Holding a mirror to ourselves: how digital networks chAng writiN
01 Dec 2009-Journal of Writing in Creative Practice (Intellect)-Vol. 2, Iss: 3, pp 265-277
About: This article is published in Journal of Writing in Creative Practice.The article was published on 2009-12-01. It has received None citations till now.
01 Jan 1984
TL;DR: In this article, the status of science, technology, and the arts, the significance of technocracy, and how the flow of information is controlled in the Western world are discussed.
Abstract: Many definitions of postmodernism focus on its nature as the aftermath of the modern industrial age when technology developed. This book extends that analysis to postmodernism by looking at the status of science, technology, and the arts, the significance of technocracy, and the way the flow of information is controlled in the Western world.
01 Jan 1964
TL;DR: Lapham as discussed by the authors re-evaluated McLuhan's work in the light of the technological as well as the political and social changes that have occurred in the last part of this century.
Abstract: This reissue of Understanding Media marks the thirtieth anniversary (1964-1994) of Marshall McLuhan's classic expose on the state of the then emerging phenomenon of mass media. Terms and phrases such as "the global village" and "the medium is the message" are now part of the lexicon, and McLuhan's theories continue to challenge our sensibilities and our assumptions about how and what we communicate. There has been a notable resurgence of interest in McLuhan's work in the last few years, fueled by the recent and continuing conjunctions between the cable companies and the regional phone companies, the appearance of magazines such as WiRed, and the development of new media models and information ecologies, many of which were spawned from MIT's Media Lab. In effect, media now begs to be redefined. In a new introduction to this edition of Understanding Media, Harper's editor Lewis Lapham reevaluates McLuhan's work in the light of the technological as well as the political and social changes that have occurred in the last part of this century.
01 Jan 1967
TL;DR: The Society of the Spectacle as mentioned in this paper is one of the most influential theoretical works for a wide range of political and revolutionary practice in the 1960s, and it has been widely used in the literature since.
Abstract: For the first time, Guy Debord's pivotal work Society of the Spectacle appears in a definitive and authoritative English translation. Originally published in France in 1967, Society of the Spectacle offered a set of radically new propositions about the nature of contemporary capitalism and modern culture. At the same time it was one of the most influential theoretical works for a wide range of political and revolutionary practice in the 1960s. Today, Debord's work continues to be in the forefront of debates about the fate of consumer society and the operation of modern social power. In a sweeping revision of Marxist categories, the notion of the spectacle takes the problem of the commodity from the sphere of economics to a point at which the commodity as an image dominates not only economic exchange but the primary communicative and symbolic activity of all modern societies.Guy Debord was one of the most important participants in the activities associated with the Situationist International in the 1960s. Also an artist and filmmaker, he is the author of Memoires and Commentaires sur la societe du spectacle. A Swerve Edition, distributed for Zone Books.
01 Jan 1981
TL;DR: The Disneyland imaginary is neither true nor false: it is a deterrence machine Set up in order to rejuvenate in reverse the fiction of the real world as discussed by the authors, since everything is already dead and risen in advance.
Abstract: The transition from signs which dissimulate something to signs which dissimulate that there is nothing, marks the decisive turning point. The first implies a theology of truth and secrecy. The second inaugurates an age of simulacra and simulation, in which there is no longer any God to recognize his own, nor any last judgement to separate truth from false, the real from its artificial resurrection, since everything is already dead and risen in advance. Disneyland is a perfect model of all the entangled orders of simulation. The objective profile of the United States, then, may be traced throughout Disneyland, even down to the morphology of individuals and the crowd. The Disneyland imaginary is neither true nor false: it is a deterrence machine Set up in order to rejuvenate in reverse the fiction of the real.
01 Jan 2003
TL;DR: The futures of literacy: modes, logics and affordances as mentioned in this paper have been studied in the context of the mode of writing and its relation to the future of reading as semiosis.
Abstract: 1. The futures of literacy: modes, logics and affordances 2. Preface 3. Going into a different world 4. Literacy and multimodality: a theoretical framework 5. What is literacy?: resources of the mode of writing 6. A social theory of text: genre 7. Multimodality, multimedia and genre 8. Meaning and frames: punctuations of semiosis 9. Reading as semiosis: interpreting the world and ordering the world 10. Some items for an agenda of further thinking