By Simon Lindgren
The contrast among on-line and offline realities is changing into progressively more tricky to maintain. As computer-mediated verbal exchange evolves and as interplay turns into increasingly more depending on the net, social, cultural, and political facets start to get stuck and entangled within the net of latest electronic communique applied sciences. electronic instruments and systems for verbal exchange are steadily turning into common, whereas the cultural conceptions that encompass those technologies―immediacy, consistent accessibility, availability―are changing into more and more mainstream.
Hybrid Media Culture is an interdisciplinary exploration of ways the web and the offline have interaction in present-day tradition. within the aftermath of all-encompassing views on ‘postmodernisation’ and ‘globalization’, there's now a urgent want for students of latest media and society to come back to phrases with problems with position, embodiment, and materiality in an international of ‘virtual’ flows and ‘cyber’ tradition. This ebook explores methods of conceptualizing the difficult intermingling of the web and the offline via case stories of hybrid media locations, together with: user-generated movies approximately self-harm; visibility, surveillance and electronic media; electronic communique instruments and politics; and actual and digital churches.
This interdisciplinary edited assortment investigates the results of the web and electronic tradition on perceptions and makes use of of identities, our bodies and localities. it will likely be of curiosity to scholars and students of electronic tradition, sociology, media and communications experiences, new media, physique stories, politics, and technological know-how and know-how studies.
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Extra info for Hybrid Media Culture: Sensing Place in a World of Flows
In this sense, YouTube can be seen as a nexus for produsers’ embodied identities. The self-harmer’s cuts are transposed from the physical body to the digital domain, and as the medium in some sense becomes part of the body, the body also becomes part of the medium (cf. Wegenstein, 2006). , de Souza e Silva, 2006), and although this often refers to presence in a mental or social sense, the self-injury videos actually seem to transpose physical presence – or parts of the body – from one modality to another.
Ajana, B. (2005) Disembodiment and cyberspace: a phenomenological approach. Electronic Journal of Sociology. html Ambjörnsson, F. (2004) I en klass för sig: genus, klass och sexualitet bland gymnasietjejer, Stockholm: Ordfront. Balsamo, A. : Duke University Press. Boero, N. and Pascoe, C. J. (2012) Pro-anorexia communities and online interaction: bringing the pro-ana body online. Body and Society, 18(2): 27–57. , Ryan, J. and Leavitt, A. (2010) Pro-self-harm and the visibility of youth-generated problematic content †.
And this is exactly one of the reasons why montages are sometimes regarded as controversial – the visualized scars are interpreted as unwarranted calls for attention, much like in Achildatheartforever’s statement above. In contrast, very few vlogs include the display of body marks, although there are such examples in my material. One is a video by inu449, a young man – a fact that is exceptional in itself – who sits talking about his cuts and scars while presenting them to the camera. Even though some viewers state that they consider this to be brave, it provokes strong reactions from others: I’m not saying your doing this for attention, but the way you say it, and the attitude you have it seems like you are.