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Reimagining press freedom in a networked era: not just a journalist's right to speak but also a public's right to hear. In Networked Press Freedom, Mike Ananny offers a new way to think about freedom of the press in a time when media systems are in fundamental flux. Ananny challenges the idea that press freedom comes only from heroic, lone journalists who speak truth to power. Instead, drawing on journalism studies, institutional sociology, political theory, science and technology studies, and an analysis of ten years of journalism discourse about news and technology, he argues that press freedom emerges from social, technological, institutional, and normative forces that vie for power and fight for visions of democratic life. He shows how dominant, historical ideals of professionalized press freedom often mistook journalistic freedom from constraints for the public's freedom to encounter the rich mix of people and ideas that self-governance requires. Ananny's notion of press freedom ensures not only an individual right to speak, but also a public right to hear. Seeing press freedom as essential for democratic self-governance, Ananny explores what publics need, what kind of free press they should demand, and how today's press freedom emerges from intertwined collections of humans and machines. If someone says, “The public needs a free press,” Ananny urges us to ask in response, “What kind of public, what kind of freedom, and what kind of press?” Answering these questions shows what robust, self-governing publics need to demand of technologists and journalists alike.
Reimagining press freedom in a networked era: not just a journalist's right to speak but also a public's right to hear. In Networked Press Freedom, Mike Ananny offers a new way to think about freedom of the press in a time when media systems are in fundamental flux. Ananny challenges the idea that press freedom comes only from heroic, lone journalists who speak truth to power. Instead, drawing on journalism studies, institutional sociology, political theory, science and technology studies, and an analysis of ten years of journalism discourse about news and technology, he argues that press freedom emerges from social, technological, institutional, and normative forces that vie for power and fight for visions of democratic life. He shows how dominant, historical ideals of professionalized press freedom often mistook journalistic freedom from constraints for the public's freedom to encounter the rich mix of people and ideas that self-governance requires. Ananny's notion of press freedom ensures not only an individual right to speak, but also a public right to hear. Seeing press freedom as essential for democratic self-governance, Ananny explores what publics need, what kind of free press they should demand, and how today's press freedom emerges from intertwined collections of humans and machines. If someone says, “The public needs a free press,” Ananny urges us to ask in response, “What kind of public, what kind of freedom, and what kind of press?” Answering these questions shows what robust, self-governing publics need to demand of technologists and journalists alike.
Networking means to create nets of relations, where the publisher and the reader, the artist and the audience, act on the same level. The book is a first tentative reconstruction of the history of artistic networking in Italy, through an analysis of media and art projects which during the past twenty years have given way to a creative, shared and aware use of technologies, from video to computers, contributing to the creation of Italian hacker communities. The Italian network proposes a form of critical information, disseminated through independent and collective projects where the idea of freedom of expression is a central theme. In Italy, thanks to the alternative use of Internet, during the past twenty years a vast national network of people who share political, cultural and artistic views has been formed. The book describes the evolution of the Italian hacktivism and net culture from the 1980s till today. It builds a reflection on the new role of the artist and author who becomes a networker, operating in collective nets, reconnecting to Neoavant-garde practices of the 1960s (first and foremost Fluxus), but also Mail Art, Neoism and Luther Blissett. A path which began in BBSes, alternative web platforms spread in Italy through the 1980s even before the Internet even existed, and then moved on to Hackmeetings, to Telestreet and networking art by different artists such as 0100101110101101.ORG, [epidemiC], Jaromil, Giacomo Verde, Giovanotti Mondani Meccanici, Correnti Magnetiche, Candida TV, Tommaso Tozzi, Federico Bucalossi, Massimo Contrasto, Mariano Equizzi, Pigreca, Molleindustria, Guerriglia Marketing, Sexyshock, Phag Off and many others.
This collection of essays takes up the question of the cultural meaning of the information and communications technology that makes these new ways of engaging with art and history possible.
Essays, photo-essays, interviews, manifestos, diagrams, and a play explore the varied legacies, influences, and futures of the Bauhaus. What would keep the Bauhaus up at night if it were practicing today? A century after its founding by Walter Gropius in Weimar, Germany, as an “experimental laboratory of the future,” who are the pioneering experimentalists who reinscribe or resist Bauhaus traditions? This book explores the varied legacies, influences, and futures of the Bauhaus. Many of the animating issues of the Bauhaus—its integration of research, teaching, and practice; its experimentation with materials; its democratization of design; its open-minded, heterogeneous approach to ideas, theories, methods, and styles—remain relevant. The contributors to Bauhaus Futures address these but go further, considering issues that design has largely ignored for the last hundred years: gender, race, ethnicity, class, sexuality, and disability. Their contributions take the form of essays, photo-essays, interviews, manifestos, diagrams, and even a play. They discuss, among other things, the Bauhaus curriculum and its contemporary offshoots; Bauhaus legacies at the MIT Media Lab, Black Mountain College, and elsewhere; the conflict between the Bauhaus ideal of humanist universalism and current approaches to design concerned with race and justice; designed objects, from the iconic to the precarious; textile and weaving work by women in the Bauhaus and the present day; and design and technology. Contributors Alice Arnold, Jeffrey Bardzell, Shaowen Bardzell, Karen Kornblum Berntsen, Marshall Brown, Stuart Candy, Jessica Charlesworth, Elizabeth J. Chin, Taeyoon Choi, B. Coleman, Carl DiSalvo, Michael J. Golec, Kate Hennessy, Matthew Hockenberry, Joi Ito, Denisa Kera, N. Adriana Knouf, Silvia Lindtner, Shannon Mattern, Ramia Mazé, V. Mitch McEwen, Oliver Neumann, Paul Pangaro, Tim Parsons, Nassim Parvin, Joanne Pouzenc, Luiza Prado de O. Martin, Daniela K. Rosner, Natalie Saltiel, Trudi Lynn Smith, Carol Strohecker, Alex Taylor, Martin Thaler, Fred Turner, Andre Uhl, Jeff Watson, Robert Wiesenberger
Freedom of expression – particularly freedom of speech – is, in most Western liberal democracies, a well accepted and long established, though contested constitutional right or principle. Whilst based in ethical, rights-based and political theories such as those of: justice, the good life, personal autonomy, self determination, and welfare, as well as arrangements over legitimate government, pluralism and its limits, democracy and the extent and role of the state, there is always a lack of agreement over what precisely freedom of expression entails and how it should be applied. For the purposes of this book we are concerned with freedom of expression and the media with regard to the current application of legal standards and self-regulation to journalistic practice.
Podcasting: New Aural Cultures and Digital Media is the first comprehensive interdisciplinary collection of academic research exploring the definition, status, practices and implications of podcasting through a Media and Cultural Studies lens. By bringing together research from experienced and early career academics alongside audio and creative practitioners, the chapters in this volume span a range of approaches in a timely reaction to podcasting’s zeitgeist moment. In conceptualizing the podcast, the contributors examine its liminal status between the mechanics of ‘old’ and ‘new’ media and between differing production contexts, in addition to podcasting’s reliance on mainstream industrial structures whilst retaining an alternative, even outsider, sensibility. In the present tumult of online media discourse, the contributors frame podcasting as indicative of a ‘new aural culture’ emerging from an identifiable set of industrial, technological and cultural circumstances. The analyses in this collection offer a range of interpretations which begin to open avenues for further research into a distinct Podcast Studies.
An analysis of divergent online news preferences of journalists and consumers and what this means for media and democracy in the digital age. The websites of major media organizations—CNN, USA Today, the Guardian, and others—provide the public with much of the online news they consume. But although a large proportion of the top stories these sites disseminate cover politics, international relations, and economics, users of these sites show a preference (as evidenced by the most viewed stories) for news about sports, crime, entertainment, and weather. In this book, Pablo Boczkowski and Eugenia Mitchelstein examine the divergence in preferences and consider its implications for the media industry and democratic life in the digital age. Drawing on analyses of more than 50,000 stories posted on twenty news sites in seven countries in North and South America and Western Europe, Boczkowski and Mitchelstein find that the gap in news preferences exists regardless of ideological orientation or national media culture, and that it is not affected by innovations in forms of storytelling, such as blogs and user-generated content on mainstream news sites. Drawing upon these findings, they explore the news gap's troubling consequences for the matrix that connects communication, technology, and politics in the digital age.
Who controls the media today? There are many media systems across the globe that claim to be free yet whose independence has been eroded. As demagogues rise, independent voices have been squeezed out. Corporate-owned media companies that act in the service of power increasingly exercise soft censorship. Tech giants such as Facebook and Google have dramatically changed how people access information, with consequences that are only beginning to be felt. This book features pathbreaking analysis from journalists and academics of the changing nature and peril of media capture—how formerly independent institutions fall under the sway of governments, plutocrats, and corporations. Contributors including Emily Bell, Felix Salmon, Joshua Marshall, Joel Simon, and Nikki Usher analyze diverse cases of media capture worldwide—from the United Kingdom to Turkey to India and beyond—many drawn from firsthand experience. They examine the role played by new media companies and funders, showing how the confluence of the growth of big tech and falling revenues for legacy media has led to new forms of control. Contributions also shed light on how the rise of right-wing populists has catalyzed the crisis of global media. They also chart a way forward, exploring the growing need for a policy response and sustainable models for public-interest investigative journalism. Providing valuable insight into today’s urgent threats to media independence, Media Capture is essential reading for anyone concerned with defending press freedom in the digital age.
One of the foremost media critics provides a comprehensive analysis of the economic and political powers that are being mobilized to consolidate private control of media with increasing profit--all at the expense of democracy.