My Face Cut And Paste
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Myface
Catfishing can be a deadly business, especially when social media mega-influencer Angela Fox has you in her sights. When Angela Fox's Myface account is selected as Hottest User of the Month, there's only one problem: she isn't real. As the fake Angela takes the world by storm, a group of strangers struggle to escape a twisted web of narcissism, deceit, and revenge. L.A. hotshot Sebastian Shafer is so desperate to get a job, he creates an elaborate plan to convince his future employer that, if hired, Sebastian's association with "Hollywood socialite" Angela Fox will bring in the sales. The only issue is he needs to convince the world that she actually exists. Angela draws more attention than Sebastian anticipated when her profile gains millions of followers and fame seekers desperately try to catch her attention. But things really get out of control when a handsome young stage-play director winds up dead. The question is who pulled the trigger? This thrilling novella is sure to have you captivated from page one.
Nobu
"Originally published in Japanese in 2014 by Diamond Inc. as The smiling faces of my guests mean everything"--Copyright page.
Cut/Copy/Paste
Author: Whitney Trettien
language: en
Publisher: U of Minnesota Press
Release Date: 2022-02-15
How do early modern media underlie today’s digital creativity? In Cut/Copy/Paste, Whitney Trettien journeys to the fringes of the London print trade to uncover makerspaces and collaboratories where paper media were cut up and reassembled into radical, bespoke publications. Bringing these long-forgotten objects back to life through hand-curated digital resources, Trettien shows how early experimental book hacks speak to the contemporary conditions of digital scholarship and publishing. As a mixed-media artifact itself, Cut/Copy/Paste enacts for readers what Trettien argues: that digital forms have the potential to decenter patriarchal histories of print. From the religious household of Little Gidding—whose biblical concordances and manuscripts exemplify protofeminist media innovation—to the queer poetic assemblages of Edward Benlowes and the fragment albums of former shoemaker John Bagford, Cut/Copy/Paste demonstrates history’s relevance to our understanding of current media. Tracing the lives and afterlives of amateur “bookwork,” Trettien creates a method for identifying and comprehending hybrid objects that resist familiar bibliographic and literary categories. In the process, she bears witness to the deep history of radical publishing with fragments and found materials. With many of Cut/Copy/Paste’s digital resources left thrillingly open for additions and revisions, this book reimagines our ideas of publication while fostering a spirit of generosity and inclusivity. An open invitation to cut, copy, and paste different histories, it is an inspiration for students of publishing or the digital humanities, as well as anyone interested in the past, present, and future of creativity.