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Titlebook: Contemporary Publics; Shifting Boundaries P. David Marshall,Glenn D‘Cruz,Katja Lee Book 2016 The Editor(s) (if applicable) and The Author(

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发表于 2025-3-21 17:10:42 | 显示全部楼层 |阅读模式
书目名称Contemporary Publics
副标题Shifting Boundaries
编辑P. David Marshall,Glenn D‘Cruz,Katja Lee
视频video
图书封面Titlebook: Contemporary Publics; Shifting Boundaries  P. David Marshall,Glenn D‘Cruz,Katja Lee Book 2016 The Editor(s) (if applicable) and The Author(
描述.If the twentieth century has beendominated by discussions of the public, public life, and the public sphere, .Contemporary Publics. argues that, in thetwenty-first century, we must complicate the singularity of that paradigm andstart thinking of our world in terms of multiple, overlapping, and competing .publics. .In three distinct streams—art,media and technology, and the intimate life—this volume offers up theintellectual and political significance of thinking through the plurality ofour publics. “Countering Neoliberal Publics: Screen and Space,” explores howdifferent artistic practices articulate the challenges and desires of multiplepublics. “Making and Shaping Publics: Discourse and Technology” showcases howmedia shape publics, and how new and emerging publics use these technologies toconstruct identities. “Commodifying Public Intimacies” examines what happens tothe notion of the private when intimacies structure publics, move into publicspaces, and develop value that can be exchanged and circulated..
出版日期Book 2016
关键词Public sphere; private sphere; public spaces; public cultures; commodity cultures; contemporary art; film;
版次1
doihttps://doi.org/10.1057/978-1-137-53324-1
isbn_ebook978-1-137-53324-1
copyrightThe Editor(s) (if applicable) and The Author(s) 2016
The information of publication is updating

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A Hungry Public: Stranger Relationality and the Blak Waveublic broadcasting—Bonnie Honig draws on Hannah Arendt and D. W. Winnicott to envisage a public realm characterised not by identity and exclusion but by collaboration, relationality, creativity, and resilience. This chapter responds to Honig’s proposition that a democratic holding environment enable
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Re-membering, (Re-) appropriation, and Polyphony: SBS Independent and White Australian Memoryl institution, SBSi was responsible for the administration of productive diversity, a federal policy harnessing cultural and linguistic diversity as a national economic resource. It argues that while the form and function of SBSi was broadly complicit with this state neoliberal agenda, staff success
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Ghosting: Putting the Volume into Screen Memory central railway station and the central bus station, it is also intended to fulfill an important symbolic function. This chapter discusses some of the mechanisms being used to deliver the symbolic program. In 2014, the author was commissioned to develop a “creative template” for the site, a compila
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Dancing Dandenong: The Poetics of Spatial Politicserence to the new civic space in Dandenong. More specifically, it documents and responds to the dispute between the local Indian community and the City of Dandenong (who intend to demolish the “little India” shops to facilitate the new public space). Drawing on various theories about the relationshi
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New Strategies for Old Practicesrts its exhibition. From the free labour of interns and artists to the 50 percent commission cut taken by gallery owners, contemporary art practice is trapped in a paradox in which it is free to critique its own histories and those outside the gallery but rarely analyses its own politics of producti
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Media Technologies and Publicsd emerging publics construct identities and strategic goals. This section of . begins with an introduction where media technologies are utilised to facilitate progressive change. This facilitative role is examined in subsequent chapters, where publics can unite around discourse and technology that e
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Multilingual Publics: Fansubbing Global TVhrough an awareness of screen translation processes and strategies—from dubbing and subtitling to fansubbing and live interpretation—new publics arise. Globally, such publics count, accounting for a major proportion of audiences worldwide. Hence, I argue that screen translation and experiences of tr
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