A SCHOLARLY BOOK REPOSITORY34 start with M start with M
Making Believe incorporates North American film reviews and editorials, actor and crew interviews, trade and fan magazine commentary, actor training manuals, and film production publicity materials to discuss the shifts in screen acting practice and philosophy around transfiguring makeup, doubles, motion capture, and acting to absent places or characters. Along the way it considers how performers and visual and special effects crew work together, and struggle with the industry, critics, and each other to define the aesthetic value of their work, in an industrial system of technological reproduction. Bode opens our eyes to the performing illusions we love and the tensions we experience in wanting to believe in spite of our knowledge that it is all make believe in the end.
The authors argue that the roles of these systems in cyberspace cannot be fully understood unless they are seen as mutually constituting each other in specific historical structures, institutions, and practices. With vision and insight, the authors look beyond the Internet to examine the entire networked world, from cell phones and satellites to global tourism and business travel.
When communication becomes the engine of white supremacist violence.
Manifesting Violence: White Terrorism, Digital Culture, and the Rhetoric of Replacement by Casey Ryan Kelly and William Joseph Sipe is a compelling exploration of how the digital world has become a fertile ground for white supremacist ideology. Through an in-depth analysis of white supremacist manifestos, online rhetoric, and the myth of “white genocide,” Kelly and Sipe uncover the disturbing ways in which digital culture facilitates the spread of racist ideology and the radicalization of individuals. By examining the language of white nationalism—calls to defend the white race, family, and children—Kelly and Sipe reveal how these messages, often disguised as entertainment or humor, gradually transform passive consumers into active participants in a dangerous ideology.
Manifesting Violence sheds light on the alarming shift from organized white supremacist groups to a decentralized digital arena where hate speech is disguised as humor and online conversations foster a culture of violence. Kelly and Sipe’s thorough investigation of this growing digital ecosystem offers a chilling glimpse into the dark underbelly of online extremism. A must-read for anyone seeking to understand the growing threat of hate-motivated violence and the urgent need to address its roots in digital culture, Kelly and Sipe offer rich insights to readers, researchers, academics, and policymakers concerned about extremism, online radicalization, and white supremacy.
“Healy closes his marvellous book by saying that ‘alienation is a constant feature and is experienced as a norm rather than as an aberration’.” - https://marxandphilosophy.org.uk/reviews/19718_marx-and-digital-machines-alienation-technology-capitalism-by-mike-healy-reviewed-by-thomas-klikauer/
This book explores the fundamental contradiction at the heart of the digital environment: technology offers all manner of promises, yet habitually fails to deliver. This failure often arises from numerous problems: the proficiency of the technology or end-user, policy failure at various levels, or a combination of these. Solutions such as better technology and more effective end-user education are often put into place to solve these failures.
Mike Healy argues that such approaches are inherently faulty drawing upon qualitative research informed by Marx’s theory of alienation. Using Marx’s theory, he considers participants in three distinct settings: the workplace of information and communications technology (ICT) professionals; university scholars researching the ethical and societal implications of our digital environment; and a group of pensioners living in South London, UK, undertaking ICT training. By delving beneath the surface of how digital technologies are created, researched and experienced, this study illustrates the contradictory nature of our digital lives, as they directly arise from the needs of capitalism.
The book also places Marx’s theory in contrast to the mainstream approaches derived from Seaman and Blauner. In researching and comprehending ICT, this book reaffirms the superior explanatory power of Marx’s theory of alienation.
AI is inescapable, from its mundane uses online to its increasingly consequential decision-making in courtrooms, job interviews, and wars. The ubiquity of AI is so great that it might produce public resignation—a sense that the technology is our shared fate.
As economist Maximilian Kasy shows in The Means of Prediction, artificial intelligence, far from being an unstoppable force, is irrevocably shaped by human decisions—choices made to date by the ownership class that steers its development and deployment. Kasy shows that the technology of AI is ultimately not that complex. It is insidious, however, in its capacity to steer results to its owners’ wants and ends. Kasy clearly and accessibly explains the fundamental principles on which AI works, and, in doing so, reveals that the real conflict isn’t between humans and machines, but between those who control the machines and the rest of us.
The Means of Prediction offers a powerful vision of the future of AI: a future not shaped by technology, but by the technology’s owners. Amid a deluge of debates about technical details, new possibilities, and social problems, Kasy cuts to the core issue: Who controls AI’s objectives, and how is this control maintained? The answer lies in what he calls “the means of prediction,” or the essential resources required for building AI systems: data, computing power, expertise, and energy. As Kasy shows, in a world already defined by inequality, one of humanity’s most consequential technologies has been and will be steered by those already in power.
Against those stakes, Kasy offers an elegant framework both for understanding AI’s capabilities and for designing its public control. He makes a compelling case for democratic control over AI objectives as the answer to mounting concerns about AI's risks and harms. The Means of Prediction is a revelation, both an expert undressing of a technology that has masqueraded as more complicated and a compelling call for public oversight of this transformative technology.
An eye-opening examination of how power—not technology—will define life with AI.
AI is inescapable, from its mundane uses online to its increasingly consequential decision-making in courtrooms, job interviews, and wars. The ubiquity of AI is so great that it might produce public resignation—a sense that the technology is our shared fate.
As economist Maximilian Kasy shows in The Means of Prediction, artificial intelligence, far from being an unstoppable force, is irrevocably shaped by human decisions—choices made to date by the ownership class that steers its development and deployment. Kasy shows that the technology of AI is ultimately not that complex. It is insidious, however, in its capacity to steer results to its owners’ wants and ends. Kasy clearly and accessibly explains the fundamental principles on which AI works, and, in doing so, reveals that the real conflict isn’t between humans and machines, but between those who control the machines and the rest of us.
The Means of Prediction offers a powerful vision of the future of AI: a future not shaped by technology, but by the technology’s owners. Amid a deluge of debates about technical details, new possibilities, and social problems, Kasy cuts to the core issue: Who controls AI’s objectives, and how is this control maintained? The answer lies in what he calls “the means of prediction,” or the essential resources required for building AI systems: data, computing power, expertise, and energy. As Kasy shows, in a world already defined by inequality, one of humanity’s most consequential technologies has been and will be steered by those already in power.
Against those stakes, Kasy offers an elegant framework both for understanding AI’s capabilities and for designing its public control. He makes a compelling case for democratic control over AI objectives as the answer to mounting concerns about AI's risks and harms. The Means of Prediction is a revelation, both an expert undressing of a technology that has masqueraded as more complicated and a compelling call for public oversight of this transformative technology.
Written by an interdisciplinary group of experts, this edited collection addresses the mutual influence among disparate spheres of public life that enabled the media “Wild West” of the first post-Soviet decade. As a joint platform, the volume and the associated Multimedia Sourcebook of the Russian 1990s present the decade’s media cultures in a manner that reflects their historical interconnectedness and relationship to the global present.
Edited by Maya Vinokour with contributions from Bradley Gorski, Courtney Doucette, Fabrizio Fenghi, Rita Safariants, Daniil Leiderman, Thomas Keenan, and Pavel Khazanov.
The greatest trick the videogame industry ever pulled was convincing the world that videogames were games rather than a medium for making metagames. Elegantly defined as “games about games,” metagames implicate a diverse range of practices that stray outside the boundaries and bend the rules: from technical glitches and forbidden strategies to Renaissance painting, algorithmic trading, professional sports, and the War on Terror. In Metagaming, Stephanie Boluk and Patrick LeMieux demonstrate how games always extend beyond the screen, and how modders, mappers, streamers, spectators, analysts, and artists are changing the way we play.
Metagaming uncovers these alternative histories of play by exploring the strange experiences and unexpected effects that emerge in, on, around, and through videogames. Players puzzle through the problems of perspectival rendering in Portal, perform clandestine acts of electronic espionage in EVE Online, compete and commentate in Korean StarCraft, and speedrun The Legend of Zelda in record times (with or without the use of vision). Companies like Valve attempt to capture the metagame through international e-sports and online marketplaces while the corporate history of Super Mario Bros. is undermined by the endless levels of Infinite Mario, the frustrating pranks of Asshole Mario, and even Super Mario Clouds, a ROM hack exhibited at the Whitney Museum of American Art.
One of the only books to include original software alongside each chapter, Metagaming transforms videogames from packaged products into instruments, equipment, tools, and toys for intervening in the sensory and political economies of everyday life. And although videogames conflate the creativity, criticality, and craft of play with the act of consumption, we don’t simply play videogames—we make metagames.
Elizabeth Losh has gathered experts from across disciplines—education, rhetoric, philosophy, literary studies, history, computer science, and journalism—to tease out lessons and chart a course into the future of open, online education. Instructors talk about what worked and what didn’t. Students share their experiences as participants. And scholars consider the ethics of this education. The collection goes beyond MOOCs to cover variants such as hybrid or blended courses, SPOCs (Small Personalized Online Courses), and DOCCs (Distributed Open Collaborative Course). Together, these essays provide a unique, even-handed look at the MOOC movement and will serve as a thoughtful guide to those shaping the next steps for open education.
Japanese musician and composer Nobuo Uematsu has built his career and reputation on his soundtracks to the enduring Final Fantasy video game series, which are notable for their remarkable cinematic feel. Today Uematsu is one of Japan’s most beloved living composers, credited with inspiring a new generation of classical music fans. This volume, the first book-length study of the music of Uematsu, takes a variety of different analytical approaches to his body of work. It offers readers interested in ludomusicology—the study of and research into video game music—a variety of ways with which to understand Uematsu’s compositional process and the role that video game music has in the overall gaming experience.
"Ever since the creators of the animated television show South Park turned their lovingly sardonic gaze on the massively multiplayer online game World of Warcraft for an entire episode, WoW's status as an icon of digital culture has been secure. My Life as a Night Elf Priest digs deep beneath the surface of that icon to explore the rich particulars of the World of Warcraft player's experience."
—Julian Dibbell, Wired
"World of Warcraft is the best representative of a significant new technology, art form, and sector of society: the theme-oriented virtual world. Bonnie Nardi's pioneering transnational ethnography explores this game both sensitively and systematically using the methods of cultural anthropology and aesthetics with intensive personal experience as a guild member, media teacher, and magical quest Elf."
—Lisa Nakamura, University of Illinois
World of Warcraft rapidly became one of the most popular online world games on the planet, amassing 11.5 million subscribers—officially making it an online community of gamers that had more inhabitants than the state of Ohio and was almost twice as populous as Scotland. It's a massively multiplayer online game, or MMO in gamer jargon, where each person controls a single character inside a virtual world, interacting with other people's characters and computer-controlled monsters, quest-givers, and merchants.
In My Life as a Night Elf Priest, Bonnie Nardi, a well-known ethnographer who has published extensively on how theories of what we do intersect with how we adopt and use technology, compiles more than three years of participatory research in Warcraft play and culture in the United States and China into this field study of player behavior and activity. She introduces us to her research strategy and the history, structure, and culture of Warcraft; argues for applying activity theory and theories of aesthetic experience to the study of gaming and play; and educates us on issues of gender, culture, and addiction as part of the play experience. Nardi paints a compelling portrait of what drives online gamers both in this country and in China, where she spent a month studying players in Internet cafes.
Bonnie Nardi has given us a fresh look not only at World of Warcraft but at the field of game studies as a whole. One of the first in-depth studies of a game that has become an icon of digital culture, My Life as a Night Elf Priest will capture the interest of both the gamer and the ethnographer.
Bonnie A. Nardi is an anthropologist by training and a professor in the Department of Informatics in the Donald Bren School of Information and Computer Sciences at the University of California, Irvine. Her research focus is the social implications of digital technologies. She is the author of A Small Matter of Programming: Perspectives on End User Computing and the coauthor of Information Ecologies: Using Technology with Heart and Acting with Technology: Activity Theory and Interaction Design.
Cover art by Jessica Damsky
My Mother Was a Computer explores how the impact of code on everyday life has become comparable to that of speech and writing: language and code have grown more entangled, the lines that once separated humans from machines, analog from digital, and old technologies from new ones have become blurred. My Mother Was a Computer gives us the tools necessary to make sense of these complex relationships. Hayles argues that we live in an age of intermediation that challenges our ideas about language, subjectivity, literary objects, and textuality. This process of intermediation takes place where digital media interact with cultural practices associated with older media, and here Hayles sharply portrays such interactions: how code differs from speech; how electronic text differs from print; the effects of digital media on the idea of the self; the effects of digitality on printed books; our conceptions of computers as living beings; the possibility that human consciousness itself might be computational; and the subjective cosmology wherein humans see the universe through the lens of their own digital age.
We are the children of computers in more than one sense, and no critic has done more than N. Katherine Hayles to explain how these technologies define us and our culture. Heady and provocative, My Mother Was a Computer will be judged as her best work yet.
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