Scholarship has frequently struggled with several pairs of dichotomies as it has sought to understand the digital: real vs. virtual, authentic vs. mediated, openness (freedom) vs. closure (control), and community vs. network. In order to make conceptual headway without falling into these traps, we turn in this article to the concept of indexicality. We urge an account of the digital that sees it as a resource for social action, one with the capacity to reduce and abstract as well as to differentiate and proliferate, recognizing both of these as potential projects that social actors may undertake. We offer the operation of money as an instructive analogy for how we may identify both the abstracting and the specifying dimensions of the digital.
Yang Liu, Thomas Malaby and Daniel Miller
André Bazin and Roland Barthes both theorize a cinematic realism based on the indexical ability of the photographic image (the ability of the image to indicate an original object). How are their arguments affected by the advent of digital, nonindexical cinematic technologies? The article considers how a nonindexical realism might be possible, by looking at three recent films: Waking Life, A Scanner Darkly, and Eternal Sunshine of the Spotless Mind.
Making Sense of the Digital Political Landscape and Assessing the Potential for Mobilization versus Apathy
generate as rich an analysis as possible without diluting or trivializing the individual testimonies of those involved. The various themes will be addressed in the same order as they are presented in Table 1 . The Digital Native versus the Digital
Exploring Girlhood Identity in Technology Camp
Jen England and Robert Cannella
Girls’ relationships with digital technologies are often complicated by competing narratives. Girls are told that digital technologies are a gender neutralizer or savior; this is a common argument of 1990s’ cyberfeminism that “celebrated digital
Malta’s Front Harsien ODZ
June 2015, it organized Malta’s biggest environmental protest with around three thousand to four thousand participants in Valletta, the capital city. The buildup and follow-up to these physical events were carried out through digital media, in terms of
New Players and New Pedagogies in Three-Dimensional Cultural Heritage
“Digital heritage carries the potential to unmoor images from their material forms and surroundings and thereby offer novel forms of revitalization, reintegration, and possession.” ( Phillips 2011 ) Like many technologies of the “new museum,” three
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.
Technological Mediation, Oceanic Imaginaries, and Future Depths
Remote technologies and digitally mediated representations now serve as a central mode of interaction with hard-to-reach sea spaces and places. This article reviews the literature on varied scholarly engagements with the sea and on the oceanic application of technologies—among them geographic information systems, remotely operated vehicles, and autonomous underwater vehicles—that allow people to envision and engage with deep and distant oceanic spaces. I focus on the extension of a digital and disembodied human presence in the oceans and the persistence of frontier fictions, in which the sea figures as a site of future-oriented possibilities. Finally, I ask what the emphasis on “seeing” through technological mediation means for how we imagine vast spaces, and consider how these elements of the oceanic imaginary can be productively complicated by drawing attention to the materiality of the oceans and the scalar politics of dynamic spaces.
Christopher Howard and Wendelin Küpers
. Specifically, we consider how the situated technological practices of global travelers in Nepal and India revealed a tendency to drift in and out of their immediate corporeal emplacements via digitally mediated extensionality of embodied presence. Being
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