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Vom Schwarz-Weiß-Kontrast zur dividuellen Kompositkultur

notion of origin and the notion of alterity as we know them today. Rey Chow, Primitive Passions, New York: Columbia Univ. Press, 1995, 194. Sie plädiert ihrerseits für das Zugeständnis einer „coevalness of cultures“ und fordert im Hinblick darauf einen „dritten Term“ der Übersetzung, der dem Dualismus von Original und Übersetzung ausweicht, aber auch die (Re)Produktion (post) kolonialer Asymmetrien innerhalb der zeitgenössischen kulturellen Komposite deutlich macht: Besides acknowledging the co-temporality of cultures through our media, the ‘third term’ would

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Narrative des Anthropozän – Systematisierung eines interdisziplinären Diskurses

Abstract

The Anthropocene concept originates from earth system sciences and conceptualizes humanity as a planetary geophysical force. It links current action-oriented time horizons to Earth historical deep time and implies non-separability of natures-cultures. The Anthropocene concept has resonated in debates in natural and social sciences, the humanities and the broader public, serving as an inter- and transdisciplinary bridging concept. Based on an analysis of numerous texts from multiple scientific disciplines and media, this contribution distinguishes five narratives of the Anthropocene: the disaster narrative, the court narrative, the Great Transformation narrative, the (bio-)technological and the interdependence narrative. The five narratives articulate very different perspectives and experiences and transport divergent political, economic, ethical and anthropological values and interests; this is also shown in alternative conceptualizations such as Eurocene, Technocene, Capitalocene or Plantationocene. The analysis reveals that the narratives share significant structural characteristics concerning story, plot, protagonists, spatial and temporal structure and action-oriented emplotment which together can be referred to a meta-narrative of the Anthropocene. Since the partly overlapping, partly contradictory narratives compete for legitimation and dominance in science and the broader public, the findings raise the question whether this struggle will stabilize or undermine the Anthropocene meta-narrative in the long run.

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FOMO, Brands and Consumers – about the Reactions of Polish Internet Users to the Activities of Brands in Social Media (Based on CAWI Representative Research)

, 2019], https://www.thememo.com/2016/03/22/fomo-patrick-mcginnisbook-the-10-entrepreneur-fomo-meme/ . LAI C., ALTAVILLA D., RONCONI A., ACETO P. (2016), Fear of missing out (FOMO) is associated with activation of the right middle temporal gyrus during inclusion social cue, [in:] Computers in Human Behavior, vol. 61, pp. 516-521. LEBOEUF K. (2016), 2016 update: what happens in one Internet minute? [online: December 4, 2019], http://www.excelacom.com/resources/blog/2016-update-what-happens-in-one-internet-minute . Libertymarketing.co.uk (no data

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Politics of Imperceptibility: Philosophy, Post-Feminism and New Media Arts

Abstract

The essay discusses Deleuze and Guattari’s notion of becoming-imperceptible and raises the question to what extent it can be interpreted in terms of feminist politics and seen as a specific strategy for new media arts. Although the notion of becoming-imperceptible was condemned by second wave feminists, recent post-feminists representing the third wave argue not for politics of visibility but for politics of invisibility. Examining the practices of Lithuanian feminist media artists, the essay argues that becoming-imperceptible in new media arts means not an escape from visibility or a drive toward annihilation but a new conceptual strategy: becoming-imperceptible creates the potential for social and political change. This new conceptual strategy can be related to the new quality of the image: in this regard there is a close affinity between Deleuze and Guattari’s notion of becoming-imperceptible and the notion of the crystalline image which appears in Deleuze’s film theory: both notions engender duration, temporality and qualitative change. Therefore the essay claims that the crystalline image does not represent the world but recreates this world through multiple, changing and virtual images.

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Slowly Moving Bodies: Signs of Pictorialism in Aki Kaurismäki’s Films

: The Temporal Turn in Contemporary Art. New York, London: Bloomsbury. Schrader, Paul 1972. Transcendental Style in Film: Ozu, Bresson, Dreyer. Berkeley: University of California Press. Thompson, Kristin; Bordwell, David 2003. Film History: An Introduction. 2nd ed. New York: McGraw-Hill. Valkola, Jarmo 1993. Perceiving the Visual in Cinema: Semantic Approaches to Film Form and Meaning. Jyväskylä Studies in the Arts 42. Jyväskylä: University of Jyväskylä. Valkola, Jarmo 2000. Aesthetic & Cognitive

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Exploring Cross-Media Audience Practices in Two Cases of Public Service Media in Estonia and Finland

Environments. PhD thesis. University of Sydney. Duffett, Mark 2013. Understanding Fandom: An Introduction to the Study of Media Fan Culture. New York: Bloomsbury. Eco, Umberto 1990. I limiti dell’interpretazione. Milano: Bompiani. Evans, Elisabeth 2015. ‘Layering Engagement: The Temporal Dynamics of Transmedia Television’. - Storyworlds: A Journal of Narrative Studies 7, 2, 111-128. Fiske, John 1989. ‘Moments of Television’. - Ellen Seiter, Hans Borchers, Gabriele Kreutzner, Eva-Maria Warth (eds.), Remote

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’Žena I Svet’ and ‘Hrvatica’: An Analysis of Two Women’s Magazines in Interwar Serbia and Croatia (1925-1941)

Hrvatskoj (povijesni presjek i današnja situacija). University of Zadar. Department of Sociology. HALPERN, J. M., KASER, K., & WAGNER, R. A . (1996). Patriarchy in the Balkans: Temporal and cross-cultural approaches. The History of the Family, 1(4), 425-442. HERRMANN, F., & LÜNENBORG, M . (2001). Tabubruch als Programm. Privates und Intimes in den Medien. Opladen: Leske+ Budrich. HERVE, F . (1982). Brot und Frieden-Kinder, Küche, Kirche. Frauenbewegung in der Weimarer Republik. Geschichte der deutschen Frauenbewegung, Köln, 119-153. HORVAT, V

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