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'This is the first effort that I am aware of anywhere to do a book-length profile of an emerging genre - the local online news community [. . .] Kennedy does a wonderful job of illustrating this story through people, incidents, anecdotes, and then rolling back into the theory and policy implications. "The Wired City" is important to participatory democracy and community.' - Bill Densmore, director The Media Giraffe Project.
BONUS: This edition contains a new Afterword and a reading group guide. Utopia, Texas: It’s either the best place on earth, or it’s no place at all. In the twenty-first century, it’s difficult to imagine any element of American life that remains untouched by popular culture, let alone an entire community existing outside the empire of pop. But Karen Valby discovered the tiny town of Utopia tucked away in the Texas Hill Country. There are no movie theaters for sixty miles in any direction, no book or music stores. But cable television and the Internet have recently thrown wide the doors of Utopia. Valby follows the lives of four Utopians—Ralph, the retired owner of the general store; Kathy, the waitress who waits in terror for three of her boys to return from war; Colter, the son of a cowboy with the soul of a hipster; and Kelli, an aspiring rock star and one of the only black people in town—as they reckon, on an intensely human scale, with war and race, class and culture, and the way time’s passage can change the ground beneath our feet. Utopia is the kind of place we still think of as the “real America,” a place of cowboys and farmers and high-school sweethearts who stay together till they die. But its dramatic stories show us what happens when the old tensions of small-town life confront a new reality: that no town, no matter how small and isolated, can escape the liberating and disruptive forces of the larger world. Welcome to Utopia is a moving elegy for a proud American way of life and a celebration of our relentless impulse toward rebirth.
This collection looks at the post–network television industry’s heady experiments with new forms of interactive storytelling—or wired TV—that took place from 2005 to 2010 as the networks responded to the introduction of broadband into the majority of homes and the proliferation of popular, participatory Web 2.0 companies like Facebook, YouTube, and Twitter. Contributors address a wide range of issues, from the networks’ sporadic efforts to engage fans using transmedia storytelling to the production inefficiencies that continue to dog network television to the impact of multimedia convergence and multinational, corporate conglomeration on entrepreneurial creativity. With essays from such top scholars as Henry Jenkins, John T. Caldwell, and Jonathan Gray and from new and exciting voices emerging in this field, Wired TV elucidates the myriad new digital threats and the equal number of digital opportunities that have become part and parcel of today’s post-network era. Readers will quickly recognize the familiar television franchises on which the contributors focus— including Lost, The Office, Entourage, Battlestar Gallactica, The L Word, and Heroes—in order to reveal their impact on an industry in transition. While it is not easy for vast bureaucracies to change course, executives from key network divisions engaged in an unprecedented period of innovation and collaboration with four important groups: members of the Hollywood creative community who wanted to expand television’s storytelling worlds and marketing capabilities by incorporating social media; members of the Silicon Valley tech community who were keen to rethink television distribution for the digital era; members of the Madison Avenue advertising community who were eager to rethink ad-supported content; and fans who were enthusiastic and willing to use social media story extensions to proselytize on behalf of a favorite network series. In the aftermath of the lengthy Writers Guild of America strike of 2007/2008, the networks clamped down on such collaborations and began to reclaim control over their operations, locking themselves back into an aging system of interconnected bureaucracies, entrenched hierarchies, and traditional partners from the past. What’s next for the future of the television industry? Stay tuned—or at least online. Contributors: Vincent Brook, Will Brooker, John T. Caldwell, M. J. Clarke, Jonathan Gray, Henry Jenkins, Derek Johnson, Robert V. Kozinets, Denise Mann, Katynka Z. Martínez, and Julie Levin Russo
New York Times Bestseller! Beloved and bestselling author Sir Terry Pratchett's Dodger, a Printz Honor Book, combines high comedy with deep wisdom in a tale of one remarkable boy's rise in a fantasy-infused Victorian London. Seventeen-year-old Dodger is content as a sewer scavenger. But he enters a new world when he rescues a young girl from a beating, and her fate impacts some of the most powerful people in England. From Dodger's encounter with the mad barber Sweeney Todd, to his meetings with the great writer Charles Dickens and the calculating politician Benjamin Disraeli, history and fantasy intertwine in a breathtaking account of adventure and mystery. Creator of the popular Discworld fantasy series, Sir Terry also received a prestigious Printz Honor from the American Library Association for his novel Nation.
How can we understand the infinite variety of cities? Darran Anderson seems to exhaust all possibilities in this work of creative nonfiction. Drawing inspiration from Marco Polo and Italo Calvino, Anderson shows that we have much to learn about ourselves by looking not only at the cities we have built, but also at the cities we have imagined. Anderson draws on literature (Gustav Meyrink, Franz Kafka, Jaroslav Hasek, and James Joyce), but he also looks at architectural writings and works by the likes of Bruno Taut and Walter Gropius, Medieval travel memoirs from the Middle East, mid-twentieth-century comic books, Star Trek, mythical lands such as Cockaigne, and the works of Claude Debussy. Anderson sees the visionary architecture dreamed up by architects, artists, philosophers, writers, and citizens as wedded to the egalitarian sense that cities are for everyone. He proves that we must not be locked into the structures that exclude ordinary citizens--that cities evolve and that we can have input. As he says: "If a city can be imagined into being, it can be re-imagined as well.”
Cable television is arguably the dominant mass media technology in the U.S. today. Blue Skies traces its history in detail, depicting the important events and people that shaped its development, from the precursors of cable TV in the 1920s and '30s to the first community antenna systems in the 1950s, and from the creation of the national satellite-distributed cable networks in the 1970s to the current incarnation of "info-structure" that dominates our lives. Author Patrick Parsons also considers the ways that economics, public perception, public policy, entrepreneurial personalities, the social construction of the possibilities of cable, and simple chance all influenced the development of cable TV. Since the 1960s, one of the pervasive visions of "cable" has been of a ubiquitous, flexible, interactive communications system capable of providing news, information, entertainment, diverse local programming, and even social services. That set of utopian hopes became known as the "Blue Sky" vision of cable television, from which the book takes its title. Thoroughly documented and carefully researched, yet lively, occasionally humorous, and consistently insightful, Blue Skies is the genealogy of our media society.
City of Light tells the story of fiber optics, tracing its transformation from 19th-century parlor trick into the foundation of our global communications network. Written for a broad audience by a journalist who has covered the field for twenty years, the book is a lively account of both the people and the ideas behind this revolutionary technology. The basic concept underlying fiber optics was first explored in the 1840s when researchers used jets of water to guide light in laboratory demonstrations. The idea caught the public eye decades later when it was used to create stunning illuminated fountains at many of the great Victorian exhibitions. The modern version of fiber optics--using flexible glass fibers to transmit light--was discovered independently five times through the first half of the century, and one of its first key applications was the endoscope, which for the first time allowed physicians to look inside the body without surgery. Endoscopes became practical in 1956 when a college undergraduate discovered how to make solid glass fibers with a glass cladding. With the invention of the laser, researchers grew interested in optical communications. While Bell Labs and others tried to send laser beams through the atmosphere or hollow light pipes, a small group at Standard Telecommunication Laboratories looked at guiding light by transparent fibers. Led by the recipient of the 2009 Nobel Prize in Physics, Charles K. Kao, they proposed the idea of fiber-optic communications and demonstrated that contrary to what many researchers thought glass could be made clear enough to transmit light over great distances. Following these ideas, Corning Glass Works developed the first low-loss glass fibers in 1970. From this point fiber-optic communications developed rapidly. The first experimental phone links were tested on live telephone traffic in 1977 and within half a dozen years long-distance companies were laying fiber cables for their national backbone systems. In 1988, the first transatlantic fiber-optic cable connected Europe with North America, and now fiber optics are the key element in global communications. The story continues today as fiber optics spread through the communication grid that connects homes and offices, creating huge information pipelines and replacing copper wires. The book concludes with a look at some of the exciting potential developments of this technology.