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anthropological (or Arab cultural studies) media history, as Armbrust envisages (2012). In a similar vein, it could be extended in a comparative perspective by ex- amining media practices in different generations.6 Gonzalez-Quijano’s (2003) early work on the internet in Lebanon touched upon the topic of generational change through new media within journalistic production, a track certainly worth being 4 In the wider research community, these ‘soft’ topics are not perceived as ‘serious’ enough, or they are

, Limor (2011): “An Anatomy of a YouTube Meme”, in: New Media and Society 14/2, 187-203. Smith, Adam (1976): The Theory of Moral Sentiments, Oxford: Claredon Press. Sonntag, Monika (2012): “Grenzüberschreitende Kooperation im Kulturbereich. Interkulturalität in Luxemburg und der Großregion”, in: Thomas Ernst/Dieter Heimböckel (eds.), Verortungen der Interkulturalität. Die Europäischen Kul- Spaces and Identit ies in Border Regions238 turhauptstädte Luxemburg und die Großregion (2007), das Ruhrgebiet (2010) und Istanbul (2010), Bielefeld: transcript, 95-111. Sonntag

-12. 326 I DIE TRANCE, DAS BLUT, DIE KAMERA Behrend, Heike (2005): »Zur Medialisierung okkulter Mächte: Geistmedien und Medien der Geister in Afrika«, in: Moritz Baßler et al. (Hg.), Gespenster. Er- scheinungen-Medien-Theorien, Würzburg, 201-214. Behrend, Heike, Dreschke, Anja, Zillinger, Martin (Hg.) (2014): Trance Medi- ums and New Media. Spirit Possession in the Age of Technical Reproduction, New York. Ben-Layashi, Samir (2007): »Moroccos's 2007 Elections: A Social Reading«, in: Middle East Review of International Affairs (11/4), 72-78. Benjamin, Walter (1974

who transgress the interdiction. In Brazilian Candomblé, too, embodied gods relentlessly burned the pictures that photographers hoped would preserve at least a trace of their fleeting passage during a trance. However, according to a recent study (Van de Port 2006), it seems that nowadays in Brazil, in spite of Candomblé’s constant emphasis on secrecy and media shyness, the taboos on the use of new media have been questioned and negotiated, some members using video and photography. Yet, interestingly, like Christian (Protestant) painters in Europe after the

density that a wedding provides when reviewing the wedding video or the wedding photographs. The role of new media is not only to expand transnational Muslim networks and to increase visibilities, as scholars such as Eickelman and Anderson (2003:XIV) have assumed in a rather general way, but there are also counter-attempts to withdraw from visibility and to in- terrupt the flow of images, in particular the images of women, and to create new opacities. 189 Yet, there were also Muslim women who did not mind being photo- graphed at all as long as they were “modestly

Verbindung. 8 Im Anschluss an Hirschkind, de Abreu und Caduff (2017:4f) werden ‚neue‘ Me- dien in dieser Arbeit nicht als stabile Größen definiert, sondern das ‚Neue‘ wird hier als eine Erwartung und ein Bezug auf die Zukunft verstanden, der selbst sehr stark vermittelt ist: „This means that the question of new media centers not on technological things that can be isolated as distinct entities but on rela- tionships among media practices and processes of mediation.“ 26 | Social Media im transnationalen Alltag Obwohl gerade in jüngster Zeit einige ethnologischen

- schen Deutungsmusters. Frankfurt am Main: Insel Intermedialer Style464 Bolter, Jay David; Grusin, Richard (2000) [1999]: Remediation. Understanding New Media. Cambridge, London: MIT Press Bommers, Michael (2006): Integration durch Sprache als politisches Konzept, in: Ulrike Davy; Albrecht Weber (Hg.): Paradigmenwechsel in Einwande- rungsfragen? Überlegungen zum neuen Zuwanderungsrecht. S. 59-86 Boos-Nünning, Ursula (2008): Junge Migrantinnen: Motor oder Hemmnis des sozialen Wandels. In: Olympe 27 (2008) (Postkolonialismus: Logik und Perspektiven). S. 42

the East Af- rican Coast) as prone to secrecy and deception. As Walter Benjamin suggested, truth is not a matter of exposure that destroys a secret, but of a revelation that does justice to it. Following Michael Taussig (1999), I prefer to dissolve the opposition between truth and secrecy and join them, one enveloping the other, truth being a secret and secrets holding some truth. On the Threshold to Digital Photography Since 2006, digital photography, in particular in the form of cam- era phones, has changed the media landscape along the coast. With this new

, two Likoni photographers, Bonifaz Wandera and Sammy Njuguna, together with the artist Sam- uel Chakua Masada who had painted most of their backdrops, were invited to attend the international art festival “Steirischer Herbst” in Graz, Austria.6 This festival was founded in 1968 and is one of the oldest avant-gardist events in Europe, striving to connect theater, painting, film, literature, dance, music, and architecture with new media and theoretical debates. The festival became notorious for its “scandals”: The works of Bill Fontana provoked aggression and

keine sichtbare Schnittstelle zur An- steuerung bietet. Im Folgenden wird diese Vorstellung der Blackbox, die die Funktionsweise von Technik verbirgt, Schritt für Schritt entdeckt. In  der  Arduino-­Entwicklungsumgebung  öffnen  wir  nun  im  Menüpunkt  ›Beispiele‹   das  Programmskript  »blink«.   24 Grenzfurthner, Johannes: Sorry, we are closed. Keynote zu Paraflows 7 (2013). In: Artist Talk. On New Media & Contemporary Art, http://www.artisttalk.eu/johannes-grenzfurthner/ (Zugriff: 1.1.2016). 182