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Winner of the 2015 Anne Friedberg Innovative Scholarship Award from the Society for Cinema and Media Studies Finding Augusta breaks new ground, revising how media studies interpret the relationship between our bodies and technology. This is a challenging exploration of how, for both good and ill, the sudden ubiquity of mobile devices, GPS systems, haptic technologies, and other forms of media alter individuals’ experience of their bodies and shape the social collective. The author succeeds in problematizing the most salient fact of contemporary mobile media technologies, namely, that they have become, like highways and plumbing, an infrastructure that regulates habit. Audacious in its originality, Finding Augusta will be of great interest to art and media scholars alike.

As it becomes impossible to imagine a world without a World Wide Web, information organization, delivery, and production have converged on the simple principle of marking up information for given audiences.

From A to investigates the relationship between media and culture by articulating questions regarding the role of markup. How do the codes of HTML, CSS, PHP, and other markup languages affect the Web's everyday uses? How do these languages shape the Web's communicative functions? This novel inquiry positions markup as the basis of our cultural, rhetorical, and communicative understanding of the Web.

Contributors: Sarah J. Arroyo, CSU Long Beach; Jennifer L. Bay, Purdue U; Helen J. Burgess, U of Maryland, Baltimore County; Michelle Glaros, Centenary College of Louisiana; Matthew K. Gold, NYCC of Technology; Cynthia Haynes, Clemson U; Rudy McDaniel, U of Central Florida; Colleen A. Reilly, UNC, Wilmington; Thomas Rickert, Purdue U; Brendan Riley, Columbia College Chicago; Sae Lynne Schatz, U of Central Florida; Bob Whipple, Creighton U; Brian Willems, U of Split, Croatia.

In this fiercely ambitious study, Meredith Anne Hoy seeks to reestablish the very definitions of digital art and aesthetics in art history. She begins by problematizing the notion of digital aesthetics, tracing the nineteenth- and twentieth-century movements that sought to break art down into its constituent elements, which in many ways predicted and paved the way for our acceptance of digital art. Through a series of case studies, Hoy questions the separation between analog and digital art and finds that while there may be sensual and experiential differences, they fall within the same technological categories. She also discusses computational art, in which the sole act of creation is the building of a self-generating algorithm. The medium isn’t the message—what really matters is the degree to which the viewer can sense a creative hand in the art.