Media History

On the basis of a sonic standard, I examine in this chapter how technical media produce culturally and historically specific configurations of audibility and inaudibility. This is concretized through a case study of the RIAA standard with regard to “transparency” in the hi-fi culture of the late 1940s and early 1950s by means of media archaeological analysis as well cultural history. The RIAA standard is a norm for record cutting and playback established by the Recording Industry Association of America (RIAA) in 1954. Its up-to-date specifications are defined in nationally and internationally valid standards, in Germany by DIN EN IEC 60098:2021-01 and at the International Electrotechnical Commission (IEC) by IEC 60098:2020. The chapter advocates for an approach that addresses the technically constituted inaudibility of media in order to reconstruct specific articulations of audibility in auditory cultures and shed light into not yet fully explored political dimensions of sound.

ÖZ Reklamcılığın dinamik yapısı gereği, sektör içinde yetişmiş veya sektöre yeni katılan çalışan ihtiyacı süreklidir. Bu ihtiyacın hızlı bir şekilde karşılanması için reklam ajansları tıpkı hedef kitleye farklı mecralardan ulaşmaya çalışan reklam verenler gibi farklı mecralardan potansiyel çalışanlarına ulaşmaya çalışmaktadır. Bu çalışma ile Bigumigu.com sitesinde reklam ajansları tarafından verilen iş ilanları incelenerek; iş ilanlarında yer alan görev tanımları ve ajansların çalışanlardan beklentileri belli kriterlere göre araştırılmıştır. Çalışmanın amacı, reklam ajanslarının iş ilanlarını inceleyerek ilanlarda reklamcılık sektörünün çalışan adaylarından beklentilerini tespit etmektir. Çalışma amacına ulaşmak için nitel araştırma yöntemlerinden biri olan içerik analizi kullanılmıştır. Reklamcılık sektöründe iş ilanları yayınlayan Bigumigu.com sitesinde yer alan 164 adet iş ilanı sekiz kategoride incelenmiştir. Bu kategoriler; ilanda aranan pozisyon, deneyim, yetenekler ve bilgi, takım çalışması, strateji ve trend takibi, sosyal medya yetkinliği, iletişim yetkinliği ve dilbigisidir. Araştırmadan elde edilen sonuçlara göre; reklamcılık sektöründe görev başlıkları konusunda bir karmaşa kendisini göstermektedir. Aynı pozisyona ilişkin çok farklı tanımlamalar dikkat çekmektedir. Öte yandan reklam ajansları teknolojik gelişmelere uyum sağlayabilen tasarım konusunda deneyimli, yetenek ve bilgi sahibi, takım çalışmasına uygun ve dilbilgisine hakim çalışanlara yoğun olarak ihtiyaç duymakta ve bünyesine katmaya çalışmaktadır. Çalışma reklamcılık sektörü ve sektör paydaşlarının aday çalışanlardan beklentilerini irdelemesi bağlamında diğer çalışmalardan farklılaşmaktadır. Ayrıca çalışmanın reklam ajanslarına etkili iş ilanları hazırlama konusunda rehberlik etmesi ve reklamcılık sektöründe çalışmak isteyen adaylara sektör beklentileri konusunda fikir vermesi amaçlanmaktadır.

A media history of the material and infrastructural features of networking practices, a German classic translated for the first time into English.

Nets hold, connect, and catch. They ensnare, bind, and entangle. Our social networks owe their name to a conceivably strange and ambivalent object. But how did the net get into the network? And how can it reasonably represent the connectedness of people, things, institutions, signs, infrastructures, and even nature? The Connectivity of Things by Sebastian Giessmann, the first media history that addresses the overwhelming diversity of networks, attempts to answer all these questions and more.

Reconstructing the decisive moments in which networking turned into a veritable cultural technique, Giessmann takes readers below the street to the Parisian sewers and to the Suez Canal, into the telephone exchanges of Northeast America, and on to the London Underground. His brilliant history explains why social networks were discovered late, how the rapid rise of mathematical network theory was able to take place, how improbable the invention of the internet was, and even what diagrams and conspiracy theories have to do with it all. A primer on networking as a cultural technique, this translated German classic explains everything one ever could wish to know about networks.

Dit paper onderzoekt de mate waarin kranten tijdens de Nederlandse Revolutie ingezet werden als politiek middel met de berichtgeving over de slag bij Jutphaas als casus. Er wordt beargumenteerd dat kranten van zowel de patriotten als de orangisten op meerdere manieren partijdig waren.

We present the edition of the manuscript on the Introduction to the History of the Basque Country that Bonifacio Echegaray Corta wrote, commissioned by the Basque Studies  Society-Eusko-Ikaskuntza,  between  1932  and  1936.  This  manuscript  is  di-vided into three main parts: Geography, Names of the Basque Country, and Prehis-tory.  Thanks  to  his  prestige  as  a  jurist  and  historian,  Echegaray  was  chosen  to  pro-duce a History of the Basque Country as a whole for use in schools and universities within  the  framework  of  a  Statute  of  Autonomy  presumed  to  be  attainable  soon.  However, the anti-republican coup d’état and the consequent civil war prevented its complete realization. Our study of the manuscript tries to contextualize the work of Echegaray and its value

In the early years of the 20th century, advertisements for the telephone-especially those created for the American Telephone and Telegraph Company (AT&T)-did far more than sell the public on telephone service. They can be seen as constituting a pedagogy of modernity that was instrumental in shaping modern conceptions of time and space in the social imagination. This essay draws on numerous examples of telephone advertising and illustrates how they deployed representations of time and space in the discursive construction of speed as a product of the telephone. The author argues that the tropes of speed engaged by these advertisements aligned the possibilities afforded by modern technology with the acceleration of capitalism itself.

This dissertation is a cultural history of the telephone. It explores how the telephone came to be imagined, developed, promoted, and ultimately integrated into everyday life in the United States in the late nineteenth and twentieth centuries. By drawing on a wide-range of archival materials-including artifacts, design documents, corporate correspondence, trade journals, consumer advertisements, and popular texts-the dissertation reveals how the design of the telephone acted as a site of negotiation for competing concepts of modernity and reflected the shifting power relations between inventors, managers, manufacturers, subscribers, engineers, designers, and advertising experts. It considers the earliest conceptions of the telephone system and shows how these visions-along with the material expansions of t h e telephone network-were profoundly bound up with the transformations of economic forces and social conditions which marked the shift from market to modern capitalism. Finally, the dissertation examines the role of telephone advertising in shaping and advancing new, 'modern' ways of thinking about time, space, and identity. Evidence is presented t o suggest that ongoing negotiations over the appearance, uses, and meanings of the telephone played a significant role both in shaping the social and political identity of America's emerging middle class and in defining popular understanding about what it meant to be 'modern.' iii A.G.H. and E.H. I would like t o acknowledge the generous support my doctoral work has received from Fonds pour la formation des chercheurs et I'aide a la recherche (FCAR) and the Social Sciences and Humanities Research Council (SSHRC). This funding and a Smithsonian Pre-doctoral Fellowship made it possible for me to immerse myself in the study of the telephone at the Cooper-Hewitt National Museum of Design in New York, the Archive Center a t the National Museum of American History (NMAH) in Washington DC, the AT&T Archive in New Jersey, and the Bell Canada Historical Collection (BCHC) in Montreal. Numerous individuals a t these four institutions provided encouragement, information, and useful advice that helped me make sense of what I was finding and learning. Among t h e many capable and enthusiastic curators, librarians, and archivists I met, I'd like t o acknowledge Stephen Van Dyk, Donald Albrecht, and Ellen Lupton as well as Claire Gunning and Luis Badillo at the Cooper-Hewitt; Bernard

In the early years of the 20th century, advertisements for the telephone—especially those created for the American Telephone and Telegraph Company (AT&T)—did far more than sell the public on telephone service. They can be seen as constituting a pedagogy of modernity that was instrumental in shaping modern conceptions of time and space in the social imagination. This essay draws on numerous examples of telephone advertising and illustrates how they deployed representations of time and space in the discursive construction of speed as a product of the telephone. The author argues that the tropes of speed engaged by these advertisements aligned the possibilities afforded by modern technology with the acceleration of capitalism itself.

Contra o princípio norteador da contemporaneidade capitalista ocidental, de uma separação essencial-humanos e natureza, linguagens, grupos-iniciativas como a recuperação das memórias das praias por pessoas mais velhas mostram-se mais que uma alternativa à racionalidade histórica: são atividades que conjugam ética e ecologia para discutir processos da memória como ferramentas de cidadania. Sob essa perspectiva, discute-se o modo como uma prática sociocultural e ecológica realizada em 2023 numa praia portuguesa toca dimensões fundamentais da ética comunitária e preocupada com a inserção dos cidadãos mais velhos, além de revelar percepções do uso da praia marcadas por diferenciações de gênero e classe.

Europe's first commercial TV station as transnational experiment* The story of Tele-Saar, the commercial TV station providing both German and Frenchspeaking audiences in the Saarland with programmes funded by advertising in the mid-1950's, constitutes a most interesting episode of European broadcasting historywhether from a technical, an economic, a cultural or a political history perspective. The establishment of the ''Saarländische Fernseh AG'' on 17 May 1952 marked not just the beginning of private commercial broadcasting in the Saarland, at that time under French economic administration, but also a special chapter of post-war French and German broadcasting history -at a time when commercial radio and television were forbidden both in France's Fourth Republic and in West Germany. In both countries, the concept of public broadcasting had prevailed in the aftermath of the Second World War, with its monopolistic dominance defended by politicians through to the 1980's. In the whole of Germany and France? As in the comic world of Goscinny and Uderzo 1 , the Saarland can be seen as that strip of the Franco-German border region where everything was a bit different. The aim of this contribution is to look at why this was the case, studying the background of this private-sector initiative and its long-term consequences. Though the focus is on the 1950's, to really do justice to its exceptional status and media history importance, the story of the Saarländische Fernseh AG needs to be seen within the extended context of Franco-German and European broadcasting history. After giving a brief historical introduction into the structure of German and French broadcasting at that time and the Franco-German skirmishes during the ups and downs of the broadcasting history of the two countries, I will be looking at the run-up to the creation of the Saarländische Fernseh AG and its actual establishment. In doing so, I will be presenting the key players, i.e. the ones who sat at the negotiating * This article offers a drastically shortened English version of a book chapter originally published in a three volume series on the history of media in the Saarland in 2010. While this article concentrates on the emergence and short life of the private television station Tele-Saar, the original version mainly focused on the history of the commercial radio station Europe n. 1.

For many years, Morro do Castelo has been portrayed in many works, some of which refer to its total dismantling in the 1920s. The issues that will be discussed here will address not only the legacies that we bring from history, but above all its importance in the formation of cities and a collective memory built up by citizen experience over the centuries. As well as taking a look at the inherent historical implications and understanding the need at the time to take steps to clean up the city, this paper aims to shed light on and collect other issues, beyond the well- known ones of hygiene, collective vaccination and modernization, which arose at the end of the 19th century. These issues, which underpinned the dismantling of Morro do Castelo in time, consolidated the necessary conditions for its future razing, in addition to a probable political use of the population’s fragile state amid the epidemics of the early 20th century in the city, as well as possible appropriation and financial speculation on the properties and central areas, with a view to their overvaluation, as future developments on the esplanade to be created with the dismantling.

Keywords: Space and place. Modernity. Urban transformation.

This article examines how media production is shaped under media conglomeration through a close analysis of Space Ghost: Coast to Coast (1994-2008), arguing that animation evinces the corporate strategy of archive reuse through its esthetics. It compares how the limited animation of Hanna-Barbera Productions transformed in the shift to cable and greater media conglomeration under Turner Broadcasting System. Using a thick description of the production process, the chapter illustrates how Cartoon Network programmers remixed the corporate archive to create Space Ghost: Coast to Coast. Through this remixed production process, channel programmers used limited animation esthetics to disclose on their own labor as programmers and producers within Turner's media empire. It ends by examining how Space Ghost: Coast to Coast's unique production techniques and esthetics shaped Cartoon Network's adult programing block, [adult swim].

Ab der Mitte des 15. Jahrhunderts etabliert der Buchdruck einen neuen Schriftbegriff und erzeugt grundlegende Merkmale des modernen Textes wie Geschlossenheit und Verfügbarkeit. Deren Bewertung fällt zeitgenössisch sowohl positiv als auch negativ aus: Die Technik wird einerseits als Garant für Autorität, andererseits als deren Entwertung gesehen. Die grenzenlose Verbreitung der Schrift erscheint begrüßenswert und macht gleichzeitig neue Verfahren der Vermittlungsbegrenzung notwendig. In diesem Feld der sich wandelnden Schrift- und Textbegriffe um die Wende zum 16. Jahrhundert werden das Wissen, die moralphilosophische Lehre und die literarische Tradition im Druckdispositiv neu geordnet. Im kulturellen Netz zirkulieren Materialien leichter und schneller und tragen damit zur Verstetigung und Verdichtung dieses Netzes bei.
Als zentraler epistemischer Effekt des Paradigmenwechsels vom Manuskript- zum Druckdispositiv lässt sich eine neue Rezeptionshaltung diagnostizieren, die in besonderer Weise mit den Innovationen des europäischen Dramas korrespondieren. Sven Thorsten Kilian untersucht in seiner Studie spanische, italienische und französische Dramentexte aus dem Zeitraum zwischen 1500 und 1550, da diese immer schon als öffentlich gedachten und reproduzierten Texte die neue Beweglichkeit der Schrift in exemplarischerer Weise reflektieren.

Der Beitrag beleuchtet die Auswirkungen der Digitalfotografie auf Institutionen wie Archive, Museen und Galerien. Es wird untersucht, wie die Digitalfotografie (digital born) das Sammeln, Bewahren und Zugänglichmachen fotografischer Bestände verändert hat. Der Beitrag betont die Notwendigkeit einer schnelleren und aktiveren Überlieferungsbildung sowie die Herausforderungen durch neue algorithmische Verfahren und Künstliche Intelligenz. Zudem wird argumentiert, dass die traditionelle Unterscheidung zwischen Original und Kopie durch digitale Bilder infrage gestellt ist, und es wird diskutiert, wie sich das Verständnis von fotografischen Bildern in der digitalen Ära wandelt. Der Beitrag bietet eine historische Analyse, beleuchtet aktuelle Entwicklungen und skizziert mögliche zukünftige Trends.

Bilder können ein Eigenleben entwickeln und zu Ikonen werden – so wie Theo Freys Fotografie des Rütlirapports vom 25. Juli 1940. Obwohl der Rapport selbst bis heute als zentrales Ereignis der Schweizer Zeitgeschichte gilt, ist die Geschichte des Bildes erstaunlich wenig erforscht. Hier setzt das Buch an: Es untersucht, wie sich Freys Aufnahme im Laufe der Jahrzehnte durch verschiedene Hände, Archive, Zeitungen, Schulbücher, Museen und Datenbanken bewegt hat. Und es zeigt, wie sich die Bedeutung des Bildes in den vergangenen achtzig Jahren vervielfacht hat – und wie es so zu einem zentralen Bezugspunkt der Schweizer Geschichtskultur und zu einer der bekanntesten Fotografien der Schweiz werden konnte.

La tendenza degli studi recenti di storia della comunicazione è stata quella di considerare la varietà, la coesistenza e la natura sistemica dei media nella società moderna e contemporanea. Termini come media system, ecosistema dei media o media ensemble sono così diventati familiari per gli storici. Un ulteriore passaggio, rispetto a questa concezione multimediale della comunicazione, si è verificato più recentemente. Forse anche come riflesso della società mediatica in cui viviamo, dominata da forme di comunicazione sempre più ibride, la comunicazione non viene più rappresentata solo come un universo multimediale – dove stampa, manoscritto, oralità, musica, performance, immagini, suoni e video coesistono –, ma piuttosto come un ecosistema intermediale – all’interno del quale i media interagiscono spesso sovrapponendosi, modificandosi o sostituendosi l’uno con l’altro. Il concetto di intermedialità non appare più oggi solo un ostico neologismo ma comincia a essere impiegato ‘sul campo’ dagli storici. Nel presente volume studiosi dell’età moderna e contemporanea utilizzano questo concetto come chiave di lettura per interpretare fenomeni sociali, politici e culturali, fornendo una serie di esempi di applicazioni concrete di un approccio intermediale alla comunicazione in diversi ambiti storiografici.

Аннотация: в настоящей статье на основе анализа 392 публикаций в федеральных газетах выявлены и проанализированы приемы работы на аудиторию, содержащиеся в творчестве телевизионных критиков общественно-политических газет «Комсомольская правда» и «Труд». Автором статьи установлено, что критики в каждой из своих статей использовали несколько приемов, в совокупности направленных на эффективное восприятие содержащейся там информации. Например, придумывали образные заголовки, использовали различные средства художественной выразительности. А вот в лидах драматургии не было. Abstracts: in this article based on the analysis of articles in 392 in national newspapers methods of work on the audience identified and analyzed, which have in the articles of three Russian television critics socio-political newspaper "Komsomolskaya Pravda" and "Trud". The author of the article found critics u sing several techniques, collectively aimed at effective perception of the information contained therein of each of your articles. For example, we come up with imaginative titles, used various means of artistic expression. But in lidah drama was not. Несмотря на то, что содержащие оценки телевизионного вещания статьи начали регулярно публиковаться в отечественных газетах и журналах еще с 1990 г., журналистская критика СМИ в России до сих пор находится, на наш взгляд, в стадии становления. В наших предыдущих работах мы постарались доказать это 123 . К тому же современная критика СМИ (медий-

Die digitale Transformation verändert die Medienwissenschaft grundlegend, indem sie sowohl die Forschung an born-digital-Medien als auch die Retrodigitalisierung analoger Bestände beeinflusst. Dies erfordert ein systemisches Denken, das die Interdependenz von Sammeln, Systematisieren und Forschen betont. Der Beitrag beleuchtet, wie digitale Technologien Forschungspraktiken prägen, die Zugänglichkeit zu Beständen verbessern und neue methodische Ansätze ermöglichen. Besonders die Retrodigitalisierung stellt Herausforderungen wie die maschinenlesbare Erfassung von Digitalisaten und die Interoperabilität von Datenbeständen. Gleichzeitig birgt sie das Potenzial für eine Neuperspektivierung der Mediengeschichtsschreibung, die sowohl quantitative als auch qualitative Methoden integriert.

Oslo: Vidarforlaget 2016. Da den franske general Pétain i 1940 ble utnevnt til statsminister, var han 84 år gammel. Så sent i livet åpnet han nesten aldri munnen. Men da han en dag ble spurt hvordan han ville forklare det franske nederlaget overfor tyskerne, svarte han: «Kanskje vi har gitt for tidlig avkall på dueoppdretterne og brevduene.» 1 Han husket tydeligvis hvor viktige de hadde vaert tidligere, skriver Beauvoir etter tørt å ha kommentert at hans likegyldighet overfor nåtiden og fiksering på fortiden forklarer endel fakta som ordet senil ikke kan gjøre rede for. Alderdommen [La Vieillesse], opprinnelig utgitt i 1970, er en gullgruve av slike anekdoter. Et fellestrekk ved dem er at de viser hvordan relasjonen mellom nåtid, fortid og fremtid er avgjørende for våre muligheter til å skape prosjekter, og hvordan de innskrenkes med alderen. For alderdommen er et så vel biologisk, psykologisk, sosialt som kulturelt fenomen, som uansett hvor friske og spreke vi holder oss, byr på begrensninger. Det er neppe saerlig overraskende at Beauvoir forbinder alderdom og minne. Noe mer overraskende er det at hun forbinder alderdom og barndom, og gjør barnet til en riktignok marginal, men etter mitt syn ikke desto mindre emblematisk figur i boka. Delvis henger det sammen med at hun har Victor Hugo som et av svaert få eksempler på at alderdommen blir betraktet som kronen på et liv. Hugo utga diktsamlingen L'Art d'être grand-père (Kunsten å vaere bestefar) i 1877. Da var han 75 år gammel, og hadde fem år tidligere påtatt seg oppdrageransvaret for sine to sønnedøtre etter at sønnen var gått bort. Beauvoir berømmer Hugo for som den første å ha kastet lys over slektskapet mellom barndom og alderdom. I L'Art d'être grand-père gir han et sosialt faktum mytisk verdi og dybde, hevder hun: De voksnes moral og fornuft passer verken for barnet eller den gamle, som begge hever seg over menneskets lodd. Ved sin naivitet og visdom er de naer ved verdens mysterier, naer ved Gud.

El objetivo de este artículo es recuperar algunos de los aspectos más interesantes sobre la actividad propagandística de la Falange Española y su recepción en Portugal durante la Guerra Civil española. La organización fascista española, integrada en el Movimiento Nacional franquista, desarrolló en la retaguardia lusa una estrategia orientada a legitimar el golpe militar contra la II República española, a reclutar combatientes voluntarios para el ejército insurgente y a realizar cuestaciones para recaudar fondos y otros bienes con el fin financiar su causa contra la democracia española. Mediante una metodología cualitativa y el manejo de fuentes primarias de carácter diplomático y hemerográfico, se analiza y describe el funcionamiento y proyección mediática de la Falange en Portugal.

ulio Halperin Donghi se dedica a explorar una vez más el complejo proceso, que coincide con tantos otros devenires del siglo XIX, en el cual los hombres de letras buscaron un lugar que pudieran llamar propio dentro de la sociedad hispanoamericana. Su obra está compuesta por una serie de estudios sobre distintas figuras de la tradición letrada en Hispanoamérica, que cubren un arco temporal de doce décadas, desde fines del siglo XVIII hasta comienzos del siglo XX, en la cual analiza los derroteros de aquellos hombres de letras que escribieron autobiografías, a partir de las cuales puedan rastrearse los sentidos que ellos mismos les otorgaron a sus prácticas y experiencias. Cada uno de los capítulos se ocupa de un individuo en particular en orden cronológico. El primer capítulo de fray Servando Teresa de Mier, el segundo del deán Gregorio Funes, el tercero lo dedica a Domingo F. Sarmiento, y siguen José

Η Τεχνητή Νοημοσύνη είναι μία τεχνολογία γενικού σκοπού που ήδη έχει πλείστες εφαρμογές στην καθημερινότητα των ανθρώπων. Την ίδια στιγμή, ζούμε σε μία κοινωνία της πληροφορίας, όπου η προπαγάνδα αποτελεί αναπόσπαστο κομμάτι της καθημερινής επικοινωνίας. Σκοπός της εργασίας είναι να παρουσιάσει μία θεωρία, αυτή των ομόκεντρων κύκλων και να συνδέσει την ΤΝ με την προπαγάνδα και την παραπληροφόρηση μέσα από μία ιστορική προσέγγιση των ΜΜΕ. Η εργασία επιχειρεί να αναδράμει στις τεχνολογικές εξελίξεις στο χώρο της μαζικής επικοινωνίας και παρουσιάζοντας τη θεωρία των ομόκεντρων κύκλων να αναλύσει, πρώτον, γιατί κάθε φορά που η ακτίνα του κύκλου της επικοινωνίας αυξάνεται, παρομοίως εντός ολίγων ετών αυξάνεται και η αντίστοιχη του κύκλου της προπαγάνδας, άρα και εκείνου της παραπληροφόρησης και, δεύτερον, πώς η Τεχνητή Νοημοσύνη εγγράφεται στη θεωρία των ομόκεντρων κύκλων.

This study uses in-depth, biographical interviews to understand a range of historical experiences in the careers of individual women broadcasters in the Midwest, a region of the United States that has received relatively little attention from media scholars. The findings demonstrate the barriers these women faced as well as the social and cultural capital available to them as they pursued diverse roles in an industry that did not welcome their full participation. The study contributes to scholars’ understanding of women’s participation in the public sphere during the 1950s to 1970s.

The story of US Pioneer Tire & Rubber Companies and Their Advertising. Chapter from the Thesis Dissertation: The Forgotten Years of Bibendum. Michelin’s american period in Milltown: Design, Illustration and Advertising by Pioneer Tire Companies (1900-1930)

This essay responds to Hillary Pimlott’s Wars of Position? “Marxism Today,” Cultural Politics, and the Remaking of the Left Press, 1979–90. Focusing particularly on the intersection of the party form and the function of party media, the essay contextualizes Pimlott’s book and shows the value and usefulness of her study of the journal Marxism Today for contemporary socialist and communist struggle and organization.

Per secoli la Campania è stata oggetto degli sguardi di viaggiatori italiani e stranieri, che con schizzi, disegni e dipinti hanno contribuito alla composizione di una solida enciclopedia iconografica diffusa in tutto il mondo. Tra il XIX e il XX secolo la fotografia e il cinema hanno avuto un ruolo centrale nella crescita di questo repertorio, confermando e rinnovando i cliché più convenzionali o proponendo temi e motivi insoliti. In tempi più recenti, a quest'universo già ampiamente variegato, si sono aggiunti i contributi della serialità televisiva e dei nuovi media: un cosmo composito, rivolto anche alla letteratura e al teatro, in grado di ridefinire l'immagine di Napoli e della Campania. Visioni a Sud si interroga sulle dinamiche narrative e visuali emergenti da tale orizzonte e indaga temi e figure ricorrenti della produzione televisiva e cinematografica degli ultimi due decenni. Grazie a una più ampia riflessione sull'intero, complesso, "organismo" culturale campano, il percorso proposto intende cogliere i potenziali punti di contatto tra le narrazioni contemporanee e l'immaginario turistico sulla regione. Le prospettive di lettura suggerite intercettano aspetti inediti del nuovo volto della Campania, dalla marginalità generatrice di speranza all'auspicata coesione di comunità "sostenibili" ed esemplari.

Este estudio se basa en la premisa de que la prensa de los Estados Unidos, en el marco del contexto imperialista de este país, mediatizó el conflicto de Tacna y Arica entre 1900 y 1929, construyendo un espacio transnacional de discursos periodísticos que contribuyeron a la formación de imaginarios nacionales sobre Chile y Perú. Ante esta proposición, el objetivo del artículo es plantear un modelo teórico explicativo de la circulación de información desde Tacna-Arica hacia un espacio transnacional (Estados Unidos-Chile-Perú). Las conclusiones establecen un vínculo con algunos procedimientos técnicos que ayudarán a trabajar con las fuentes hemerográficas, al tiempo que evidencian algunos límites del modelo.

What can world-systems analysis of the role of Africa in the creation of the capitalist world-economy tell us about Amazon's model of control of global supply chains in the 21 st century? How did patterns established by European imperialism and enslavement of Africans create long lasting continuities of racial capitalism and migration that are used by Amazon to profit in the contemporary era? We argue that the analyses of imperialism and racialized labor in Africa that underlay the creation of the capitalist worldsystem presented by Wallerstein, Rodney, and others, most notably Cedric Robinson, help us understand the continuity of racism and racialized labor over the longue durée. Our analysis of raw materialist lengthened global commodity chains reveals critical continuities and parallels in the central role of racialized exploitation of labor at crucial eras of the modern world-system, including to the enormous rise of Amazon and e-logistics in the contemporary United States.

Nach langer Vorlaufzeit hat der ‚digital turn‘ auch die Geisteswissenschaften erfasst und zum neuen institutionalisierten Forschungsfeld der Digital Humanities geführt. Ihr Aufgabenbereich umfasst die Adaption und Reflexion der neuen digitalen Kommunikationsformen, Anwendungsbereiche und Methoden in Forschung und Lehre sowie die zeitgemäße Archivierung, Vernetzung und Vermittlung relevanter ‚kultureller Informationen‘. Diese Vorhaben treffen auf eine im deutschsprachigen Raum traditionell eher hierarchisch, insular und mittlerweile außerordentlich prekär strukturierte Hochschullandschaft, die sich nur langsam den Prinzipien eines freien Datenaustausches, offener Kollaborationen und flexibler Problemlösungsstrategien öffnet. Es wird sich weisen, ob und welche Versprechen von Digitalität eingelöst werden können. Eines der Versprechen hat der österreichische experimentelle Autor und ‚Hypertext-Pionier‘ Andreas Okopenko, dessen Tagebücher derzeit hybrid ediert werden, bereits früh vorgegeben. Zukünftigen HistorikerInnen hat er Denkfiguren an die Hand gegeben, anhand derer nachvollziehbar wird, was es geheißen haben könnte, Kommunikation unter digitalen Gesichtspunkten zu emanzipieren: das Denken ‚fluidisch‘ nicht den Algorithmen, die Navigation ‚konkretionistisch‘ nicht den Domains zu überlassen.

Questa seconda parte della storia della rete di orologi pubblici di Milano tratta del suo nuovo sviluppo che crebbe lentamente nel corso di circa settant’anni, dagli inizi, nel 1875, alla fine della seconda guerra mondiale, nel 1945. Nell’articolo sono illustrate quali novità tecniche e di servizio
furono introdotte e quale impatto ebbe la guerra che, causando un’estesa distruzione della rete, costrinse un suo rapido ripristino con un’estensione sempre più veloce fino agli anni ‘70 del secolo scorso, diventando, con oltre tremila apparecchi installati, la rete più estesa di orologi pubblici in una città italiana (si consideri che ogni installazione contiene due meccanismi). L’autore presenterà anche alcune nuove informazioni raccolte dopo la pubblicazione della prima parte dell’articolo (La Voce di Hora n.48).

Venerdì 28 febbraio 2025 18:00 - 19:30 Aula B | Plesso Belmeloro - Via Andreatta 8 Bologna

Dialogo su
Scienza e pubblicazioni: le sfide dell'editoria accademica

Giuseppe Distefano, studente e Tutor del CdS in Didattica e comunicazione delle Scienze naturali

Paola Govoni, docente di Storia e studi della scienza

Massimo Sandal, giornalista scientifico

19:30-20:00 Domande del pubblico


Obiettivo del Festival è promuovere l'apprendimento collaborativo e la condivisione di esperienze in primo luogo tra chi si occupa di educazione scientifica: studenti universitari, insegnanti di tutti i livelli scolastici e comunicatori della scienza. Lo facciamo attraverso format coinvolgenti come incontri con professionisti, dibattiti e laboratori esperienziali, un approccio interdisciplinare e una pluralità di voci e argomenti. Sono presenti inoltre gli stand di arte, didattica e comunicazione.

Il nuovo volume a cura di Simona Bodo, Silvia Mascheroni e Maria Grazia Panigada esplora la narrazione come strumento di connessione tra persone e patrimonio culturale. Un approccio multidisciplinare che ridefinisce il ruolo del museo come spazio di equità, dialogo e cittadinanza culturale, costruendo una tessitura di competenze di vari saperi per dare vita a molti punti di vista su questa pratica culturale.

Artificial intelligence (AI) has emerged as a significant influence in the art world, prompting reflection and introspection. This phenomenon raises the question: how could this have happened? This article explores the interrelation between AI-generated art and the concept of artwork's aura, particularly in how art profoundly engages with otherness. The inquiry into whether AI relates to otherness is central to this discussion. The research methodology employed in this study combines scholarly research and literature review with the author's personal experiences in painting, artistic observation, and experimentation with various art techniques. The methods used include descriptive analysis, classification, observation, and interpretive analysis of examples of AI-generated images. The conclusion drawn from this investigation is that AI-assisted works cannot be considered art as long as AI simulates the language of other artistic media.

There is a collection of more than 700 glass slides for the magic lantern at the Whitechapel Gallery, in London. They were used as educational tools for the lectures at the gallery and the Toynbee Hall from the 1880s to 1940s. Two series are presented in the essay: 'Russia' and 'Geology'. The 'Russia' series, among others, contains very rare and probably unique images taken by a British traveler and preacher Rev. Henry Lansdell in Siberia in the 1870s. The 'Geology' series contains some amusing images of the dinosaurs, the 1860s 'reconstructions', based on the etchings by Edouard Riou, the famous illustrator of Jules Verne, and the student of Gustave Dore.
The essay was published on the Whitechapel Gallery website.

Maoist sympathies within the Pci. Beijing correspondents for «l'Unità» and the relations between the Italian and Chinese Communist Parties (1970-1979)

Political relations between the Italian and the Chinese Communist parties (Pci and Ccp) were influenced by the Sino-Soviet split (1960). From 1963 onwards, pro-Chinese groups broke away or were expelled from the Pci. However, there were still some members within the Party who sympathized with Maoism. During the 1970s, Alberto Jacoviello and Maria Antonietta Macciocchi faced heavy criticism for supporting the Chinese Cultural Revolution. The party's official newspaper, «l'Unità», became a platform for intense discussion on the topic. Despite their controversial stance on China, these individuals played a crucial part in improving relations between the Pci and Ccp. As they were left out of the official narrative of the bilateral relations, this article aims to reevaluate their role as Beijing correspondents for «l'Unità» and as mediators with the Chinese.

Primo Convegno Dottorale Internazionale - Il Dipartimento di Lettere e Beni Culturali dell’Università degli Studi
della Campania “Luigi Vanvitelli”, in collaborazione con il Dottorato in
Storia e Trasmissione delle Eredità Culturali, presenta il Primo Convegno
Internazionale delle dottorande e dei dottorandi dal titolo «Tracce,
riflessi e segni: dinamiche della trasmissione», che si terrà a Napoli nelle
giornate del 24, 25 e 26 settembre 2025.
Il convegno nasce all’interno del progetto Orizzonti e Memorie: un ciclo
di conferenze che possa promuovere il confronto sul tema della
trasmissione delle eredità culturali nelle discipline umanistiche, creando
uno spazio di dialogo stabile e destinato a crescere nel tempo.