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From Creation to Archiving

Demystification of Digital Media LIN HSIN HSIN INTRODUCTION Over the past one and the half decades, Internet communities have been uploading, browsing and downloading some trillions of Web pa- ges1. An enormous proportion of which contains digital media. Be it 2D, 3D, still, animated or interactive, Web sites, DVDs, games, mobi- le devices and the like, the contents are largely digital media driven. Away from the Web, this mega assemblage of digital media contents amounts to zettabytes2 of files associated to the computing power of servers and laptops

291 Karin Wenz Digital Media@Maastricht University Problem-Based Learning as an Approach to Digital Literature The Faculty of Arts and Social Sciences at Maastricht University and the Uni- versity College offer courses with an interdisciplinary goal in mind. These courses are planned and organized by a team of 2-3 colleagues, who are spe- cialists in the field. I myself do not teach a separate course on digital literature but do give an introduction to digital literature and art as part of my courses on digital media and on narrative media, and also an

Performing the economy, digital media and crisis A critique of Michel Callon JENS SCHRÖTER Milton Friedman, who received the Nobel Prize in economics in 1976, published a famous and controversial essay in 1953. In “The Methodology of Positive Economics” he wrote: “Positive economics is in principle independent of any particular ethical position or nor- mative judgments […]. Its performance is to be judged by the precision, scope, and con- formity with experience of the predictions it yields. […] [T]he belief that a theory can be tested by the

Intimate Communication on the Internet How Digital Media are Changing our Lives at the Microlevel FRIEDRICH KROTZ The following text discusses some changes in communication, especially in inti- mate communication via digital media. The main thesis is that the introduction of digital media has an impact on the communicative behaviour on a micro-social lev- el, in particular shown by the analysis of the conditions of intimate communication on the Internet and its consequences. Theoretically, the text should be understood as part of the so-called Medium

DCS | Digital Culture and Society | Vol. 3, Issue 2 | © transcript 2017 DOI 10.14361/dcs-2017-0214 Mad Practices and Mobilities Bringing Voices to Digital Ethnography Cherry Baylosis Abstract There is a claim that digital media technologies can give voice to the voiceless (Alper 2017). As Couldry (2008) points out it is now com- monplace for people – who have never done so before – to tell, share and exchange stories within, and through digital media. Additionally, the affordances of mobile media technologies allow people to speak, virtually anytime and

DCS | Digital Culture and Society | Vol. 3, Issue 2 | © transcript 2017 DOI 10.14361/dcs-2017-0203 The MicroSDs of Solomon Islands An Offline Remittance Economy of Digital Multi-Media Geoffrey Hobbis Abstract Based on twelve months of multi-sited ethnographic fieldwork, this article investigates the offline circulation of digital media files in Solomon Islands. It explores how circular temporary labour migra- tion drives the acquisition, movement and consumption of digital media, and how these media files contribute to moral controversies. Before the rapid

DCS | Digital Culture and Society | Vol. 1, Issue 1 | © transcript 2015 DOI 10.14361/dcs-2015-0111 From Her (2013) to Viv the Global Brain Becoming Material, Unfolding Experience through Radical Empiricism and Process Philosophy Evelyn Wan Abstract This paper reflects upon the methodological questions entailed by what digital media materiality could be, and how one could analytically approach it via theories of experience such as radical empiricism and process philosophy. I argue that for digital media, becoming material means to ‘enter into experience

employing the body in order to triangulate modes of computational materiality that are proving conceptually and phenomenologically evasive. Grounded within a series of material- driven interviews that I conducted with thirty-five digital media artists, this analysis will be advanced through the following means: (1) a review of media phenomena and scholarly work that inform current debates regarding digital materiality with particular atten- tion paid to the potential contribution of contemporary media art within this field of study; (2) an analysis of occasions