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Zeitschriftenartikel zum Thema „Capitalism (Computer file)“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 29. Juli 2025

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1

Fleming, David H. "Beller, Jonathan (2018) The message is murder: The substrates of computational capital Beller, Jonathan (2021) The world computer: Derivative conditions of racial capitalism." Film-Philosophy 27, no. 2 (2023): 357–64. http://dx.doi.org/10.3366/film.2023.0234.

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Amrute, Sareeta. "What the facebook files tell us about racial capitalism." Interactions 29, no. 2 (2022): 59–61. http://dx.doi.org/10.1145/3511697.

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Being watched means much more than being seen. This forum investigates information flows of sensing culled from sources as diverse as temperature check and iris scans to sound and movement sensors across terrains. After Veillance discusses how these systems distribute risk unevenly and shape the lives of populations across the globe. --- Sareeta Amrute, Editor

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Hippolite, KABANGO. "PROFILAGE DES CLIENTS PAR LES TECHNIQUES DE PROCESS MINING." International Journal of Novel Research in Computer Science and Software Engineering 11, no. 3 (2024): 29–40. https://doi.org/10.5281/zenodo.13923005.

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<strong>Résumé:</strong> Dans un environnement aussi concurrentiel comme le commerce, le suivi des activités de sa clientèle devient une activité continue pour les organisation et entreprises à vocation commerciale. Avec le développement du web, la virtualisation des marchés est devenue un défi pour les différents marchands. La complexité de l’activité due au nombre des clients et à leur cartographie rend la tâche très difficile dans la compréhension des besoins de sa client&egr

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Dr., Swamynathan Ramakrishnan, and Malini Mittal Bishnoi Dr. "PROPOSITION DEVELOPMENT ON THE FINTECH EVOLUTION AND ITS IMPACT THE ON RETAIL BANKING SECTOR IN INDIA." Manager - The British Journal of Administrative Management 57, no. 145 (2021): 296–312. https://doi.org/10.5281/zenodo.5994925.

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<strong>ABSTRACT</strong> Fintech, that is financial technology is an emerging trend in the Indian financial market. Established financial institutions, start-ups, venture capitalists, and regulators are all interested in FinTech. FinTech, is already changing the banking industry. India's Fintech industry is expected to grow to $150 billion in the next five years. Fintech has the ability to disrupt conventional financial intermediaries, particularly banks, by creating new business models based on the use of big data. Artificial intelligence methods can be used to decode big data, leveragin

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Ridgway, Renée, and Nicolas Malevé. "Synthetic Data and Reverse Image Search: Constructing New Surveillant Indexicalities." Surveillance & Society 22, no. 4 (2024). https://doi.org/10.24908/ss.v22i4.18332.

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The recent evolution of algorithmic techniques (mining, filtering, modelling) makes people more transparent through sophisticated search interactions and online monitoring, heightening opportunities for surveillance. The advent of computer-generated “synthetic data” has created another twist in the techno-information revolution of generative “artificial intelligence.” Promoted by tech companies to circumvent privacy legislation and to develop cheaper monitoring technologies, synthetic data is touted as a solution to surveillance capitalism. This dialogue paper focuses on the use of synthetic d

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Barbrook, Richard. "(originally published in December 1998)." First Monday, December 5, 2005. http://dx.doi.org/10.5210/fm.v0i0.1517.

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This paper is included in the First Monday Special Issue #3: Internet banking, e-money, and Internet gift economies, published in December 2005. Special Issue editor Mark A. Fox asked authors to submit additional comments regarding their articles. How has the hi-tech gift economy evolved since 1998, when the paper was written? This article was a product of its time. When I originally wrote The Hi-Tech Gift Economy, the Net was still a novelty for most people even in the developed world. Nearly 8 years later, using this technology is no longer something special. This means that it is impossible

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Deck, Andy. "Treadmill Culture." M/C Journal 6, no. 2 (2003). http://dx.doi.org/10.5204/mcj.2157.

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Since the first days of the World Wide Web, artists like myself have been exploring the new possibilities of network interactivity. Some good tools and languages have been developed and made available free for the public to use. This has empowered individuals to participate in the media in ways that are quite remarkable. Nonetheless, the future of independent media is clouded by legal, regulatory, and organisational challenges that need to be addressed. It is not clear to what extent independent content producers will be able to build upon the successes of the 90s – it is yet to be seen whethe

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Wagman, Ira. "Wasteaminute.com: Notes on Office Work and Digital Distraction." M/C Journal 13, no. 4 (2010). http://dx.doi.org/10.5204/mcj.243.

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For those seeking a diversion from the drudgery of work there are a number of websites offering to take you away. Consider the case of wasteaminute.com. On the site there is everything from flash video games, soft-core pornography and animated nudity, to puzzles and parlour games like poker. In addition, the site offers links to video clips grouped in categories such as “funny,” “accidents,” or “strange.” With its bright yellow bubble letters and elementary design, wasteaminute will never win any Webby awards. It is also unlikely to be part of a lucrative initial public offering for its owner,

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Rogers, Ian, Dave Carter, Benjamin Morgan, and Anna Edgington. "Diminishing Dreams." M/C Journal 25, no. 2 (2022). http://dx.doi.org/10.5204/mcj.2884.

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Introduction In a 2019 report for the International Journal of Communication, Baym et al. positioned distributed blockchain ledger technology, and what would subsequently be referred to as Web3, as a convening technology. Riffing off Barnett, a convening technology “initiates and serves as the focus of a conversation that can address issues far beyond what it may ultimately be able to address itself” (403). The case studies for the Baym et al. research—early, aspirant projects applying the blockchain concept to music publishing and distribution—are described in the piece as speculations or pro

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Martin, Bianca. "The Use of Thread and Fabric in Feminist Zines." M/C Journal 26, no. 6 (2023). http://dx.doi.org/10.5204/mcj.3015.

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Introduction Zines have a direct cultural link to the third wave feminist movement, with feminist zines rising to prominence in the early 1990s alongside the punk subculture known as “riot grrrl” (Piepmeier 8). Feminist zines provided an avenue for young women to write about their lived experiences of sexism or discrimination and to connect with other women who had shared experiences, much like the consciousness-raising groups of previous feminist activist movements (Duncombe 197). Contemporary feminist zines have continued to evolve in this manner, blending the personal with the political as

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Thomas, Glen, and Jaz Choi. "Print." M/C Journal 8, no. 2 (2005). http://dx.doi.org/10.5204/mcj.2329.

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   The call for papers for this volume of M/C Journal provoked an impressive number of responses. The bulk of those responses took issue with the implication within the call for papers that print culture is in some way under threat, or is in danger of being superseded by digital forms. It is axiomatic that the advent of any new technology is accompanied by obituary notices for an older, pre-existing technology. The radio was seen as a threat to books and literacy in the 1920s, and, similarly, in the 1950s the popularity of television in the home was expected to mean the end o

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Anaya, Ananya. "Minimalist Design in the Age of Archive Fever." M/C Journal 24, no. 4 (2021). http://dx.doi.org/10.5204/mcj.2794.

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In a listicle on becomingminimalist.com, Joshua Becker argues that advances in personal computing have contributed to the growing popularity of the minimalist lifestyle. Becker explains that computational media can efficiently absorb physical artefacts like books, photo albums, newspapers, clocks, calendars, and more. In Nawapol Thamrongrattanarit’s Happy Old Year (2019, ฮาวทูทิ้ง ทิ้งอย่างไร..ไม่ให้เหลือเธอ) the protagonist Jean also argues that material possessions are wasteful and unnecessary in the era of cloud storage. In the film, she redesigns her old-fashioned and messy childhood home

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Potts, Graham. ""I Want to Pump You Up!" Lance Armstrong, Alex Rodriguez, and the Biopolitics of Data- and Analogue-Flesh." M/C Journal 16, no. 6 (2013). http://dx.doi.org/10.5204/mcj.726.

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The copyrighting of digital augmentations (our data-flesh), their privatization and ownership by others from a vast distance that is simultaneously instantly telematically surmountable started simply enough. It was the initially innocuous corporatization of language and semiotics that started the deeper ontological flip, which placed the posthuman bits and parts over the posthuman that thought that it was running things. The posthumans in question, myself included, didn't help things much when, for instance, we all clicked an unthinking or unconcerned "yes" to Facebook® or Gmail®'s "terms and

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Ellis, Katie, and Mike Kent. "iTunes Is Pretty (Useless) When You’re Blind: Digital Design Is Triggering Disability When It Could Be a Solution." M/C Journal 11, no. 3 (2008). http://dx.doi.org/10.5204/mcj.55.

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Introduction This year, 2008, marks the tenth anniversary of the portable MP3 player. MPMan F10, the first such device to utilise the MP3-encoding format, was launched in March 1998 (Smith). However it was not until April 2003 when Apple Inc launched the iPod that the market began the massive growth that has made the devices almost ubiquitous in everyday life. In 2006 iPods were rated as more popular than beer amongst college students in the United States, according to Student Monitor. Beer had only previously surpassed in popularity once before, in 1997, by the Internet (Zeff). This year will

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Bucher, Taina. "About a Bot: Hoax, Fake, Performance Art." M/C Journal 17, no. 3 (2014). http://dx.doi.org/10.5204/mcj.814.

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Introduction Automated or semi-automated software agents, better known as bots, have become an integral part of social media platforms. Reportedly, bots now generate twenty-four per cent of all posts on Twitter (Orlean “Man”), yet we know very little about who these bots are, what they do, or how to attend to these bots. This article examines one particular prominent exemplar: @Horse_ebooks, a much beloved Twitter bot that turned out not to be a “proper” bot after all. By examining how people responded to the revelations that the @Horse_ebooks account was in fact a human and not an automated s

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Pedersen, Isabel, and Kirsten Ellison. "Startling Starts: Smart Contact Lenses and Technogenesis." M/C Journal 18, no. 5 (2015). http://dx.doi.org/10.5204/mcj.1018.

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On 17 January 2013, Wired chose the smart contact lens as one of “7 Massive Ideas That Could Change the World” describing a Google-led research project. Wired explains that the inventor, Dr. Babak Parviz, wants to build a microsystem on a contact lens: “Using radios no wider than a few human hairs, he thinks these lenses can augment reality and incidentally eliminate the need for displays on phones, PCs, and widescreen TVs”. Explained further in other sources, the technology entails an antenna, circuits embedded into a contact lens, GPS, and an LED to project images on the eye, creating a virt

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West, Patrick Leslie, and Cher Coad. "Drawing the Line: Chinese Calligraphy, Cultural Materialisms and the "Remixing of Remix"." M/C Journal 16, no. 4 (2013). http://dx.doi.org/10.5204/mcj.675.

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Western notions of authors’ Intellectual Property Rights (IPRs), as expressed within copyright law, maintain a potentially fraught relationship with a range of philosophical and theoretical positions on writing and authorship that have developed within contemporary Western thinking. For Roland Barthes, authorship is compromised, de-identified and multiplied by the very nature of writing: ‘Writing is that neutral, composite, oblique space where our subject slips away, the negative where all identity is lost, starting with the very identity of the body writing’ (142). Gilles Deleuze and Félix Gu

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Kennedy, Jenny, Indigo Holcombe-James, and Kate Mannell. "Access Denied." M/C Journal 24, no. 3 (2021). http://dx.doi.org/10.5204/mcj.2785.

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Introduction As social-distancing mandates in response to COVID-19 restricted in-person data collection methods such as participant observation and interviews, researchers turned to socially distant methods such as interviewing via video-conferencing technology (Lobe et al.). These were not new tools nor methods, but the pandemic muted any bias towards face-to-face data collection methods. Exemplified in crowd-sourced documents such as Doing Fieldwork in a Pandemic, researchers were encouraged to pivot to digital methods as a means of fulfilling research objectives, “specifically, ideas for av

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Wark, McKenzie. "Toywars." M/C Journal 6, no. 3 (2003). http://dx.doi.org/10.5204/mcj.2179.

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I first came across etoy in Linz, Austria in 1995. They turned up at Ars Electronica with their shaved heads, in their matching orange bomber jackets. They were not invited. The next year they would not have to crash the party. In 1996 they were awarded Arts Electronica’s prestigious Golden Nica for web art, and were on their way to fame and bitterness – the just rewards for their art of self-regard. As founding member Agent.ZAI says: “All of us were extremely greedy – for excitement, for drugs, for success.” (Wishart & Boschler: 16) The etoy story starts on the fringes of the squatters’ m

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Nichols, L. Dugan. "Generational Detectives." M/C Journal 28, no. 1 (2025). https://doi.org/10.5204/mcj.3136.

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Introduction This article examines American Conspiracy: The Octopus Murders (2024), a four-part documentary released on Netflix. Directed by Zachary Treitz, the documentary follows young photojournalist Christian Hansen as he tries to solve the mysterious death of Danny Casolaro. In 1991, Casolaro was found deceased in a hotel room while tracking officials in the CIA and former Reagan White House. He had planned to write an explosive book about what he termed “The Octopus”, an octuplet of overlapping conspiracies that transpired in the 1980s. At the time, local officials ruled Casolaro’s death

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Pace, Steven. "Revisiting Mackay Online." M/C Journal 22, no. 3 (2019). http://dx.doi.org/10.5204/mcj.1527.

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IntroductionIn July 1997, the Mackay campus of Central Queensland University hosted a conference with the theme Regional Australia: Visions of Mackay. It was the first academic conference to be held at the young campus, and its aim was to provide an opportunity for academics, business people, government officials, and other interested parties to discuss their visions for the development of Mackay, a regional community of 75,000 people situated on the Central Queensland coast (Danaher). I delivered a presentation at that conference and authored a chapter in the book that emerged from its procee

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Ahn, Sungyong. "On That <em>Toy-Being</em> of Generative Art Toys." M/C Journal 26, no. 2 (2023). http://dx.doi.org/10.5204/mcj.2947.

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Exhibiting Procedural Generation Generative art toys are software applications that create aesthetically pleasing visual patterns in response to the users toying with various input devices, from keyboard and mouse to more intuitive and tactile devices for motion tracking. The “art” part of these toy objects might relate to the fact that they are often installed in art galleries or festivals as a spectacle for non-players that exhibits the unlimited generation of new patterns from a limited source code. However, the features that used to characterise generative arts as a new meditative genre, s

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Green, Lelia, Richard Morrison, Andrew Ewing, and Cathy Henkel. "Ways of Depicting: The Presentation of One’s Self as a Brand." M/C Journal 20, no. 4 (2017). http://dx.doi.org/10.5204/mcj.1257.

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Ways of Seeing"Images … define our experiences more precisely in areas where words are inadequate." (Berger 33)"Different skins, you know, different ways of seeing the world." (Morrison)The research question animating this article is: 'How does an individual creative worker re-present themselves as a contemporary - and evolving - brand?' Berger notes that the "principal aim has been to start a process of questioning" (5), and the raw material energising this exploration is the life's work of Richard Morrison, the creative director and artist who is the key moving force behind The Morrison Stud

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Kellner, Douglas. "Engaging Media Spectacle." M/C Journal 6, no. 3 (2003). http://dx.doi.org/10.5204/mcj.2202.

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In the contemporary era, media spectacle organizes and mobilizes economic life, political conflict, social interactions, culture, and everyday life. My recently published book Media Spectacle explores a profusion of developments in hi-tech culture, media-driven society, and spectacle politics. Spectacle culture involves everything from film and broadcasting to Internet cyberculture and encompasses phenomena ranging from elections to terrorism and to the media dramas of the moment. For ‘Logo’, I am accordingly sketching out briefly a terrain I probe in detail in the book from which these exampl

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Binns, Daniel. "No Free Tickets." M/C Journal 25, no. 2 (2022). http://dx.doi.org/10.5204/mcj.2882.

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Introduction 2021 was the year that NFTs got big—not just in value but also in terms of the cultural consciousness. When digital artist Beeple sold the portfolio of his 5,000 daily images at Christie’s for US$69 million, the art world was left intrigued, confused, and outraged in equal measure. Depending on who you asked, non-fungible tokens (NFTs) seemed to be either a quick cash-grab or the future of the art market (Bowden and Jones; Smee). Following the Beeple sale, articles started to appear indicating that the film industry was abuzz for NFTs. Independent filmmaker Kevin Smith was quick t

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Downes, Daniel M. "The Medium Vanishes?" M/C Journal 3, no. 1 (2000). http://dx.doi.org/10.5204/mcj.1829.

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Introduction The recent AOL/Time-Warner merger invites us to re-think the relationships amongst content producers, distributors, and audiences. Worth an estimated $300 billion (US), the largest Internet transaction of all time, the deal is 45 times larger than the AOL/Netscape merger of November 1998 (Ledbetter). Additionally, the Time Warner/EMI merger, which followed hard on the heels of the AOL/Time-Warner deal and is itself worth $28 billion (US), created the largest content rights organisation in the music industry. The joining of the Internet giant (AOL) with what was already the world's

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Ali, Kawsar. "Zoom-ing in on White Supremacy." M/C Journal 24, no. 3 (2021). http://dx.doi.org/10.5204/mcj.2786.

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The Alt Right Are Not Alright Academic explorations complicating both the Internet and whiteness have often focussed on the rise of the “alt-right” to examine the co-option of digital technologies to extend white supremacy (Daniels, “Cyber Racism”; Daniels, “Algorithmic Rise”; Nagle). The term “alt-right” refers to media organisations, personalities, and sarcastic Internet users who promote the “alternative right”, understood as extremely conservative, political views online. The alt-right, in all of their online variations and inter-grouping, are infamous for supporting white supremacy online

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Muntean, Nick, and Anne Helen Petersen. "Celebrity Twitter: Strategies of Intrusion and Disclosure in the Age of Technoculture." M/C Journal 12, no. 5 (2009). http://dx.doi.org/10.5204/mcj.194.

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Being a celebrity sure ain’t what it used to be. Or, perhaps more accurately, the process of maintaining a stable star persona isn’t what it used to be. With the rise of new media technologies—including digital photography and video production, gossip blogging, social networking sites, and streaming video—there has been a rapid proliferation of voices which serve to articulate stars’ personae. This panoply of sanctioned and unsanctioned discourses has brought the coherence and stability of the star’s image into crisis, with an evermore-heightened loop forming recursively between celebrity goss

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