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Unknown Memeland is a philosophical cyberpunk novel set in West City, a sprawling nuclear waste facility in the heart of the Earthsphere, where strange events unfold at the Ground Zero of an imperial invasion led by the forces of Lord Frieza and the Shinra Electric Corporation.
Annalee Newitz's Old Media: A Tor.com Original, tells the story of a freed slave and a robot professor, trying to figure out what it means to be in love while they watch old anime from the 21st century. At the Publisher's request, this title is being sold without Digital Rights Management Software (DRM) applied.
No country has discarded religion faster than Ireland, yet some of our old ways are still within.
What it means when media moves from the new to the habitual—when our bodies become archives of supposedly obsolescent media, streaming, updating, sharing, saving. New media—we are told—exist at the bleeding edge of obsolescence. We thus forever try to catch up, updating to remain the same. Meanwhile, analytic, creative, and commercial efforts focus exclusively on the next big thing: figuring out what will spread and who will spread it the fastest. But what do we miss in this constant push to the future? In Updating to Remain the Same, Wendy Hui Kyong Chun suggests another approach, arguing that our media matter most when they seem not to matter at all—when they have moved from “new” to habitual. Smart phones, for example, no longer amaze, but they increasingly structure and monitor our lives. Through habits, Chun says, new media become embedded in our lives—indeed, we become our machines: we stream, update, capture, upload, link, save, trash, and troll. Chun links habits to the rise of networks as the defining concept of our era. Networks have been central to the emergence of neoliberalism, replacing “society” with groupings of individuals and connectable “YOUS.” (For isn't “new media” actually “NYOU media”?) Habit is central to the inversion of privacy and publicity that drives neoliberalism and networks. Why do we view our networked devices as “personal” when they are so chatty and promiscuous? What would happen, Chun asks, if, rather than pushing for privacy that is no privacy, we demanded public rights—the right to be exposed, to take risks and to be in public and not be attacked?
From the Renaissance idea of the painting as an open window to the nested windows and multiple images on today's cinema, television, and computer screens: a cultural history of the metaphoric, literal, and virtual window. As we spend more and more of our time staring at the screens of movies, televisions, computers, and handheld devices—"windows" full of moving images, texts, and icons—how the world is framed has become as important as what is in the frame. In The Virtual Window, Anne Friedberg examines the window as metaphor, as architectural component, and as an opening to the dematerialized reality we see on the screen. In De pictura (1435), Leon Battista Alberti famously instructed painters to consider the frame of the painting as an open window. Taking Alberti's metaphor as her starting point, Friedberg tracks shifts in the perspectival paradigm as she gives us histories of the architectural window, developments in glass and transparency, and the emerging apparatuses of photography, cinema, television, and digital imaging. Single-point perspective—Alberti's metaphorical window—has long been challenged by modern painting, modern architecture, and moving-image technologies. And yet, notes Friedberg, for most of the twentieth century the dominant form of the moving image was a single image in a single frame. The fractured modernism exemplified by cubist painting, for example, remained largely confined to experimental, avant-garde work. On the computer screen, however, where multiple 'windows' coexist and overlap, perspective may have met its end. In this wide-ranging book, Friedberg considers such topics as the framed view of the camera obscura, Le Corbusier's mandates for the architectural window, Eisenstein's opinions on the shape of the movie screen, and the multiple images and nested windows commonly displayed on screens today. The Virtual Window proposes a new logic of visuality, framed and virtual: an architecture not only of space but of time.
Provides a comprehensive survey of the key events and personalities of this period.
Master gun maker Bill Holmes shares what will and won't work in designing and building rifles and shotguns from raw materials. Includes the fine points of creating everything from actions to sights, as well as tips on tools, materials, assembly, finishing and more. For academic study only.
Expatriates posing as detached yet patriotic American commentators, and using the news-of-the-day voice of the stereotypical radio announcer, sought to turn U.S. opinion against the British and achieve the political objectives of their media-savvy employer--master propagandist Paul Josef Goebbels. Riveting biographies in Berlin Calling put real names and faces behind the voices of The Georgia Peach, Mr. O.K., Paul Revere, and others. Were they motivated by antipathy towards New Deal programs or were they simply hucksters in search of a payroll check? Ten years on historical research have culminated in a landmark book with intriguing answers to these puzzling questions. Published to coincide with the 50th anniversary of America's entry into World War II, this volume chronicles the careers of eight U.S.A. Zone commentators who worked for Nazi propagandist Josef Goebbels. Drawing upon a variety of documentary sources--letters written by the subjects to family, friends, and colleagues; treason trial transcripts; the contents of the BBC's wartime monitoring service; and FBI case files on the broadcasters--the author explores each broadcaster's political and personal motivations, and the influence of their broadcasts.
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