Parallel Public
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Piracy Cultures
Author: Manuel Castells
language: en
Publisher: Xlibris Corporation
Release Date: 2013-02-25
Piracy CulturesEditorial Introduction MANUEL CASTELLS 1 University of Southern California GUSTAVO CARDOSO Lisbon University Institute (ISCTE-IUL) What are "Piracy Cultures"? Usually, we look at media consumption starting from a media industry definition. We look at TV, radio, newspapers, games, Internet, and media content in general, all departing from the idea that the access to such content is made available through the payment of a license fee or subscription, or simply because its either paid or available for free (being supported by advertisements or under a "freemium" business model). That is, we look at content and the way people interact with it within a given system of thought that sees content and its distribution channels as the product of relationships between media companies, organizations, and individualseffectively, a commercial relationship of a contractual kind, with accordant rights and obligations. But what if, for a moment, we turned our attention to the empirical evidence of media consumption practice, not just in Asia, Africa, and South America, but also all over Europe and North America? All over the world, we are witnessing a growing number of people building media relationships outside those institutionalized sets of rules. We do not intend to discuss whether we are dealing with legal or illegal practices; our launching point for this analysis is that, when a very significant proportion of the population is building its mediation through alternative channels of obtaining content, such behavior should be studied in order to deepen our knowledge of media cultures. Because we need a title to characterize those cultures in all their diversitybut at the same time, in their commonplacenesswe propose to call it "Piracy Cultures."
Posthuman Rap
Author: Justin Adams Burton
language: en
Publisher: Oxford University Press
Release Date: 2017-09-01
Posthuman Rap listens for the ways contemporary rap maps an existence outside the traditional boundaries of what it means to be human. Contemporary humanity is shaped in neoliberal terms, where being human means being viable in a capitalist marketplace that favors whiteness, masculinity, heterosexuality, and fixed gender identities. But musicians from Nicki Minaj to Future to Rae Sremmurd deploy queerness and sonic blackness as they imagine different ways of being human. Building on the work of Sylvia Wynter, Alexander Weheliye, Lester Spence, LH Stallings, and a broad swath of queer and critical race theory, Posthuman Rap turns an ear especially toward hip hop that is often read as apolitical in order to hear its posthuman possibilities, its construction of a humanity that is blacker, queerer, more feminine than the norm.
Contesting Publics
Through ethnographic case studies and activists' narratives, Contesting Publics analyses the challenges feminists face as they seek to engage with new spaces of participatory democracy in Latin America. Lynne Phillips and Sally Cole analyse how new silences, exclusions and re-inscriptions of inequalities have emerged alongside these new spaces of participation. They re-examine the relationship between public and private and address a larger theoretical question: what is the meaning of 'the public' within democracy projects? Contesting Publics considers current debates among feminists from different generations on the merits of a variety of strategies, goals and issues, drawing out vital lessons for students, researchers and activists in anthropology, gender studies and Latin American studies.