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"Media history is millions, even billions, of years old. That is the premise of this pioneering and provocative book, which argues that to adequately understand contemporary media culture we must set out from material realities that precede media themselves--Earth's history, geological formations, minerals, and energy. And to do so, writes Jussi Parikka, is to confront the profound environmental and social implications of this ubiquitous, but hardly ephemeral, realm of modern life. Exploring the resource depletion and material resourcing required for us to use our devices to live networked lives, Parikka grounds his analysis in Siegfried Zielinski's widely discussed notion of deep time--but takes it back millennia. Not only are rare earth minerals and many other materials needed to make our digital media machines work, he observes, but used and obsolete media technologies return to the earth as residue of digital culture, contributing to growing layers of toxic waste for future archaeologists to ponder. Parikka shows that these materials must be considered alongside the often dangerous and exploitative labor processes that refine them into the devices underlying our seemingly virtual or immaterial practices." -- Publisher's website.

mediatheorie --- nieuwe media --- cultuurfilosofie --- geologie --- activisme --- Zielinski Siegfried --- ecologie --- Mass media. --- Mass media --- Mass media and culture. --- Social aspects.

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Historien d'art, essayiste, critique, Louis Chéronnet fut le témoin de l'apparition de la publicité à la fin des années 1920 sur les affiches, les colonnes Morris, dans les journaux, etc. Il évoque dans ces textes, écrits pour la plupart en 1927 pour le mensuel L'art vivant, l'essor de ce nouveau média et les rapports qu'il entretient avec le monde de l'art. ©Electre 2016

Publicity --- Advertising --- Publicité --- History --- Histoire --- grafisch ontwerp --- grafische vormgeving --- grafisch design --- twintigste eeuw --- interbellum --- Frankrijk --- 130.2 --- 766.01 --- mediatheorie --- mediakunde --- reclamevormgeving --- reclame

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Black transparency is an involuntary disclosure of secrets against a backdrop of systematic online surveillance, as large parts of contemporary life move into the digital realm. Black transparency, as a radical form of information democracy, has brought forward a new sense of unpredictability to international relations, and raises questions about the conscience of the whistleblower, whose personal politics are now instantly geopolitical. Empowered by networks of planetary-scale computation, disclosures today take on an unprecedented scale and immediacy. Difficult to contain and even harder to prevent, black transparency does not merely create openness, order, and clarity; rather, it triggers chaos, stirring the currents of a darker and more mercurial world. Metahaven was founded in 2007 by Vinca Kruk and Daniel van der Velden. In Black Transparency - part essay, part fanzine - Metahaven embark on a journey of subversion, while examining transparency's intersections with design, architecture, and pop culture, as well as its ability to unravel the circuitry of modern power. A Google executive once said: "If you want to liberate a society just give them the Internet." But how does one liberate a society that already has the Internet? Publicly, modern government adheres to the twin ideals of institutional transparency and personal privacy. In reality, while citizens are subjected to mass surveillance, government practice goes unchecked. A new generation has taken to the Internet to defend the right to governance without secrets. From Bradley Manning and WikiLeaks to LulzSec and Anonymous, from the Icelandic Modern Media Initiative to the revelations of Edward Snowden, a coalition is breaking through the secrecy that lies at the core of the modern state. The story gets more complex when open government is contrasted with black transparency, and when a geopolitical rift between the West and Russia becomes the dividing line for whistleblowers and transparency activists seeking refuge. What is transparency for one may be propaganda for the other.

media --- mediakunde --- mediatheorie --- kunst en technologie --- cultuurfilosofie --- designtheorie --- Van der Velden Daniel --- Kruk Vinca --- eenentwintigste eeuw --- perceptie --- waarneming --- kunst en politiek --- politiek --- architectuur --- 7.01 --- 7.071 METAHAVEN --- 745.071 METAHAVEN --- 766.071 METAHAVEN --- kunst --- design --- informatietechnologie --- internet --- 13 --- 72 --- 745 --- 004 --- 007 --- 316.4 --- Cultuurfilosofie --- Architectuur --- Design --- Internet --- Informatietechnologie --- Visuele communicatie --- Macht --- Kunsttheorie --- Electronique --- Technologie --- Consommation --- Information --- Sociologie de la communication

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De digitale revolutie brengt een eigentijds proletariaat voort. Fabrieksarbeiders zijn vervangen door informatieverwerkers, grootindustriëlen door grootdatabezitters, machines door megaservers. De industrialisering van de arbeid heeft plaatsgemaakt voor de industrialisering van de geest, lichamelijke uitputting voor geestelijke uitputting, en milieuvervuiling wordt verdrongen door mentale vervuiling.In Het digitale proletariaat wordt de ontstaansgeschiedenis van een eigentijdse klasse geschetst. De digitale proletariër is een mens van wie het hele bewustzijn - zijn aandacht, emoties en vriendschappen, zijn ideeën en fantasieën - tot koopwaar is gereduceerd. Schnitzler maakt inzichtelijk dat de mens zowel zijn handelingsbekwaamheid als zijn levenskennis dreigt te verliezen. Totale proletarisering is het resultaat. De bijtende kritiek van de auteur op de digitale cultuur noopt tot bezinning.Bron : http://www.wpg.be

Political philosophy. Social philosophy --- Philosophy and psychology of culture --- 130.2 --- cultuurfilosofie --- mediatheorie --- media --- nieuwe media --- economie --- politiek --- technologie --- #SBIB:309H103 --- 316.344.2 --- Mediatechnologie / ICT / digitale media: sociale en culturele aspecten --- Socio-economische groepen --- Digitalisering --- Trends --- Maatschappelijke ontwikkelingen --- Informatietechnologie --- Technologie en maatschappij --- Informatiemaatschappij --- Decroos, Johan --- 316.344.2 Socio-economische groepen --- Technologie en maatschappij. --- Informatiemaatschappij. --- Decroos, Johan. --- arbeidssociologie --- digitalisering --- Cultuurfilosofie --- Media --- Trend --- Maatschappelijke ontwikkeling --- IT

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In the late 1950s, experiments such as the cybernetic sculptures of Nicolas Schöffer or the programmatic music compositions of John Cage and Iannis Xenakis transposed systems theory from the sciences to the arts. By the 1960s, artists as diverse as Roy Ascott, Hans Haacke, Robert Morris, Sonia Sheridan, and Stephen Willats were breaking with accepted aesthetics to embrace open systems that emphasized organism over mechanism, dynamic processes of interaction among elements, and the observer's role as an inextricable part of the system. Jack Burnham's 1968 Artforum essay "Systems Aesthetics" and his 1970 "Software" exhibition marked the high point of systems-based art until its resurgence in the changed conditions of the twenty-first century. Systems traces this radical shift in aesthetics from its roots in mid twentieth-century general systems theory, cybernetics, and artificial intelligence to the cutting-edge science of the present. The collected texts examine the connections between advanced technological systems, our bodies and minds; the relation of musical to spatial and architectural structures; and the ways in which systems-based art projects can create self-generating entities and networks, alter our experience of time, change the configurations of social relations, cross cultural borders, and interact with threatened ecosystems.

artificial intelligence --- Aesthetics of art --- hedendaagse kunst --- Philosophy and psychology of culture --- systems [equipment] --- kunstprojecten --- cybernetic art --- Art --- interactive art --- anno 1900-1999 --- Arts, Modern --- System theory. --- Philosophy --- Philosophy. --- 7.01 --- Kunst ; theorie, filosofie, esthetica --- 7.038 --- Kunsttheorie ; systeemtheorie en kunst in de 20ste eeuw --- Kunstgeschiedenis ; 1950 - 2000 --- System theory --- Esthétique --- Technologie --- Technologie et art --- Cybernétique --- Intelligence artificielle --- Cultuurfilosofie. Cultuurpsychologie --- Kunstesthetica --- Kunst --- cybernetische kunst --- kunstmatige intelligentie --- systemen --- interactieve kunst --- systeemtheorie --- cybernetica --- epistemologie --- kennisleer --- mediatheorie --- mediakunde --- information design --- informatiedesign --- informatie --- kunst --- 130.2 --- 7.039 --- 7.038/039 --- cultuurfilosofie --- kunsttheorie --- twintigste eeuw --- eenentwintigste eeuw --- KI (kunstmatige intelligentie) --- projects [artistic concepts] --- AI (artificiële intelligentie)