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move beyond our current discourses of the cyber-urban, which despite the best of intentions continue to Laura Forlano74 emphasize separation and distinction, that we will be able to traverse socio- economic barriers and build more equitable and pluralistic cities. This paper takes a multi-scalar approach to analysing the cyber-urban using a wide variety of empirical examples from science fiction and new media art to ethnographic accounts of networked bodies in everyday urban life. Background “It’s All in How You Look at Things.” alec BingS in norton juSter

shots and many more. It is not only language, narratives and discourses, but also visual sense‑making and communication that are consti‑ tutive elements of sociality. Visual media, therefore, are understood as socially constructed, but at the same time, they co‑construct sociality: It is not just that we see the way we do because we are social animals, but also that our social arrangements take the forms they do because we are seeing animals. (Mitchell 2002: 171) In this regard, new media seem to amplify and utilise certain potentialities of pictures, enabling a

, the number shot up to 48 on November 2, remained constant for a bit more than a week and dropped again to about three times the previous volume in mid‑November. Self-automation As they constitute the main value proposition of IFTTT, automation practices consti‑ tute the bulk of user‑created applets. From a media industries standpoint, critical positions on automation primarily focus on top‑down production (Napoli 2014), e. g. the algorithmic prediction of demand or even creation of content. When, Lev Manovich referred to automation as a principle of new media

the authors and reviewers for their fantastic work and collaboration. All papers will be made available as open access 12 months after the initial publication of this issue. You will find them on http://digicults.org/ issues. References Abbate, Janet (2012): Recoding gender. Women’s changing participation in com- puting, Cambridge: MIT Press. Ananny, M./Crawford, K. (2018): “Seeing Without Knowing: Limitations of the Transparency Ideal and its Application to Algorithmic Accountability.” New Media & Society 20(3), pp. 973–989. Angwin, J./Larson, J./Mattu S

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technischer Artefakte auf kulturel- le Formationen von Gesellschaft, Race und Geschlecht. Jüngste Veröffentlichung: Updating to Remain the Same: Habitual New Media, Cambridge, Mass. (MIT Press) 2016. Lisa Conrad ist Akademische Rätin am Institut für Soziologie und Kulturorganisation der Leuphana Uni- versität Lüneburg. Ihre Forschung ist an der Schnittstelle von Organisationsforschung, Medienwissenschaft sowie Science and Technology Studies verortet. Jüngst erschien ihre Dissertation Organisation im soziotechnischen Gemen- ge: Mediale Umschichtungen durch die

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/jan-hendrik-passoth Léa Perraudin ist Medienkulturwissenschaftlerin und Postdoktorandin an der Universität zu Köln. In ihren ak- tuellen Publikationen verhandelt sie die multiplen (Un-) Greifbarkeiten des Anthropozäns, die Materialverges- senheit medientheoretischer Diskurse sowie diffraktive Praktiken des Wahrnehmens und des Wissens. Nach Forschungsaufenthalten am Berkeley Center for New Media und am Internationalen Kolleg für Kulturtechnik- forschung und Medienphilosophie Weimar arbeitet sie derzeit an der Grundlegung einer Theorie zu den Phasen- übergängen des Medialen. Silvan

ALICE IM SPIEGELL AND210 DR AMATIS PERSONAE: Alice im Brainland (Freiburg 2005) Konzept und Dialog: Celia Brown, Sigrid Schmitz TänzerInnen: Frederik Bechtle (Weißes Kaninchen), Larissa Dingler (Raupe) Choreographische Beratung: Emma-Louise Jordan Lesung: Celia Brown Musik: Achim Vogel Kostüm der Raupe: Kim Schimpfle Videoschnitt: Celia Brown, Sigrid Schmitz Kamera, Betreuung: New Media Center Universität Freiburg Alice im Spiegel (Freiburg 2007) Konzept: Celia Brown, Britta Schinzel, Sigrid Schmitz mit: Constanze Kurz Schauspiel: Lisa

; Walter Benjamin: Books by the Mentally Ill: From My Collection, in: ders.: Selected Writings, hg. v. Marcus Bullock, Michael William Jennings, Cambridge 2004. 4 Vgl. Gregory Bateson: Toward a Theory of Schizophrenia, in: Behavior Science, Vol. 1, Nr. 4, 1956, 251 – 254; Ronald D. Laing: The Divided Self: An Existential Study in Sanity and Madness, New York 1960; Amit Pinchevski: Bartleby’s Autism: Wandering along Incommunicability, in: Cultural Critique, Vol. 78, Spring 2011, 27 – 59; Amit Pinchevski, John Durham Peters: Autism and New Media

: Towards a Sociology of Per- sonal Informatics.” Paper presented at the OZCHI 2014: Designing Futures, The Future of Design, December 2-5, 2014, University of Technology, Sydney, Australia. Lyon, David/Bauman, Zygmunt (2013): Liquid Surveillance, Oxford: Wiley. Marshall, Barbara L. (2015): “Anti-Ageing and Identities.” In: Julia Twigg/Wendy Martin (eds.), Routledge Handbook of Cultural Gerontology, London: Taylor and Francis, pp. 210-217. Millington, Brad (2009): “Wii Has Never Been Modern: ‘Active’ Video Games and the ‘Conduct of Conduct’.” In: New Media & Society

self-track? What is the value of design in the field of new media and digital culture? Self-Tracking Self-tracking constructs intimate and vital events into units of measurement – writing the body into legibility. The intimate is formulated here as the encounter with another person or place, as a quantified relation. This could be relations to and between people, monuments, location, weather, time, and so on. The vital is all essential and belonging to life: heartbeat rate, body temperature, or blood pressure for example. Presenting intimate and vital events