A SCHOLARLY BOOK REPOSITORY4 start with W start with W
"John Carey and Martin Elton are among the most skilled and insightful researchers studying the dynamic changes in technology and the impacts on consumer attitudes and behaviors. Their comprehensive and actionable observations make this a must read for anyone interested in understanding the current (and future) media environment."
---Alan Wurtzel, President, Research and Media Development, NBC Universal
"When Media Are New should be read by every media manager faced with disruptive change brought on by new technology. The book transcends the fashionable topics and themes that are here today and gone tomorrow and instead places emphasis on those areas of research and implementation where fatal mistakes are made. They capture something universal, and therefore highly useful, by stripping away the hype and focusing relentlessly on consumers and the ways they adopt or fail to adopt new media products and technologies into their lives."
---Martin Nisenholtz, Senior Vice President, Digital Operations, The New York Times Company
"The burgeoning development of the Internet has deflected attention from a wider history of new media innovations that has shaped its success. John Carey and Martin Elton demonstrate that earlier initiatives to launch videophones, two-way interactive cable systems, videotext and other media innovations can teach us much about the present state and future course of information and communication technologies. This is a key reference on the new media, and must reading for students of the Internet---the platform for continuing the new media revolution."
---Professor William H. Dutton, Director, Oxford Internet Institute, University of Oxford
The world of communication media has undergone massive changes since the mid-1980s. Along with the extraordinary progress in technological capability, it has experienced stunning decreases in costs; a revolutionary opening up of markets (a phenomenon exemplified by but not limited to the rise of the Internet); the advent of new business models; and a striking acceleration in the rate of change. These technological, regulatory, and economic changes have attracted the attention of a large number of researchers, from industry and academe, and given rise to a substantial body of research and data. Significantly less attention has been paid to the actual and intended users of new media. When Media Are New addresses this research and publishing gap by investigating the human side of the technological changes of the last 50 years and the implications for current and future media. It will find a broad audience ranging from media scholars to policymakers to industry professionals.
John Carey is Professor of Communications and Media Management at Fordham Business School and has extensive experience in conducting research about new media for companies such as AT&T, Cablevision, NBC Universal, and the New York Times (among many others) as well as foundations and government agencies. His extensive publications have focused on user adoption of new media and how consumers actually use new technologies.
Martin C. J. Elton was Director of the Communication Studies Group in the UK, which pioneered in the study of user behavior with new media technologies, and founded the Interactive Telecommunication Program at New York University. He has published widely on user research, forecasting, and public policy and has conducted extensive research for many prominent foundations, companies, and government agencies in the USA and Europe.
In today’s digital era, women’s voices are heard everywhere—from smart home devices to social media platforms, virtual reality, podcasts, and even memes—but these new forms of communication are often accompanied by dated gender politics. In Women’s Voices in Digital Media, Jennifer O’Meara dives into new and well-established media formats to show how contemporary screen media and cultural practices police and fetishize women’s voices, but also provide exciting new ways to amplify and empower them.
As she travels through the digital world, O’Meara discovers newly acknowledged—or newly erased—female voice actors from classic films on YouTube, meets the AI and digital avatars in Her and The Congress, and hears women’s voices being disembodied in new ways via podcasts and VR voice-overs. She engages with dialogue that is spreading with only the memory of a voice, looking at how popular media like Clueless and The Simpsons have been mined for feminist memes, and encounters vocal ventriloquism on RuPaul’s Drag Race that queers and valorizes the female voice. Through these detailed case studies, O’Meara argues that the digital proliferation of screens alters the reception of sounds as much as that of images, with substantial implications for women’s voices.
With the ascent of digital culture, new forms of literature and literary production are thriving that include multimedia, networked, conceptual, and other as-yet-unnamed genres while traditional genres and media—the lyric, the novel, the book—have been transformed. Word Toys: Poetry and Technics is an engaging and thought-provoking volume that speculates on a range of poetic, novelistic, and programmed works that lie beyond the language of the literary and which views them instead as technical objects.
Brian Kim Stefans considers the problems that arise when discussing these progressive texts in relation to more traditional print-based poetic texts. He questions the influence of game theory and digital humanities rhetoric on poetic production, and how non-digital works, such as contemporary works of lyric poetry, are influenced by the recent ubiquity of social media, the power of search engines, and the public perceptions of language in a time of nearly universal surveillance.
Word Toys offers new readings of canonical avant-garde writers such as Ezra Pound and Charles Olson, major successors such as Charles Bernstein, Alice Notley, and Wanda Coleman, mixed-genre artists including Caroline Bergvall, Tan Lin, and William Poundstone, and lyric poets such as Harryette Mullen and Ben Lerner. Writers that trouble the poetry/science divide such as Christian Bök, and novelists who have embraced digital technology such as Mark Z. Danielewski and the elusive Toadex Hobogrammathon, anchor reflections on the nature of creativity in a world where authors collaborate, even if unwittingly, with machines and networks. In addition, Stefans names provocative new genres—among them the nearly formless “undigest” and the transpacific “miscegenated script”—arguing by example that interdisciplinary discourse is crucial to the development of scholarship about experimental work.
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