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Containment: An Alliance Against Nuclear Terrorism«. In: The National Interest Nr. 69 (Fall 2002). Amoore, Louise/de Groede, Marieje (Hg.) (2008): Risk and the War on Terror, New York: Routledge. Beck, Ulrich (1986): Risikogesellschaft: Auf dem Weg in eine andere Moderne, Frankfurt a.M.: Suhrkamp. Beer, David (2009) »Power Through the Algorithm? Participatory Web Cultures and the Technological Unconscious«. In: New Media & Society 11, no. 6 (2009), 985-1002. Bigo, Didier/Jeandesboz, Julian: »Border Security, Technology and the Stockholm Pro- gramme«. INEX Policy Brief

. März 2006 http://www.information- ph i losoph ie .de/?a=1&t=222 &n=2 & y =1&c=1; 15.03.2014. ◆ hOANg, lINDA (2013): Edmontonian among Fans Worldwide Working to Recreate Star Wars Movie among-fans-worldwide-working-to-recreate-star-wars- movie-1.1254204; 29.12. 2014. ◆ IrON SKy (2013); Crowdfunding – The New Way to Finance Movies http://w w w.ironsk inance/; 04.11.2013. ◆ jENKINS, hENry (2006): Convergence Culture: Where Old and New Media Collide, New York. ◆ jENKINS, hENry (2010): Multiculturalism

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: edition diskord, 107-135. Trance und Trauma | 119 120 | Lene Faust Morris, Rosalind C. (2014): »On the Subject of Spirit Mediumship in the Age of New Me- dia«. In: Trance Mediums and New Media, hg. v. Heike Behrend/Anja Dreschke/Martin Zillinger, New York: Fordham University Press. Palmisano, Antonio L. (2013): »Visione, possessione, estasi: sulla teoria della trance rit- uale«. In: Rivista di Antropologia post-globale 1/2013, 7-36. Radebold, Hartmut (Hg.) (2008): Transgenerationale Weitergabe kriegsbelasteter Kindhei- ten: Interdisziplinäre Studien zur

. com, in: Karin Bijsterveld/Trevor Pinch (Hg.): The Oxford Handbook of Sound Studies, New York, S. 480-504. ◆ rEYnOlDs, sIMOn (2011): Retromania. Pop Culture’s Addiction to its Own Past, London. ◆ sInnrEIcH, ArAM (2010): Mashed Up. Music, Technology, and the Rise of Configurable Culture, Amherst und Boston. ◆ sTErnE, JOnATHAn (2006): The MP3 as Cultural Artifact, in: New Media and Society 8:5, S. 825-842. ◆ sTErnE, JOnATHAn (2012): MP3. The Meaning of a Format, Durham und London. ◆ sTrAW, WIll (2001): Dance Music, in: Simon Frith/Will Straw/John Street (Hg

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. Reflections on the Origin and Spread of Nationa- lism, London. ◆ BOltEr, JAy DAviD/GruSin, richArD (1999): Remediation. Understanding New Media, Cambridge. ◆ cAnBy, vincEnt (1983): »Psycho II« (1983): Sequel to »Psycho«, in: New York Times, 3. Juni [ C 0 0 E 2 D 712 3B F 9 3 0A 35755 C 0A 9 659 4 8 2 6 0 ; 28.04.2015]. ◆ cAnJElS, ruDmEr (2011): Distributing Silent Film Serials. Local Practices, Changing Forms, Cultural Transformation, New York. ◆ clinE, WilliAm c. (1984): In the Nick of Time. Motion Picture Sound Serials

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allen gemacht werden! Von literarischen Hy- pertexten zu virtuellen Schreibräumen, in: Friedrich Kittler/Dirk Matejowski (Hg.): Literatur im Informati- onszeitalter, Frankfurt am Main u.a., S. 143–184. ◆ JENKINS, HENRY (2007): Transmedia Storytelling 101, in: Confessions of an Aca-Fan: The Official Weblog of Henry Jenkins, March 22 [http://henryjenkins. org/2007/03/transmedia_storytelling _101.html; 18.12.2016]. ◆ JENKINS, HENRY (2006): Convergence Culture. Where Old and New Media Collide, New York, London. ◆ KEEN, ANDREW (2008): The Cult of the Amateur: How

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Infra- structure from Control Rooms to Household Practices«. In: Science & Technology Studies 27: 2, 93-114. Star, Susan Leigh (1999): »The Ethnography of Infrastructure«. In: American Behavioral Scientist 42: 3, 377-391. Star, Susan Leigh/Bowker, Geoffrey C. (2006): »How to Infrastructure«. In: Handbook of New Media, hg. v. Leah A. Liehvrouw/Sonia Livingstone, London: Sage, 230-245. Suchman, Lucy (1993): »Technologies of Accountability. Of Lizards and Aeroplanes«. In: Technology in Working Order. Studies of Work, Interaction, and Technology, hg. v. Graham