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Edited by Christoph Neubert, Christina Bartz, Monique Miggelbrink and Timo Kaerlein

Erst das Gehäuse macht aus einem technischen Apparat ein Objekt, das sich gestalten und im Alltag gebrauchen lässt. Ausgehend von dieser Beobachtung diskutiert der Band das Gehäuse als Medium.
In den Medien- und Kulturwissenschaften sind der Funktionalität und dem historischen Wandel von Gehäusen bislang nur am Rande Aufmerksamkeit gewidmet worden. Eher ist es üblich, Gehäuse als sukzessiv abzutragende Hüllen und Blenden zu verstehen, die den Blick auf das entscheidende Innere gerade verstellen. Damit wird das Gehäuse zur systematischen Leerstelle im Diskurs. Der Band unternimmt eine erste kulturwissenschaftliche Annäherung an Gehäuse in Technik, Architektur, Design und Kunst. Ziel ist es, die Medialität von Gehäusen zu analysieren, ohne dabei einer einfachen Dichotomie von Innen und Außen, Oberfläche und Tiefe zu folgen.

Simon Rothöhler

) argumentiert: Kathrin Passig, »Fünfzig Jahre Black Box«, in: Merkur. Deutsche Zeitschrift für europäisches Denken , Nr. 823 (12/2017), S. 16–30. 136 Gitelman, Jackson, Introduction , S. 9. David Gugerli fasst das von Edgar F. Codd in den 1970er Jahren skizzierte relationale Datenbankmodell wie folgt zusammen

Simon Rothöhler

Caplan beschreibt prägnant, wie sich ein Standard in ganz alltäglichen Praktiken sozialmedialer Bilddistribution Geltung verschafft: In the dialog box that opened, I could see the files on my computer. JPEG-encoded and PNG-encoded files were visible. Their names were black. I could select them, add them

Simon Rothöhler

linksmilitanten Filmaktivisten J.P. Carson für die Black-Panther-Bewegung initiierte Cineminima (eine leichte 16mm-Guerillakamera, die mit einem autobatteriebetriebenen Kofferprojektor 509 kurzgeschlossen werden konnte), gehört auch die Paluche zu einem politisch motivierten Projekt, das die medientechnische

The Materiality of Textbooks

From black-and-white textbooks to the digital textbook

Alenka Kepic Mohar

the leading is small. The size of the type varies minimally, and the text is set in one compact column and divided linearly into paragraphs across the width of the entire page. The printing is in black and white, there are no photographs or artwork, and the book is in A5 hardback format. Figure

Innovating through Design

The work of the US cover designer Chip Kidd

Alessandro Bigardi

the 1980s, book jackets commonly displayed dull colours, usually ranging from black to beige or plain white: so first and foremost, this is a visibile jacket, which certainly jumped off the shelves. But there is something more subtle and witty going on here, something that seeks to demonstrate the

Thanks for Typing

The invisible wives, daughters, mothers, and other women behind famous men

Karen Christensen

she say s she is going to tell her children the truth: that she is the actual author of the books for which her husband had accepted a Nobel Prize. Most real-life cases, including those explored at the Thanks for Typing conference , are less simple than that, less black and white. But let’s not

Cody’s Books

A glorious unravelling

David Emblidge

Cody’s employee). There were protests for and against black power, for women’s rights, for this and against that. The social and political pot was more than stirred up. Fred Cody, bookseller and a serious student of political history (he held an MA and a PhD), was sympathetic to most of the young

The Role of Literary Prizes in Inciting Change

The Women’s Prize for Fiction and the Booker Prize

Zoë Chatfield

, it would not be far-fetched to think that the Women’s Prize played a role. Since more literary prizes have recently been established, this comparative research could be widened to assess the effect of other literary prizes, for instance the Jhalak Prize for British Black, Asian, and Minority Ethnic

Brand(ing) Independence

In praise of small presses

Rose Michael

, genre authors and agents often do, advocating for the specificity of a never generic work over its general appeal.) Small is/the new black The following observations tap into an interest I’ve long had in the role of an imprint, or the impact of a publisher’s brand—which aren’t always synonymous, I know