themselves. Digital media makers can be less concerned with creating content that reaches privileged out-group members and create content that is for their own networks. This work is less about creating positive or respectable images that would appeal to
Black Trans and Queer Women’s Digital Media Production
Collaboration and Digital Media in (Re)making Boas’s 1897 Book
Aaron Glass, Judith Berman, and Rainer Hatoum
realize some part of Boas and Hunt’s long-deferred vision for their work while retaining their collaborative approach. The project explores the potentials—and pitfalls—of using digital media to mobilize past collections in the present and to imagine the
Transnational Mobilities of Moroccan Middle-class Professionals in Istanbul
This article explores the ways Moroccan middle-class professionals residing in Istanbul have forged transnational connections since the 2006 free trade agreement between Turkey and Morocco. Based on ethnographic fieldwork, the article finds that research participants embrace three interdependent mobilities – imaginative, corporeal and virtual. First, Moroccan television viewers imaginatively internalise images of Turkish society through Turkish programmes broadcast in Morocco. Then, Moroccan nationals engage in physical travel to Turkey, initially as tourists, but later also as job seekers. Finally, Moroccan residents of Istanbul travel virtually to keep in touch with friends and family through media such as online platforms and instant messaging applications. In this article I argue that users of virtual environments have developed into new transnational brokers, facilitating the spatial extension of border-crossing networks.
The Digital Heritage Sustainability (DHS) Framework
Ana Luisa Sánchez Laws
Digital materials, the primary resources for the production of contemporary culture, have brought many challenges to the heritage sector in relation to their curation, conservation, and dissemination. Digital heritage sustainability involves practices that help ensure the maintenance, enrichment, and enjoyment of digital heritage resources over periods of time that span across generations. The digital heritage sustainability (DHS) framework presented in this article provides an analytic basis for understanding the challenges associated with the use of digital materials in museums and for assessing how digital heritage resources can be sustained over time. As an example of use, the framework is applied to the Museum of London's digital resources.
Normativity in the Postdigital Museum
This article is an attempt to frame a way of seeing museums after the digital revolution. By introducing the concept of the ‘postdigital’, its aim is to evidence a tipping point in the adoption of new media in the museum—a moment where technology has become normative. The intention is not to suggest that digital media today is (or, indeed, should be) universally and equally adopted and assimilated by all museums, but rather to use the experience of several (national) museums to illustrate the normative presence digital media is having within some organizational strategies and structures. Having traced this perceived normativity of technology in these localized institutional settings, the article then attempts to reflect upon the consequences that the postdigital and the normative management of new media have for our approach to museological research.
Media Arts on Wheels
Gisela Domschke and Lucas Bambozzi
Labmovel/Mobile Lab is a joint initiative developed in Amsterdam by the Netherlands Media Art Institute (NIMk) and in Brazil by Vivo arte.mov, an International Mobile Media Art Festival, with the support of Telefonica’s Program of Art and Technology (BR) and Th e Mondriaan Foundation (NL). It consists of specially designed street vehicles equipped with features of digital media developed in the cities of Amsterdam and São Paulo. In 2012, artists from both countries submitted residency proposals that integrated the development of art projects, workshops, and cultural events as the Mobile Labs went on tour in the Netherlands and Brazil.
Amateur Radio and the Politics of Aural Surveillance in France, 1921-1940
Derek W. Vaillant
As France wrestles over the uses and societal impact of digital media and the Internet, it is instructive to recall another era of communications innovation, namely the introduction of interwar radio to the French public, and the government's reaction to controversial applications by the citizenry. Recent scholarship has underscored the importance of interwar radio broadcasting to France and its territories. Less explored, however, is the work of amateur user/developers who shaped the radio medium as an instrument of speaking, as well as listening. Determined to manage applications of radio, the French Interior Ministry formed a Police de l'Air to monitor France's airwaves, including the activities of amateur radio users (i.e., hams), whose lawful (and sometimes unlawful) use of point-to-point and broadcast communication had begun to significantly disrupt the government's effort to dictate the future forms and uses of radio. Against a backdrop of political crisis and attempts to manage print and electronic communication and dissent, the skirmishes between the Police de l'Air and amateur radio users reveal historical aspects of contemporary debates over use, access, and qualifications to speak and be heard in mediated cultural and political settings.
Multimodal Extension in the Works of Aleix Saló
Javier Muñoz-Basols and Marina Massaguer Comes
multimodality with social criticism – and by having a trailer circulate in a digital media economy – Saló was able to rapidly generate interest amongst different types of audiences. Hence, this innovative combination enabled Saló to whet viewers’ curiosity with
Lise Tannahill, Eliza Bourque Dandridge, and Rachel Mizsei Ward
’ [Comics and Their Cultural Identities: Landscapes and Borders], a wide-ranging, clear survey of the many debates around the form of comics, their cultural value, the current and possible future changes brought by digital media and the effects these changes
Mark McKinney, Jennifer Howell, Ross William Smith, and David Miranda Barreiro
best understood as a myriad of limited regional conflicts played out on an international scale via digital media. Consequently, stories of war – including those told in comics – have become an integral part of (post)modern warfare. Added to this is the