Search Results

You are looking at 61 - 70 of 100 items :

  • "digital world" x
Clear All

kill chain. The inner workings of this relationship are made apparent when read in conjunction with contem- porary discourses of postmediality. Articulating three primary narra- tives (technical, aesthetic and political), this discourse argues that: as the digital world has eroded medium specificity, it has created a univer- sal medium through which all media flow as nondifferentiated artifacts (Weibel); contemporary intermediality is a symptom of a larger break with modernism’s “aesthetic purity,” which insisted upon an adherence to the essential properties of

Society in a Digital World. New York: Routledge, 2012. Earl, Jennifer, and Katrina Kimport. Digitally Enabled Social Change: Activism in the Internet Age. Cambridge, MA: MIT Press, 2011. Earley, Pete. Comrade J: The Untold Secrets of Russia’s Master Spy in America after the End of the Cold War. London: Penguin Books, 2007. Eisenstein, Elizabeth L. The Printing Press as an Agent of Change. Cambridge: Cambridge University Press, 1980. Elliott, Robert N. “The Nat Turner Insurrection as Reported in the North Carolina Press.” North Carolina Historical Review 38, no. 1

(Non)knowledge: Security, Law, and Surveil- lance in a Digital World. International Political Sociology 11(4): 327–42. Archer, John, and Jo Jones. 2003. Headlines from History: Violence in the Press, 1850–1914. Pp. 17–31 in The Meanings of Violence, edited by Elizabeth A. Stanko. New York: Routledge. Arendt, Hannah. 1963. Eichmann in Jerusalem: A Report on the Banality of Evil. New York: Viking Press. Arrigo, Bruce, and Christopher Williams. 2003. Victim Vices, Victim Voices, and Impact Statements: On the Place of Emotion and the Role of Restorative Justice in

–21; special- effects and, 92–93; spectacle and, 33–34, 90; television and, 51, 137, 259n45; tentpole movies/ screenwriters and, 65, 99; United Hollywood (blog) and, 52, 251n56; video/games and, 186; WGA (Writers Guild of America) and, 57, 58–59; WGA strike (2007–8) and, 44, 51, 60. See also digital distribution; digital downloads Digital World (conference), 195 Dille, Flint, 211 Dinehart, Stephen E., IV, 208–9 Dinosaurs (1991), 158 Directors Guild of America (DGA), 51, 53–54, 55, 56–57, 59 discourse frame, 7, 14, 140, 242 Disney. See Walt Disney Company/ Pictures

assess other factors below), but they do nevertheless constitute one significant aspect of the problem. Jillian York, an active defender of freedom of electronic expres- sion, provides a very good summary of the situation in a blog posted in September 2010. It echoes Ben Gharbia’s: Actors and Parameters of the Revolution | 135 Digital activism has been construed as its own movement, a new [way] of organizing unique to the 21st century digital world. In fact, digital tools are complementary to “traditional” activism, for a number of reasons: They allow organizers

York: Random House, 2001); Alan M. Dershowitz, Supreme Injustice: How the High Court Hijacked Election 2000 (Oxford: Oxford University Press, 2001); Ron Suskind, The One Percent Doctrine: Deep Inside America’s Pursuit of Its Enemies since 9/11 (New York: Simon & Schuster, 2006); Ron Suskind, The Price of Loyalty: George W. Bush, the White House, and the Education of Paul O’Neill (New York: Simon & Schuster, 2004). 4. For a brief description of the costly dynamic tension between anarchy and oligarchy in the digital world, see Siva Vaidhyanathan, The Anarchist in

, Francisco Lopez de, on Montezuma, 184 González Iñárritu, Alejandro, globalist film Babel, 359 governance: in digital world, 289–291; distributed, 24; European Union as new model, 159, 168, 218; global, 226, 236, 249–253, 387; institutions of global, 392, 395; monetary, 286–88; systems in cities of Middle Ages, 212 government policy: central vs. local, 130–31; Internet initiatives, 269, 370, 371; national and international measures for supporting women, 311–13; on trade unions, 375–76 Grameen Bank, 312 Gramsci, Antonio/neo-Gramsicans, 224–26 Great Pacific Garbage

—but they’re certainly not necessary.” The add-on and helper volumes appeared steadily through 2003, and the series wound up in July 2004. Decipher’s TCG was far more lucrative than the RPG books, and there are apparently plans to issue new packs of cards until at least the middle of 2007. At the end of January 2004, the firm moved into the digital world by oªering the option of an online trading-card game. The Internet would seem less suited to RPGs, but in October and November 2005, Decipher began selling expanded versions of two of its out-of-print add-on volumes, Isen

game whenever they feel like leaving the war. This mobility, and the power of this mobility to enter and exit the hyper-favela at will, is also refl ected in tourists’ desire to play at, but ulti- mately leave behind, the “war-torn” favela they visit (see chapter 4). Favela-based war play is not limited to the digital world. I purchased a Lego miniature on eBay, where it was advertised as a “favela drug traf- fi cker” (guns sold separately). With a bandanna partially covering his face, the fi gure does not possess features that specifi cally identify him as

position. Indeed, describing the “monster power” of “rootless white males,” Steve Bannon intuited that a digital world of “intense young men” who “disappeared for days and even weeks into alternative reali- ties” could be transformed for his political purposes.11 In this case, rather than interventionist instincts directed at Russians, Bannon nurtured pro- gun, antigay, white nationalist alliances with Russians who were all too 236 • C h a p t e r T e n happy to cooperate as they built dialogues with the NRA and the National Organization for Marriage, whose