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the right target audience, how to compete with other goods available to the recipient (or customer) and, consequently, how to increase economic benefits. Seen in this light, the creation of literature and other medial formats turns out to be a collaborative endeavor which, to a considerable degree, follows the complex logic of the marketplace and thus stands in stark con- trast to the romantic notion of autonomous authorship and unrestricted ar- tistic freedom, which, though scholarship has long addressed this economic framing of cultural production, has been

“All Those Who Know the Term ‘Gentrification’ are Part of the Problem”1 Self-Reflexivity in Urban Activism and Cultural Production Jens Martin Gurr The City is our Factory—under this banner we might actually be able to finally escape the narcissist trap of the Left, which brands itself or the subculture as the real motor of gentrification and consequently sinks into a protestant discourse of guilt-ethics and self-accusation. […] If we want to develop a post-crisis urbanisation model, if we want to replace the neoliberal model, we not only need to make the

From DIY to Collaborative Fields of Experimentation From DIY to Collaborative Fields of Experimentation: Feminist Media and Cultural Production Towards Social Change – A Visual Contribution1 Elke Zobl 1 Acknowledgement: The research on this project was funded by the Austrian Science Fund (FWF): P21187. Note: This contribution is a collage of images and quotes from in- terviews conducted within the project (the quotes are not necessarily from the creators of the images). The interviews can be accessed at: All images reprinted

interessierten Leser auf eine Internetseite mit wei- teren Artikeln zum Thema, ein gelungenes Beispiel für die Verbindung von Off- und Onlinemedien. Martin Lücke H. Cecilia SUHR: Social Media and Music. The Digital Field of Cultural Production (= Digital Formation, 77). New York (Lang) 2012, 139 Seiten. Der Diskurs um die Auswirkungen der Digitalisierung auf die Kultur- und Kreativwirtschaft ist ein nach wie vor dominantes und polarisieren- des Thema. Die Musikwirtschaft im Besonderen wurde mit tief greifen- den Wandlungsprozessen in den Bereichen Produktion, Vermarktung

across race, class and gender. Finally, I develop the argument that access to cultural production networks such as the games industry constitutes important factors that need to be taken seriously in research on cul- tural memory and game studies. Thus, my article investigates global power relationships, political economy, colonial legacies and cultural hegemony within the videogame industry, and how these are instanti- ated in individual instances of game developers. Introduction The production of modern historical videogames requires tens if not hundreds

touchscreens, including the shift from vertical to horizontal navigational logic and the focus on physical contiguity in user experience design. Third, a series of short, inter- connected case studies serves to illustrate the more specific implica- tions on practices of media use and cultural production in a variety of applications. For example, apps like Vine evoke the ‘tangibil- ity’ of digital material by allowing users to start and stop record- ing video by touching and releasing the screen respectively. Other, even more iconic examples include the swipe mechanic

Political Humor in the Arab Uprisings
Theorie und Praxis des integrierten Kulturmanagements