Campus Medius Digital Mapping In Cultural And Media Studies

Campus Medius explores and expands the possibilities of digital cartography in cultural and media studies. Simon Ganahl documents the development of the project from a historical case study to a mapping platform. Based on the question of what a media experience is, the concepts of the apparatus (dispositif) and the actor-network are translated into a data model. A time-space of twenty-four hours in Vienna in May 1933, marked by a so-called »Turks Deliverance Celebration« (Türkenbefreiungsfeier), serves as an empirical laboratory. This Austrofascist rally is mapped from multiple perspectives and woven into media-historical networks, spanning from the seventeenth century up to the present day.

Media Boundaries and Conceptual Modelling forms part of the humanities tradition by facing one of the fundamental problems since antiquity: how different media represent the world we live in. It intersects also with the digital by addressing the problem with the help of a digital humanities method: computer assisted conceptual modelling. And it acknowledges the spatial turn by investigating the boundary between what has traditionally been the two main media for representation of geospatial information: texts and maps. It contributes to the further development of digital humanities and bridges the two areas of digital humanities and intermedia studies. Further, it strengthens the theoretical foundation for research and teaching in spatial digital humanities. The book meets the lack of critical discussion of the practice of digital mapping, offering a theoretically based understanding of such practices from a humanities perspective. More generally, it contributes to the theoretical discussion of modelling in digital humanities.

An interdisciplinary collection exploring the practices and cultures of mapping in the arts, humanities and social sciences. It features contributions from scholars in critical cartography, social anthropology, film and cultural studies, literary studies, art and visual culture, marketing, museum studies, architecture, and popular music studies.

Although media studies and digital humanities are established fields, their overlaps have not been examined in depth. This comprehensive collection fills that gap, giving readers a critical guide to understanding the array of methodologies and projects operating at the intersections of media, culture, and practice. Topics include: access, praxis, social justice, design, interaction, interfaces, mediation, materiality, remediation, data, memory, making, programming, and hacking.

Campus Medius explores and expands the possibilities of digital cartography in cultural and media studies. Simon Ganahl documents the development of the project from a historical case study to a mapping platform. Based on the question what a media experience is, the concepts of the apparatus (dispositif) and the actor-network are translated into a data model. A time-space of 24 hours in Vienna in May 1933, marked by a so-called "Turks Deliverance Celebration" (Türkenbefreiungsfeier), serves as an empirical laboratory. This Austrofascist rally is mapped from multiple perspectives and weaved into media-historical networks, spanning from the seventeenth century up to the present day.

Piazza virtuale by the group of artists known as Van Gogh TV was not only the biggest art project ever to appear on television, but from a contemporary point of view the project was also a forerunner of today's social media. The ground-breaking event that took place during the 100 days of documenta IX in 1992 was an early experiment with entirely user-created content. This is the first book-length study of this largely forgotten experiment: It documents the radicality of Piazza virtuale's approach, the novel programme ideas and the technical innovations. It also allows, via QR codes, direct access to videos from the show, which until now have been inaccessible.

andererseits provides a forum for research, commentary, and creative work on topics related to the German-speaking world and the field of German Studies. Works presented in the publication come from a wide variety of genres including book reviews, poetry, essays, editorials, forum discussions, academic notes, lectures, and traditional peer-reviewed academic articles. In addition, we welcome contributions by journalists, librarians, archivists, and other commentators interested in German Studies broadly conceived. By publishing such a diverse array of material, we hope to demonstrate the extraordinary value of the humanities in general, and German Studies in particular, on a variety of intellectual and cultural levels. This issue features contributions by Leo A. Lensing, Norman M. Klein, Jens M. Gurr, and Julia Faisst.

Medium, Messenger, Transmission uses the figure of the messenger as a key metaphor for the function of all transmission media.