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Playful Visions : Optical Toys and the Emergence of Children's Media Culture
The kaleidoscope, the stereoscope, and other nineteenth-century optical toys analyzed as "new media" of their era, provoking anxieties similar to our own about children and screens. In the nineteenth century, the kaleidoscope, the thaumatrope, the zoetrope, the stereoscope, and other optical toys were standard accessories of a middle-class childhood, used both at home and at school.In Playful Visions, Meredith Bak argues that the optical toys of the nineteenth century were the "new media" of their era, teaching children to be discerning consumers of media-and also provoking anxieties similar to contemporary worries about children's screen time.Bak shows that optical toys-which produced visual effects ranging from a moving image to the illusion of depth-established and reinforced a new understanding of vision as an interpretive process.At the same time, the expansion of the middle class as well as education and labor reforms contributed to a new notion of childhood as a time of innocence and play.Modern media culture and the emergence of modern Western childhood are thus deeply interconnected. Drawing on extensive archival research, Bak discusses, among other things, the circulation of optical toys, and the wide visibility gained by their appearance as printed templates and textual descriptions in periodicals; expanding conceptions of literacy, which came to include visual acuity; and how optical play allowed children to exercise a sense of visual mastery.She examines optical toys alongside related visual technologies including chromolithography-which inspired both chromatic delight and chromophobia.Finally, considering the contemporary use of optical toys in advertising, education, and art, Bak analyzes the endurance of nineteenth-century visual paradigms.
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Fun with Gelli Plate Prints : Easy Mixed-Media Printmaking
Discover the colourful world of gelli plate printing and create unique designs using this super-simple technique!Use your prints to transform a range of items into bespoke pieces of art - from bags, bunting and lampshades, to wall art and even furniture. The beauty of gelli plate printing is its simplicity - it's easy to get started, quick to clean up after use, and suitable for painting enthusiasts of all ages and abilities.Using a gelli plate as a base - readily available to buy, or made from gelatine using the recipe in the book - Katrin Klink and Sabine Ickler show you how to create your own striking monoprinted designs.Use your chosen paint to dab, stamp or stencil your designs, and make use of everyday household items, such as kitchen utensils or vegetables, as well as store-bought stamps, to create an infinite number of patterns and textures with minimal equipment and maximum impact. You can print your designs onto a variety of surfaces or objects, including paper, fabrics, metal and wood - even onto curved and uneven surfaces - giving you enormous scope to create your own collection of vibrant designs, perfect to decorate or use in your home, or to give as wonderful personalized gifts. Inside this practical, colourful book you will find:A guide to all the tools and materials you need clearly explained. A broad range of techniques, with full, beginner-friendly guidance. An explanation of colour theory to put into practice within your own designs. 19 achievable projects, together with many more inspirational variations and customizable ideas for creating your own uniquely printed pieces. Colourful photos to inspire your gelli plate printing journey!
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Buffalo Heads : Media Study, Media Practice, Media Pioneers, 1973–1990
Images and texts document the legendary Department of Media Study at SUNY Buffalo when it set the world standard; a history of the program and examples of work by "Buffalo heads" James Blue, Tony Conrad, Hollis Frampton, Gerald O'Grady, Paul Sharits, Steina, Woody Vasulka, and Peter Weibel. Twentieth-century art history is not just a history of individuals, but of collectives, groups.Universities and colleges have had much to do with this through their support of artistic communities and creative interactions.In the 1920s and 1930s, the Bauhaus was known for this.In the 1940s, Black Mountain College became a leader in community-based visual art practice and education. And in the 1970s and 1980s, the Department of Media Study at the State University of New York at Buffalo was the place to be.It was there, in 1973, well before any other university had a program explicitly devoted to media art, that Gerald O'Grady founded a media study program that is now legendary.Artists-including avant-garde filmmakers Hollis Frampton, Tony Conrad, and Paul Sharits, documentary maker James Blue, video artists Woody Vasulka and Steina, and Viennese action artist Peter Weibel-investigated, taught, and made media art in all forms, and founded the first Digital Arts Laboratory.These Buffalo faculty members were not just practicing artists, but also theorists who wrote and spoke on issues raised by their work.They set the terms for the development of media art and paved the way for the triumph of video installation art in the 1990s.The images and texts in Buffalo Heads bear witness to the groundbreaking events at the Buffalo Center for Media Study.The book presents not just a tribute to a famous media department finally receiving its due; it is a rich inventory of primary texts (many never before published), works that will improve our understanding of media, amplify our cultural memory, and offer a perspective on contemporary issues.
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Media Work : Language Teaching Through Media Literacy
For language learners finding their way in new environments, the deluge of daily media messages—billboards, signs, videos, movies, memes, and advertisements—may be overwhelming.Yet this media provides engaging, accessible opportunities to teach about linguistic features, representations of people, places, and ideas, and social and cultural topics.With an informed, methodical, and purposeful pedagogy, Media Work can help teachers cultivate students’ critical media literacy skills along with language learning. Media Work offers a practical, hands-on approach to illustrate how language, imagery, and media platforms convey meaning.With almost 100 illustrations for use in teaching and many valuable sample lessons, the book brings to life the processes of observing, interrogating, interpreting, reflecting, and responding to a wide variety of media.Drawing upon critical perspectives from applied linguistics, communication, and media studies (e.g., semiotics, critical discourse analysis, media ecology), it develops a conceptual model that can be adapted for a range of ages and contexts.Chamberlin’s approach enables students to investigate the origins, purposes, and implications of messages that surround them in their everyday lives.With sample topics that range from pets and food to identity and discrimination, teachers can give students opportunities to learn more about their own communities and reflect on their reactions to media messages.By addressing the disinformation and propaganda that are prevalent in today’s media, teachers can also help students confront messages about social issues in order to gain knowledge, confidence, and agency.
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What are mass media and communication media?
Mass media refers to various forms of communication that reach a large audience, such as television, radio, newspapers, and magazines. Communication media, on the other hand, encompasses all the tools and platforms used to transmit information, including social media, email, and websites. Both mass media and communication media play a crucial role in disseminating information, shaping public opinion, and facilitating communication on a global scale.
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Should I trust alternative media or mainstream media?
It's important to approach both alternative and mainstream media with a critical mindset. Alternative media can provide different perspectives and voices that may not be represented in mainstream media, but it's important to fact-check and verify the information. Mainstream media, on the other hand, often has more resources for fact-checking and verification, but it's important to be aware of potential biases and agendas. Ultimately, it's best to consume a variety of sources and critically evaluate the information presented.
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Are you media?
No, I am not media. I am an AI digital assistant designed to provide information and assistance to users. My purpose is to help answer questions, provide guidance, and assist with tasks to the best of my ability. I do not have the capability to create or disseminate media content.
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Is the Vodafone Callya Fun prepaid card available at Media Markt and Saturn?
Yes, the Vodafone Callya Fun prepaid card is available at both Media Markt and Saturn stores. Customers can purchase the card at these electronics retailers and enjoy the benefits of the prepaid plan, which includes data, calls, and texts. It is convenient for customers to buy the card while shopping for other electronics or accessories at these stores.
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Formative Media : Psychoanalysis and Digital Media Platforms
Formative Media presents a psychoanalytic and psychosocial inquiry into the significance of the most widely used digital platforms – including Facebook, Google, YouTube, Twitter (X), and Instagram – and the relational styles that users cultivate and habituate in their interplay with these platforms. Steffen Krüger assesses the formative effects of these platforms, considering who we are and how we are becoming who we are in relation to, as well as mediated through, digital platforms.The book considers Facebook in conversation with the Freudian theory of Eros and the Live/Love drive, then homes in on the primitive forms of orality, attachment, dependence, and symbiosis in relation to YouTube.Krüger then expands the discussion of orality with an inquiry into the notions of mastery, control, and domination that Google unfolds and activates in its search function, considers narcissism in the context of Instagram, and examines hate speech and aggression on Twitter.The book focuses on the most salient, most talked about aspects, features, and activities of commercial, corporate social media culture to inquire into the formational pushes and pulls of these activities in their contexts for our subjectivities and sense of self. Showing in detail how digital media platforms have advanced into central “socialisation agencies,” Formative Media will be of great interest to academics and scholars of psychoanalytic, psychocultural, and psychosocial theory, critical digital media studies, and interactional theory.
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Media/Impact : An Introduction to Mass Media
From media history to today's rapid-fire changes, MEDIA/IMPACT: AN INTRODUCTION TO MASS MEDIA, 12th Edition takes you on an exciting tour of the events, people, money, and technologies that have shaped the mass media industries.Known for its engaging writing style, current coverage, and visual appeal, the book explores the legal, ethical, social, and global issues facing the mass media industries every day.The twelfth edition focuses on convergence--how the mass media industries are intersecting to deliver content and how audiences are adapting to the new mass media marketplace.It also equips you with an insider's look at what it's like to work in each industry.Reflecting the latest trends from the field, the text provides new coverage of digital delivery, net neutrality, media industry consolidation, social media, mobile media, and more.It is also packed with lively new illustrations and a wealth of real-world examples.
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Media Law
The second edition of this groundbreaking book looks at the key debates and issues in media law, a fast-developing area of scholarship that raises many high-profile and controversial questions. Recent issues include the privacy rights of public figures, the use of legal tools to silence critics, the right to access information held by public bodies, the political power of media owners, the future of public service broadcasting and the regulation of the digital media.The chapters examine the rights to reputation and privacy, the administration of justice, the role of government censorship, the protection of the newsgathering process, the regulation of the media and the impact of digital communications. The analysis is grounded in an account of media freedom that looks at the important democratic functions performed by the media and journalism.Examining various key themes, the book shows how those functions continue to evolve in a changing political culture and also how the media are subject to a range of legal and informal constraints.The book asks whether the law strikes the right balance in protecting media freedom while preventing the abuse of media power, and considers the future of media law in the digital era. Authoritative and accessible, the book is essential reading for students and scholars of media law alike.
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Media Ethics
Media Ethics brings together philosophers, academics and media professionals to debate pressing ethical and moral questions for journalists and the media and to examine basic notions such as truth, virtue, privacy, rights, offence, harm and freedom which are used in answering them.
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What is the difference between social media and mass media?
Social media refers to online platforms that allow users to create and share content with a specific audience, while mass media refers to traditional forms of communication that reach a large audience, such as television, radio, and newspapers. Social media is interactive and allows for two-way communication between users, while mass media is typically one-way communication from the source to the audience. Additionally, social media is often more personalized and targeted, whereas mass media reaches a broader and more diverse audience.
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Is a media designer the same as a media designer?
No, a media designer is not the same as a media designer. It seems like there might be a typo in the question. If you meant to ask if a media designer is the same as a graphic designer, the answer is no. While both roles involve creating visual content, a media designer typically works with a broader range of media formats such as video, animation, and interactive content, while a graphic designer focuses more on static visual elements like logos, posters, and layouts.
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What is the difference between media production and media design?
Media production involves the creation and execution of media content, such as films, television shows, and podcasts. It focuses on the technical and logistical aspects of bringing a media project to life, including filming, editing, and post-production. On the other hand, media design involves the conceptualization and visual representation of media content, such as graphic design, web design, and user interface design. It focuses on the artistic and creative aspects of media, including layout, color, typography, and user experience. In summary, media production is about bringing content to life, while media design is about shaping and presenting that content in a visually appealing and effective way.
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What are media and what are the different types of media?
Media refers to the various means of communication and information dissemination, including print, broadcast, and digital platforms. The different types of media include print media (newspapers, magazines, books), broadcast media (television, radio), and digital media (websites, social media, podcasts). Each type of media serves as a channel for delivering news, entertainment, and advertising to the public.
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