By Glen Creeber, Royston Martin
Every little thing you must learn about new media in a single obtainable, effortless to navigate quantity! From fb to the iPhone, from YouTube to Wikipedia, from Grand robbery vehicle to moment existence - this ebook explores new media’s most crucial matters and debates in an obtainable and interesting textual content for beginners to the sphere. With technological swap carrying on with to spread at a big expense, electronic Cultures rounds-up significant occasions within the media’s fresh previous to aid enhance a transparent realizing of the theoretical and sensible debates that encompass this rising self-discipline. It addresses concerns akin to: what's new media? How is new media altering our lives? Is new media having a good or unfavourable impression on tradition and human communique? every one bankruptcy includes case experiences which supply an enticing and full of life stability among the well-trodden and the newly rising issues within the box. subject matters coated contain electronic tv, electronic cinema, gaming, electronic democracy, cellphones, the area vast internet, electronic information, on-line social networking, track and multimedia, digital groups and the electronic divide. electronic Cultures is a necessary introductory advisor for all media and verbal exchange reports scholars, in addition to people with a common curiosity in new media and its influence at the international round us.
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Additional info for Digital Cultures: Understanding New Media
These ideas are discussed below in order to untangle some of these ‘bundles’ and help us begin to understand how we might study the World Wide Web. Screens, nets and webs The Internet is best thought of as an interconnected, global network of computers (and other ‘computational devices’ such as personal digital assistants (PDAs), phones, and so on). In the late 1960s, various experiments in networked communication were being carried out, for various purposes, all driven by a shared enthusiasm to find new uses of emergent technologies in computation and telecommunications.
Digital aesthetics, like any other form of aesthetics, has to respond to the material qualities of the media it investigates. An aesthetics of painting would look at brushwork, colour, depth and consistency of the paint and so on. But digital aesthetics has the uncomfortable job of looking at many things, from celnets to Internet governance, that simply cannot be seen or touched. And where products are produced digitally, we often have no clues left that they were made that way; and many digital tools, like the dozen or more computers in a contemporary car, are tucked away where the driver cannot see them.
But, it is fair to say that most ‘ordinary users’ (see Bakardjieva 2005) connect with the Internet on screen, via an interface – most notably the World Wide Web. The World Wide Web is, as David Gauntlett (2004: 5) neatly sums it up, ‘a user-friendly interface onto the Internet’. The Web also has a well-known origin story, too: it was developed by Tim Berners-Lee, a scientist working in a mega-laboratory called CERN, where boffins collide miniscule bits of matter in an effort to uncover the ultimate building blocks of life, the universe and everything.