Electronic Elsewheres: Media, Technology, and the Experience by Chris Berry, Soyoung Kim, Lynn Spigel

By Chris Berry, Soyoung Kim, Lynn Spigel

Media don't easily painting areas that exist already; they really produce them. In exploring how international populations adventure "place" via media applied sciences, the essays integrated right here research how media build the meanings of domestic, group, paintings, kingdom, and citizenship. Tracing how media reconfigure the bounds among public and private-and international and local-to create "electronic elsewheres," the essays examine such areas and identities because the avatars that ladies are developing on sites, research the position of satellite tv for pc tv in reworking Algerian neighborhoods, inquire into the jobs of radio and tv in Israel and India, and take a skeptical examine the purported novelty of the "new media home." individuals: Asu Aksoy, Istanbul Bilgi U; Charlotte Brunsdon, U of Warwick; Ratiba Hadj-Moussa, York U (Toronto); Tamar Liebes-Plesner, Hebrew U; David Morley, Goldsmiths, U of London; Lisa Nakamura, U of Illinois; Arvind Rajagopal, long island U; Kevin Robins, Goldsmiths, U of London; Jeffrey Sconce, Northwestern U; Marita Sturken, big apple U; and Shunya Yoshimi, U of Tokyo.

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Extra resources for Electronic Elsewheres: Media, Technology, and the Experience of Social Space (Public Worlds, Volume 17)

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This was a primarily male audience in whose visual culture Tolkien, Ridley Scott, Frank Frazetta, cyberpunk, anime, and Marvel Comics figure largely. This Internet popular culture has largely been ignored except by sociologists, who tend to discuss it in terms of social engagement, alienation, and the public sphere rather than in reference to aesthetics or taste cultures. Visual style and taste are rarely discussed in relation to popular (as opposed to artistic or countercultural) digital forms.

Discussions of avatars in contexts other than gaming are relatively rare. The signatures that women create on pregnancy Web sites include images of themselves and their families that take back the power to visualize the pregnant female body from the medical establishment and put it back in the hands of women themselves. The results are often cartoonish, conflicted, disorganized, and bizarre, but the openness of the form—any image or text can be uploaded to form a signature—allows for moments of poignancy that defy description and indeed the idea of visualization itself.

To maintain some sense of security (and) . . ”33 We now find ourselves in a world where we are all audiences to one or another medium, almost all of the time, and where, after the long process of its “domestication,” TV and other media have now escaped the home—to (re)colonize the public sphere, in new ways. And if the domestic home is now becoming an increasingly technological artifact, it also seems that domesticity itself has now been “dislocated”—or perhaps, as I suggested earlier, “embodied” in a range of newly mobile technologies.

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