on the ethics rather than on the 'nature' of artificial life.
An argument for a shift in understanding new media—from a fascination with devices to an examination of the complex processes of mediation. In Life after New Media, Sarah Kember and Joanna Zylinska make a case for a significant shift in our understanding of new media. They argue that we should move beyond our fascination with objects—computers, smart phones, iPods, Kindles—to an examination of the interlocking technical, social, and biological processes of mediation. Doing so, they say, reveals that life itself can be understood as mediated—subject to the same processes of reproduction, transformation, flattening, and patenting undergone by other media forms. By Kember and Zylinska's account, the dispersal of media and technology into our biological and social lives intensifies our entanglement with nonhuman entities. Mediation—all-encompassing and indivisible—becomes for them a key trope for understanding our being in the technological world. Drawing on the work of Bergson and Derrida while displaying a rigorous playfulness toward philosophy, Kember and Zylinska examine the multiple flows of mediation. Importantly, they also consider the ethical necessity of making a “cut” to any media processes in order to contain them. Considering topics that range from media-enacted cosmic events to the intelligent home, they propose a new way of “doing” media studies that is simultaneously critical and creative, and that performs an encounter between theory and practice.
What can queer feminist writing strategies such as parody and irony do to outsmart the sexism of smart objects, environments and materials and open out the new dialecticism of structure and scale, critique and creativity? Drawing on science and technology studies and feminist theory, this book examines the gendering of current and future media technologies such as smart phones, Google glass, robot nurses, tablets and face recognition. Kember argues that there is a tendency to affirm and celebrate the existence of smart and often sexist objects, environments and materials in themselves; to elide writing and other forms of mediation; and to engage in disembodied knowledge practices. Disembodied knowledge practices tend towards a scientism that currently includes physics envy and are also masculinist. Where there is some degree of convergence between masculinist and feminist thinking about objects, environments and materials, there is also divergence, conflict and the possible opening towards a politics of imedia. Presenting a lively manifesto for refiguring imedia, this book forms an often neglected gender critique of developments in smart technologies and will be essential reading for scholars in Communication Studies, Cultural and Media, Science and Technology and Feminism.
The Labour government elected in 1997 pledged to reform the Westminster parliament by modernising the House of Commons and removing the hereditary peers from the House of Lords. Events have consequently demonstrated the deep controversy that accompanies such attempts at institutional reconfiguration, and have highlighted the shifting fault lines in executive-legislative relations in the UK, as well as the deep complexities surrounding British constitutional politics. The story of parliamentary reform is about the nature of the British political system, about how the government seeks to expand its control over parliament, and about how parliament discharges its duty to scrutinise the executive and hold it to account. This book, available in paperback for the first time, charts the course of Westminster reform since 1997, but does so by placing it in the context of parliamentary reform pursued in the past, and thus adopts a historical perspective which lends it considerable analytical value. Significantly, the book examines parliamentary reform through the lens of institutional theory, in order not only to describe reform but also to interpret and explain it. It also draws on extensive interviews conducted with MPs and peers involved in the reform of parliament since 1997, thus offering a unique insight into how these political actors perceived the reform process in which they played a part.Parliamentary reform at Westminster, now available in paperback, provides a comprehensive and authoritative analysis of the trajectory and outcome of the reform of parliament, along with an incisive interpretation of the implications for our understanding of British politics.
Examining the construction, manipulation and re-definition of life in contemporary technoscientific culture, this book aims to re-focus concern on the ethics rather than on the 'nature' of artificial life.
An argument for a shift in understanding new media—from a fascination with devices to an examination of the complex processes of mediation. In Life after New Media, Sarah Kember and Joanna Zylinska make a case for a significant shift in our understanding of new media. They argue that we should move beyond our fascination with objects—computers, smart phones, iPods, Kindles—to an examination of the interlocking technical, social, and biological processes of mediation. Doing so, they say, reveals that life itself can be understood as mediated—subject to the same processes of reproduction, transformation, flattening, and patenting undergone by other media forms. By Kember and Zylinska's account, the dispersal of media and technology into our biological and social lives intensifies our entanglement with nonhuman entities. Mediation—all-encompassing and indivisible—becomes for them a key trope for understanding our being in the technological world. Drawing on the work of Bergson and Derrida while displaying a rigorous playfulness toward philosophy, Kember and Zylinska examine the multiple flows of mediation. Importantly, they also consider the ethical necessity of making a “cut” to any media processes in order to contain them. Considering topics that range from media-enacted cosmic events to the intelligent home, they propose a new way of “doing” media studies that is simultaneously critical and creative, and that performs an encounter between theory and practice.
The Labour government elected in 1997 pledged to reform the Westminster parliament by modernising the House of Commons and removing the hereditary peers from the House of Lords. Events have consequently demonstrated the deep controversy that accompanies such attempts at institutional reconfiguration, and have highlighted the shifting fault lines in executive-legislative relations in the UK, as well as the deep complexities surrounding British constitutional politics. The story of parliamentary reform is about the nature of the British political system, about how the government seeks to expand its control over parliament, and about how parliament discharges its duty to scrutinise the executive and hold it to account. This book, available in paperback for the first time, charts the course of Westminster reform since 1997, but does so by placing it in the context of parliamentary reform pursued in the past, and thus adopts a historical perspective which lends it considerable analytical value. Significantly, the book examines parliamentary reform through the lens of institutional theory, in order not only to describe reform but also to interpret and explain it. It also draws on extensive interviews conducted with MPs and peers involved in the reform of parliament since 1997, thus offering a unique insight into how these political actors perceived the reform process in which they played a part.Parliamentary reform at Westminster, now available in paperback, provides a comprehensive and authoritative analysis of the trajectory and outcome of the reform of parliament, along with an incisive interpretation of the implications for our understanding of British politics.
What can queer feminist writing strategies such as parody and irony do to outsmart the sexism of smart objects, environments and materials and open out the new dialecticism of structure and scale, critique and creativity? Drawing on science and technology studies and feminist theory, this book examines the gendering of current and future media technologies such as smart phones, Google glass, robot nurses, tablets and face recognition. Kember argues that there is a tendency to affirm and celebrate the existence of smart and often sexist objects, environments and materials in themselves; to elide writing and other forms of mediation; and to engage in disembodied knowledge practices. Disembodied knowledge practices tend towards a scientism that currently includes physics envy and are also masculinist. Where there is some degree of convergence between masculinist and feminist thinking about objects, environments and materials, there is also divergence, conflict and the possible opening towards a politics of imedia. Presenting a lively manifesto for refiguring imedia, this book forms an often neglected gender critique of developments in smart technologies and will be essential reading for scholars in Communication Studies, Cultural and Media, Science and Technology and Feminism.
New Formations is a journal of cultural debate, history and theory. It brings new and challenging perspectives to bear on the categories that frame cultural analysis and political action. The journal has covered issues ranging from the seduction of perversity to questions of nationalism and post-colonialism. Contributors open up new zones of enquiry whilst drawing new charts of understanding to explain new formations in contemporary life.
The Victorians are known for their commitment to materialism, evidenced by the dominance of empiricism in the sciences and realism in fiction. Yet there were other strains of thinking during the period in the physical sciences, social sciences, and literature that privileged the spacesbetweenthe material and immaterial. This book examines how the emerging language of the "imponderable" helped Victorian writers and physicists make sense of new experiences of modernity. As Sarah Alexander argues, while Victorian physicists were theorizing ether, energy and entropy, and non-Euclidean space and atom theories, writers such as Charles Dickens, William Morris, and Joseph Conrad used concepts of the imponderable to explore key issues of capitalism, imperialism, and social unrest.
Indie Cinema Online investigates the changing nature of contemporary American independent cinema in an era of media convergence. Focusing on the ways in which modes of production, distribution, and exhibition are shifting with the advent of online streaming, simultaneous release strategies, and web series, this book analyzes sites such as SundanceTV, YouTube, Netflix, Hulu, and other online spaces as a means of redefining independent cinema in a digital era. Analyzing the intersections among cinema studies, cultural studies, and new media studies within contemporary convergence culture, author Sarah E.S. Sinwell looks at sites of media convergence that are often ignored within most studies of digital media. Emphasizing the ways in which the forms and technologies of media culture have changed during the age of convergence, this book analyzes contemporary production, distribution, and exhibition practices as a means of examining the changing meanings of independent cinema within digital culture.
Runner-up for the British Association of Film, Television and Screen Studies Best Book Prize 2015 Beyond the Screen presents an expanded conceptualization of cinema which encompasses the myriad ways film can be experienced in a digitally networked society where the auditorium is now just one location amongst many in which audiences can encounter and engage with films. The book includes considerations of mobile, web, social media and live cinema through numerous examples and case studies of recent and near-future developments. Through analyses of narrative, text, process, apparatus and audience this book traces the metamorphosis of an emerging cinema and maps the new spaces of spectatorship which are currently challenging what it means to be cinematic in a digitally networked era.
Bringing together key writings with original textbook material, the second edition of Media Studies: The Essential Resource explains central perspectives and concepts within Media Studies. Readers are introduced to a range of writing on media topics promoting an understanding of the subject from both contemporary and historical perspectives. The text is split into three parts covering Analysis and Perspectives, Media Audiences and Ecologies and Creativities. The key areas of study are discussed, with accessible readings from essential theoretical texts and fully supported with an author commentary. Theoretical perspectives are used to analyse contemporary media forms and activities direct students to interrogate readings further and apply their learning. Encouraging critical and analytical study, Media Studies: The Essential Resource helps students to understand the main theories and theorists within Media Studies.
This book advances the practice and theory of design ethnography. It presents a methodologically adventurous and conceptually robust approach to interventional and ethical research design, practice and engagement. The authors, specialising in design ethnography across the fields of anthropology, sociology, human geography, pedagogy and design research, draw on their extensive international experience of collaborating with engineers, designers, creative practitioners and specialists from other fields. They call for, and demonstrate the benefits of, ethnographic and conceptual attention to design as part of our personal and public everyday lives, society, institutions and activism. Design Ethnography is essential reading for researchers, scholars and students seeking to reshape the way we research, live and design ethically and responsibly into yet unknown futures.
A2 Film Studies: The Essential Introduction gives students the confidence to tackle every part of the WJEC A2 Level Film Studies course. The authors, who have wide ranging experience as teachers, examiners and authors, introduce students step by step, to the skills involved in the study of film. The second edition has been re-designed and re-written to follow the new WJEC A2 syllabus for 2009 teaching onwards and is supported by a companion website at www.alevelfilmstudies.co.uk offering further advice and activities. There is a chapter for each exam topic including: The small scale research project The creative project Aspects of a national cinema - Bollywood; Iranian; Japanese; and Mexican International Film Styles - German and/or Soviet; Surrealism; Neo-Realism; and New Waves Specialist studies - Urban Stories; and Empowering Women Spectatorship topics - Early cinema before 1917; Documentary; Experimental and expanded film/video; and Popular film and emotional responses The single film critical study - every film covered Specifically designed to be user friendly, the second edition of A2 Film Studies: The Essential Introduction has a new text design to make the book easy to follow, includes more than sixty colour images and is packed with features such as: case studies relevant to the 2009 specification activities on films like All About My Mother, 10, Vertigo and City of God key terms example exam questions suggestions for further reading and website resources. Matched to the current WJEC specification, A2 Film Studies: The Essential Introduction covers everything students need to study as part of the course.
This textbook is a comprehensive guide for students interested in using participatory research to improve people’s health and well-being. It is especially designed for those working in the fields of health and social welfare who are embarking on participatory research for the first time. It covers all phases in participatory research from “getting started,” to “acting for change,” “continuing the journey” and “articulating impact.” Its unique format helps readers understand the essence of participatory research as a comprehensive approach for doing research which is underpinned by a set of fundamental values.The many real life examples of participatory research projects from around the world inspire readers to find creative ways to manage their own research while opening up new horizons in their work.
This book provides critical commentary on key issues around virtual reality, using media technology as a tool to challenge perspectives for learning and understanding cultural diversities. With a focus on empathy, embodiment and ethics, the book interrogates the use of immersive technologies for formal and informal educational contexts. Taking a critical approach to discourses around emerging technology and learning, the book presents the idea that a new literacy is emerging and an emphasis on media and technology is needed in the context of education to explore and experience cultural diversities. Employing a personal reflexive narrative, the chapters highlight key issues through research and interviews with leading practitioners in the field. Understanding Virtual Reality will be of great interest to academics and students interested in the effects of immersive realities on the education experience, and to anyone keen on exploring the paradigm shift from entertainment to education.
AUTHORISED & VETTED BY SAS/SBS, MI5/MI6 AND PM RISHI SUNAK FOR UK GOVERNMENT AND BY UN & ICJ, AT EASE NOW ICC CASE REPORT PUBLISHED HERE. PM RISHI SUNAK: ‘A BIG slot please to praise Alison’s tenacity holding firm as 001 SAS Sammie for sixty years now, THANK YOU! You are a long-range visionary to my girls who think your Treaty in UN banning nuclear weaponry is most striking thing I’ve ever supported, whoops-a daisy, I love you for this marvellous policy I have adopted officially! I support her plan for reformation of the House of Lords as well, we all agree privilege is outdated and plain wrong nowadays.’ ADMIRAL LORD RADAKIN: ‘Awarded 49 MCs, latest count! Mandatory to call her ‘heroine’, always, UN orders!First female UN-appointed UK Field Marshal in 2010, performs superbly in action! She’s ‘M.’ in jargon, unpaid.’ RAY STUBBS, TV Sports commentator: ‘WOW! Do not read if you think liars and cheats should win! I knew her on Calday/West Kirby State Grammar School bus and not only filmed her winning the Grand National secretly, but winning Gold Medals, the grand stand view is hers.’ TOM WHIPPLE, Science Editor, The Times: ‘It is the best book I ever read, volume 1 was unsurpassable to me until I read volume 2! Volume 3 was even better! And volume 4 made me eat my hat! Must be read by everyone!’
Evidence-Based Education in the Classroom: Examples From Clinical Disciplines shows educators how to use evidence to inform teaching practices and improve educational outcomes for students in clinically based fields of study. Editors and speech-language pathologists Drs. Jennifer C. Friberg, Colleen F. Visconti, and Sarah M. Ginsberg collaborated with a team of more than 65 expert contributors to share examples of how they have used evidence to inform their course design and delivery. Each chapter is set up as a case study that includes: A description of the teaching/learning context focused on in the chapter A brief review of original data or extant literature being applied A description of how evidence was applied in the teaching/learning context Additional ideas for how evidence could be applied in other teaching/learning contexts across clinical disciplines Additional resources related to the pedagogy described in the case study (e.g., journal articles, books, blogs, websites) Educators in the fields of speech-language pathology, audiology, nursing, social work, sports medicine, medicine, dietetics, dental assisting, physician assisting, radiology technology, psychology, and kinesiology—already familiar with evidence-based practice—will find this resource helpful in implementing evidence-informed approaches to their teaching. While the content in clinical programs is quite different, there are many similarities in how to teach students across such programs. Evidence-Based Education in the Classroom: Examples From Clinical Disciplines highlights these similarities and represents a masterclass in how to practice evidence-based education.
This book is about the expanding realm of visual culture: in architecture, art, design, advertising, photography, film, television, video, theatre performance, computer imagery and virtual reality. It is also about Visual Culture Studies, a relatively new academic discipline, or rather range of disciplines, that scholars employ to analyse visual artefacts. Unlike many other texts on the same subject, it foregrounds the ‘visual’ and is systematic and accessible. Visual culture provides an overview of the subject that pays heed to the achievements of both traditional and new theory whilst directing the reader to a large body of literature via references and an extensive bibliography. Walker and Chaplin discuss the concepts of ‘the visual’ and of ‘culture’ as well as the field and origins of Visual Culture Studies; coping with theory; models of production and consumption; institutions; pleasure; the canon and concepts of value; visual literacy and poetics; modes of analysis; culture and commerce; and new technologies. This book is designed for those studying the history and theory of fine arts, design and the mass media.
Seasoned classroom veterans, pre-tenured faculty, and neophyte teaching assistants alike will find this book invaluable. HHMI Professor Jo Handelsman and her colleagues at the Wisconsin Program for Scientific Teaching (WPST) have distilled key findings from education, learning, and cognitive psychology and translated them into six chapters of digestible research points and practical classroom examples. The recommendations have been tried and tested in the National Academies Summer Institute on Undergraduate Education in Biology and through the WPST. Scientific Teaching is not a prescription for better teaching. Rather, it encourages the reader to approach teaching in a way that captures the spirit and rigor of scientific research and to contribute to transforming how students learn science.
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