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digital culture

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Journal Article
Cultural Politics (1 November 2014) 10 (3): 354–375.
Published: 01 November 2014
... rationality. Third, I show how such practices of market commensuration depend on a range of evaluative devices that create environments of equivalence and hierarchical difference, explicating how these devices have come to play an increasingly important role in contemporary digital culture. I then discuss a...
Journal Article
Cultural Politics (1 July 2017) 13 (2): 156–176.
Published: 01 July 2017
...Grant Bollmer; Katherine Guinness This essay draws on the work of Edmund Husserl and Maurice Merleau-Ponty, among others, to examine the relational politics of the selfie in digital culture. It argues that the selfie should be thought of not as the documentation of a “self” but as a practice that...
Journal Article
Cultural Politics (1 November 2018) 14 (3): 289–303.
Published: 01 November 2018
... with playing the game as allegories for our increasingly complex relationship to digital culture. Minecraft is not the apotheosis of cultural domination by code as much as it is a playable parable about its complications. © 2018 Duke University Press 2018 digital culture cultural technique allegory...
Journal Article
Cultural Politics (1 November 2017) 13 (3): 391–393.
Published: 01 November 2017
..., thoughts, and feelings are essential to living a fully human life, and today more information is shared than at any other time in history, often in the form of a “digital exhaust” of which we may be only dimly aware. Might this communication be damaging to our physical, mental, and social lives? David Hill...
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Published: 01 March 2013
Figure 6   Ben Carney, Untitled(threshold01) , 2010. Digital print, 25 × 20 in. (dimensions variable). Courtesy of the artist Figure 6 . Ben Carney, Untitled(threshold01), 2010. Digital print, 25 × 20 in. (dimensions variable). Courtesy of the artist More
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Published: 01 July 2015
Figure 2 Suspicious Minds , 2012, digital c-print. Dimensions variable. © Richard Mosse. Courtesy of the artist and Jack Shainman Gallery, New York Figure 2. Suspicious Minds, 2012, digital c-print. Dimensions variable. © Richard Mosse. Courtesy of the artist and Jack Shainman Gallery, New More
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Published: 01 July 2015
Figure 7 Protection , 2012, digital c-print. Dimensions variable. © Richard Mosse. Courtesy of the artist and Jack Shainman Gallery, New York Figure 7. Protection, 2012, digital c-print. Dimensions variable. © Richard Mosse. Courtesy of the artist and Jack Shainman Gallery, New York More
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Published: 01 July 2015
Figure 8 Untitled Transient , 2012, digital c-print. Dimensions variable. © Richard Mosse. Courtesy of the artist and Jack Shainman Gallery, New York Figure 8. Untitled Transient, 2012, digital c-print. Dimensions variable. © Richard Mosse. Courtesy of the artist and Jack Shainman Gallery, New More
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Published: 01 November 2017
Figure 2 Deborah Frizzell, Women’s March in New York , 2017. Digital photograph, dimensions variable Figure 2. Deborah Frizzell, Women’s March in New York, 2017. Digital photograph, dimensions variable More
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Published: 01 November 2017
Figure 3 Deborah Frizzell, Women’s March in New York , 2017. Digital photograph, dimensions variable Figure 3. Deborah Frizzell, Women’s March in New York, 2017. Digital photograph, dimensions variable More
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Published: 01 November 2017
Figure 4 Deborah Frizzell, Women’s March in New York , 2017. Digital photograph, dimensions variable Figure 4. Deborah Frizzell, Women’s March in New York, 2017. Digital photograph, dimensions variable More
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Published: 01 November 2017
Fig. 5 Eleanor Anderson, Sinead , 2017. Digital photograph, dimensions variable. Courtesy of the artist Fig. 5. Eleanor Anderson, Sinead, 2017. Digital photograph, dimensions variable. Courtesy of the artist More
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Published: 01 July 2008
Figure 6 Digital still from “simulator/realtime” video work by Gair Dunlop. Footage made in the simulator was paired with its nonvirtual equivalent and projected in a cinematic space. Figure 6. Digital still from “simulator/realtime” video work by Gair Dunlop. Footage made in the simulator was More
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Published: 01 July 2008
Cockteaser: from the Liz Taylor Series (Giant) . Acrylic, rope, digital inkjet print, composition leaf, rope, sandpaper, decorative paper on canvas. 102 × 78 inches, 2006. Cockteaser: from the Liz Taylor Series (Giant). Acrylic, rope, digital inkjet print, composition leaf, rope, sandpaper More
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Published: 01 July 2015
Figure 1 Safe from Harm , 2012, digital c-print. Dimensions variable. © Richard Mosse. Courtesy of the artist and Jack Shainman Gallery, New York Figure 1. Safe from Harm, 2012, digital c-print. Dimensions variable. © Richard Mosse. Courtesy of the artist and Jack Shainman Gallery, New York More
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Published: 01 July 2015
Figure 3 Wrap Your Troubles in Dreams , 2012, digital c-print. Dimensions variable. © Richard Mosse. Courtesy of the artist and Jack Shainman Gallery, New York Figure 3. Wrap Your Troubles in Dreams, 2012, digital c-print. Dimensions variable. © Richard Mosse. Courtesy of the artist and Jack More
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Published: 01 November 2012
Figure 3   Roam: Riding on Remorse , 2008. Gouache on archival digital print on Hahnemühle paper, 6 × 10 in. Collection of Mary Lou Arscott, Pittsburgh. (Camels based on illustration by Bihzâd for Nizâmî's Layli and Manjûn in 1493 Khamsa , British Library.) Image courtesy of the artist More
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Published: 01 November 2012
Figure 6   Rocking Horse , 2010. Gouache on archival digital print on Hahnemühle paper, 12 × 13.5 in. (Horseman drawn from Horseman and Groom , attributable to Qadîmî Qazvin, c. 1560, Arthur M. Sackler Museum, Harvard University, no. 1958.62.2. Altered photograph of southern Iraq.) Image More
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Published: 01 November 2012
Figure 1   Recall , 2012. Archival digital print on Hahnemühle paper, 11.5 × 15.25 in. (Landscape based on The Hero Rustam Slays the Witch of the Cosmic Illusion , an illustration attributed to Qadîmî by S. C. Welch, from Firdawsī's Book of Kings , copied in Tabriz from Shâh Tahmâsp between More
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Published: 01 November 2012
Figure 2   Stretch , 2009. Gouache on archival digital prints on Hahnemühle paper, 72 × 132 in., as six framed panels. (Angels derived from the School of Muhammad Siyâh Qalam, Tabriz, c. 1478–90, Library of the Topkapì Sarayì Museum, Istanbul, H. 2153, fol. 5v.) Image courtesy of the artist More