First paragraph: This standard issue features six contributions from postgraduate and early career scholars working at the intersections of media, communications, education, sociology, and technoculture. In spite of the numerous challenges face d in 2020 due to the COVID-19 global pandemic and its knock-on effect on universities around the world, we are delighted to be closing the difficult year with the publication of this collection of articles. This is a reason for celebration – celebrati...
Interconnected devices and objects pervade our everyday lives with an increasing trend. These digital objects, connected through wireless and cable networks, exchange information in various levels, producing diverse types of interactions between them and their users. The paper explores the aspect of interconnectivity as a key-attribute of the contemporary digital artefacts that populate our everyday environments. It explores the notion of home, place and network by focusing on the effects of ...
Scarlett Johansson has described fighting against a swell of deepfake porn images featuring herself as futile—especially because they can be produced by almost anyone with free algorithmic software available online and with access to one or more image of her face. However, in this short essay we maintain that within contemporary technocratic culture the mediated star image of ‘ScarJo’ always already reveals the complex convergence of both bios (life as qualified or narrated, qua bio- graphica...
This work sought to better understand the information needs of young mothers from UK areas of multiple deprivations, their information seeking behaviours, and influencing factors. Information informs, guides, and empowers; but barriers to use can be societally divisive, particularly amongst disadvantaged groups. There are complex access barriers and internalised behavioural barriers to consider, the former influenced by technology and media literacy issues, the latter by social structures a...
First paragraph: Across his two Cinema books Deleuze contends that because cinema puts movement into the image films can be understood as autonomous thinking machines that provide viewers with the material conditions for thought. This is to say, thinking occurs courtesy of the more-than-human assemblage of the biological brain and an agential non-human thinking machine. In Cinema 2, Deleuze further maintains that the cinema’s essence “has thought as its higher purpose, nothing but thought an...
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