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A witty, often terrifying that chronicles our transformation into a society that is shaped by technology—from the acclaimed author of Amusing Ourselves to Death. "A provocative book ... A tool for fighting back against the tools that run our lives." —Dallas Morning News The story of our society's transformation into a Technopoly: a society that no longer merely uses technology as a support system but instead is shaped by it—with radical consequences for the meanings of politics, art, education, intelligence, and truth.
In 1992, Neil Postman presciently coined the term "technopoly" to refer to "the surrender of culture to technology." This book brings together a number of contributors from different disciplinary perspectives to analyze technopoly both as a concept and as it is seen and understood in contemporary society. Contributors present both analysis of and strategies for managing socio-technical conflict, and they also open up a number of fruitful new lines of thought around emerging technological, social, and even psychological forms.
Artists who work with new media generally adopt a critical media approach in contrast to artists who work with traditional art media. Where does the difference lie between media artists and artists who produce modern art? Which key art objects illustrate this trend? The author investigates the relationship between art and technology on the basis of work produced by Edward Ihnatowicz and Harald Cohen, and on the basis of the pioneering computer art exhibition at Dokumenta X in 1997. His line of argument counters the generally held view that computer art straddles the gap between art and technology. Instead, he is seeking a genuine interpretation of the origin of media art, and to develop new perspectives for it.
And herein lies the irony of the situation, certainly as far as African Americans were concerned. On one hand the machine was regarded as a curse because it represented a threat to employees. But the last hired, first fired employment principle that was applied to African American employees made the machine an even greater threat to them. Then, on the other hand, the machine reduced the amount of human physical exertion required to accomplish a task. Since racist discrimination insured that African Americans would end up with the least desirable, most arduous tasks, machines were then simultaneously viewed as a blessing. Resolving this conundrum was the dilemma facing the African American worker following the Civil War. The Legend of John Henry was the vehicle African Americans created to set forth their struggle. The legend quickly gave birth to The Ballad of John Henry. And, as such, it functioned as the healing element in a blues piece functions. Referred to as Stompin the Blues, it enables those who partake to overcome the pain of whatever trial or tribulation may have them down. The legend and the ballad utilized the very powerful format of storytelling to both present the immediate issue as well as to make the timeless point. African Americans of that day were responding to the onset of technopoly via The Legend of John Henry. Today as modern society struggles with weapons of mass destruction and environmental devastation, it should be obvious that John Henry remains the Man of the Moment.
Contemporary society is rife with instability. Contemporary genetic research has raised and given life to the one-time science fiction specter: the clone. The scarcity of natural energy sources has led to greater manipulation of atomic or nuclear energy and as a result greater danger. And the promises of globalization have, in some cases, delivered their intended results, but in many other ways they have created even greater social and economic gaps. An urgent commentary in the tradition of Herbert Marcuse's One Dimensional Man or even Sigmund Freud's Civilization and Its Discontents, Raphael Sassower's powerful new book is a culmination of many years of research and thought carefully arranged into an extended essay on our contemporary social, cultural, and existential orientation in the modern world.
Classroom on the Road: Designing, Teaching, and Theorizing Out-of-the-Box Faculty-Led Student Travel explores real-world, out-of-the-box examples of faculty-led student travel that challenge the dominant paradigms of conventional tourism. Contributors share teaching methods that can be adapted for a variety of university travel scenarios and encourage students to be responsible and thoughtful members of the global community who seek out valuable experiences in other cultures to go beyond the standard consumption of touristy clichés. Furthermore, this book contributes to existing discourse about travel by going beyond being “just” a tourist to become a person who impacts—and is impacted by—other cultures and the commensurate politics of place. Contributors discuss issues of cultural imperialism, economic disparity, and responsible travel that can help protect unique destinations from the homogenizing effects of global capitalism, encouraging respectful and responsible travel.
Even prior to the field’s invention, Susanne Langer implied that the arts are all subtopics of Communication Studies. This unique project has effectively allowed the author to combine his backgrounds in the interdisciplinary fields of popular music studies, cultural theory, communication studies, and the practice of music criticism. This book investigates the fascinating and important work of the British group Radiohead, named by Time Magazine among its Top 100 Most Influential People of 2008, and focuses particularly on their landmark recording OK Computer (1997), a document preserved as part of the Library of Congress National Recording Registry in 2015. Probing the band’s exploration of the crucial issues surrounding contemporary technological development, especially as it relates to the concern of human survival, Radiohead and the Global Movement for Change is essentially a work of criticism that in its analysis combines what is known as ‘musical hermeneutics’ with the media ecology perspective. In this way, the author delineates how Radiohead’s work operates as a clarion call that directs our attention to the troubling complex of cultural conditions that Neil Postman (1992) identifies as ‘Technopoly’ or ‘the surrender of culture to technology’—a phenomenon that must become more broadly recognized and comprehended in order for it to be successfully confronted. This book’s distinguishing features include: 1) its edifying analysis of a richly profound and celebrated musical text; 2) its extended focus upon what Martin Heidegger famously refers to as ‘the question concerning technology’; 3) its use of the media ecology scholarly tradition at whose core lies communication study; and 4) its innovative and unique deployment of the affect-script theory of American personality theorist Silvan Tomkins in the study of musical communication.
Beyond its elucidation and critique of traditional ‘notation-centric’ musicology, this book's primary emphasis is on the negotiation and construction of meaning within the extended musical multimedia works of the classic British group Pink Floyd. Encompassing the concept albums that the group released from 1973 to 1983, during Roger Waters’ final period with the band, chapters are devoted to Dark Side of the Moon (1973), Wish You Were Here (1975), Animals (1977), The Wall (1979) and The Final Cut (1983), along with Waters’ third solo album Amused to Death (1993). This book's analysis of album covers, lyrics, music and film makes use of techniques of literary and film criticism, while employing the combined lenses of musical hermeneutics and discourse analysis, so as to illustrate how sonic and musical information contribute to listeners’ interpretations of the discerning messages of these monumental musical artifacts. Ultimately, it demonstrates how their words, sounds, and images work together in order to communicate one fundamental concern, which—to paraphrase the music journalist Karl Dallas—is to affirm human values against everything in life that should conspire against them.
Computers are supposed to be smart, yet they frustrate both ordinary users and computer technologists. Why are people frustrated by smart machines? Computers don’t fit people. People think in terms of comparisons, stories, and analogies, and seek feedback, whereas computers are based on a fundamental design that does not fit with analogical and feedback thinking. They impose a binary, an all-or-nothing, approach to everything. Moreover, the social world and institutions that have developed around computer technology hide and reinforce the lack of alignment between computers and people. This book suggests a solution: we do not have to accept the way things are now and work around the bad social and technical design of computers. Rather, it proposes a diverse, distributed, critical discussion of how to design and build both computer technology and its social institutions.
Examines the effects of television culture on how we conduct our public affairs and how "entertainment values" corrupt the way we think.