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Books on the topic 'Digital materiality'

Author: Grafiati
Published: 4 June 2021
Last updated: 10 May 2025

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1

Buono, Veronica Dal. Raffaello Galiotto: Design digitale e materialità litica. Melfi, Italia: Casa Editrice Librìa, 2012.

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2

Rendell, James. Transmedia Terrors in Post-TV Horror. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789463726320.

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In the twenty-first century horror television has spread across the digital TV landscape, garnering mainstream appeal. Located within a transmedia matrix, Transmedia Terrors in Post-TV Horror triangulates this boom across screen content, industry practices, and online participatory cultures. Understanding the genre within a post-TV paradigm, the book readdresses what is horror television, analysing not only broadcast TV and streaming platforms but also portals such as YouTube, Twitch.TV, and apps. The book also investigates complex digital media ecologies, blurring distinctions between niche and general audience viewing practices, and fostering new circulation pathways for horror television from around the world. Undertaking netnography, the book further offers an innovative model – abject spectrums – to empirically explore myriad audience responses to TV horror, manifesting in various participatory practices including writing, imagery, and crafts. As such, the book greatly expands what is considered horror television, its formatting and circulation, and the transmedia materiality of audience engagement.
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3

Fuller, Matthew. Media ecologies: Materialist energies in art and technoculture. Cambridge, Mass: MIT Press, 2005.

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4

Austria. Signaturgesetz: Bundesgesetz BGBl I 1999/190 mit den Materialien und zusätzlichen Anmerkungen. Wien: Manz, 1999.

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5

Magherini, Simone. AD900 – archivio digitale del 900 letterario italiano. Firenze: SEF - Centro Studi Palazzeschi, 2022. http://dx.doi.org/10.35948/9788860326065.

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Realizzato nell'ambito dei due finanziamenti PRIN 2003-2006, il portale raccoglie e presenta i materiali dell'Archivio Palazzeschi dell'Università di Firenze, dell'Archivio Gozzano-Pavese dell'Università di Torino, dell'Archivio del Novecento in Liguria dell'Università di Genova, alcuni fondi dell'Archivio del Novecento dell'Università La Sapienza di Roma e dell'Archivio linguistico e cinematografico italiano (Aleci) di Alberto Raffaelli. Esso conserva manoscritti, lettere, foto, filmati in formato digitale visibili e consultabili on line, con possibilità di un'ampia gamma di ricerche sui dati e sui testi.
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6

Moskatova, Olga, ed. Images on the Move. Bielefeld, Germany: transcript Verlag, 2021. http://dx.doi.org/10.14361/9783839452462.

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In contemporary society, digital images have become increasingly mobile. They are networked, shared on social media, and circulated across small and portable screens. Accordingly, the discourses of spreadability and circulation have come to supersede the focus on production, indexicality, and manipulability, which had dominated early conceptions of digital photography and film. However, the mobility of images is neither technologically nor conceptually limited to the realm of the digital. The edited volume re-examines the historical, aesthetical, and theoretical relevance of image mobility. The contributors provide a materialist account of images on the move - ranging from wired photography to postcards to streaming media.
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7

Ukraine) Respublikansʹka naukovo-praktychna Internet-konferent︠s︡ii︠a︡ "Elektronni informat︠s︡iĭni resursy" (2010 Vinnyt︠s︡i︠a︡. Elektronni informat︠s︡iĭni resursy--stvorenni︠a︡, vykorystanni︠a︡, dostup: Zbirnyk materialiv Respublikansʹkoï naukovo-praktychnoï Internet-konferent︠s︡iï, m. Vinnyt︠s︡i︠a︡, 12-18 kvitni︠a︡ 2010 roku : (do 50-richchi︠a︡ stvorenni︠a︡ VNTU). Kyïv: Kondor, 2010.

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8

Malina, Roger F. Series ed., ed. Media ecologies: Materialist energies in art and technoculture. Cambridge, Mass: MIT Press, 2005.

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9

Bartelmus, Martin, and Alexander Nebrig, eds. Schriftlichkeit. Bielefeld, Germany: transcript Verlag, 2022. http://dx.doi.org/10.14361/9783839460924.

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Die Erfahrung digitaler Schriftlichkeit hat nicht bloß die Materialität der Schrift bewusster gemacht, sondern auch die gegenwärtige Schriftpraxis als eine maschinell bedingte offenbart. Von diesem Befund ausgehend, nehmen die Beiträger*innen des Bandes die Agentialität der Schrift genauer in den Blick und prüfen auch für die analoge Praxis, welche Handlungsmacht sie besitzt. Mit ihrem Blick auf nicht-menschliche Aktanten sowie die Aktivität von Schrift machen sie deren spezifische Agentialität deutlich und geben rückwirkend Aufschluss über das weiterhin vage Konzept der Schriftlichkeit.
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10

Digital Materiality in Architecture. Lars Müller Publishers, 2008.

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11

Nicola, Liberati. Creation of Digital Materiality: Philosophy. Mimesis Edizioni, 2020.

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12

Ciftnamli, Derya. Post-Digital Materiality, MSArch 2019-2020. Blurb, 2020.

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13

Arnold, Michael, Jenny Kennedy, Martin Gibbs, Rowan Wilken, and Bjorn Nansen. Digital Domesticity: Media, Materiality, and Home Life. Oxford University Press, Incorporated, 2020.

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14

Digital Domesticity: Media, Materiality, and Home Life. Oxford University Press, Incorporated, 2020.

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15

Latin American Textualities: History, Materiality, and Digital Media. University of Arizona Press, 2018.

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16

Allen, Heather J., and Andrew R. Reynolds. Latin American Textualities: History, Materiality, and Digital Media. University of Arizona Press, 2018.

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17

Boczkowski, Pablo J., Tarleton Gillespie, and Kirsten A. Foot. Media Technologies: Essays on Communication, Materiality, and Society. MIT Press, 2014.

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18

Boczkowski, Pablo J., Tarleton Gillespie, and Kirsten A. Foot. Media Technologies: Essays on Communication, Materiality, and Society. MIT Press, 2014.

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19

Boczkowski, Pablo J., Tarleton Gillespie, and Kirsten A. Foot. Media Technologies: Essays on Communication, Materiality, and Society. MIT Press, 2014.

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20

Telhan, Orkan. Designing Digital Images with Materiality, Energy, and Living Matter. Taylor & Francis Group, 2023.

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21

Tischleder, B., and S. Wasserman. Cultures of Obsolescence: History, Materiality, and the Digital Age. Palgrave Macmillan Limited, 2015.

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22

Tischleder, B., and S. Wasserman. Cultures of Obsolescence: History, Materiality, and the Digital Age. Palgrave Macmillan, 2015.

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23

Gratzke, Michael, and Anna Malinowska. Materiality of Love: Essays on Affection and Cultural Practice. Taylor & Francis Group, 2017.

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24

Howard, K. Shannon. Unplugging Popular Culture: Reconsidering Analog Technology, Materiality, and the Digital Native. Taylor & Francis Group, 2018.

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25

Howard, K. Shannon. Unplugging Popular Culture: Reconsidering Analog Technology, Materiality, and the Digital Native. Taylor & Francis Group, 2018.

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26

Unplugging Popular Culture: Reconsidering Analog Technology, Materiality, and the "Digital Native". Routledge, 2018.

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27

Kennedy, Jenny, Michael Arnold, Martin Gibbs, Bjorn Nansen, and Rowan Wilken. Digital Domesticity. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190905781.001.0001.

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This book, Digital Domesticity: Media, Materiality, and Home Life, is concerned with the home, but it is not bounded by the home. While the home provides a necessary anchor point for our empirical and theoretical work, we are well aware that the home is not self-contained but is a node in multiple commercial, cultural, and technical networks, all of which interact, and all of which have local implications and global reach. The home’s socio-technical ecology operates in recursive relations with these much larger ecologies, none of which can be ignored if the home is to be understood. This book unearths this digital domesticity through accounts of evolving socio-technical relations as they unfold in processes of adopting and adapting to innovations; using, maintaining, and neglecting the complex of technologies in the home; and confronting the obsolescence of particular technologies and failure of systems of consumer technologies.
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28

Materiality and organizing: Social interaction in a technological world. Oxford: Oxford University Press, 2012.

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29

Gratzke, Michael, and Anna Malinowska. Materiality of Love: Essays on Affection and Cultural Practice. Taylor & Francis Group, 2019.

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30

Gratzke, Michael, and Anna Malinowska. Materiality of Love: Essays on Affection and Cultural Practice. Taylor & Francis Group, 2017.

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31

Justice, Sean. Learning to Teach in the Digital Age: New Materiality and Maker Paradigms in Schools. Lang AG International Academic Publishers, Peter, 2016.

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32

Justice, Sean. Learning to Teach in the Digital Age: New Materiality and Maker Paradigms in Schools. Lang AG International Academic Publishers, Peter, 2016.

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33

The Materiality of Love: Essays on Affection and Cultural Practice. Routledge, 2017.

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34

Between Pen and Pixel: Comics, Materiality, and the Book of the Future. Ohio State University Press, 2018.

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35

Kashtan, Aaron. Between pen and pixel: Comics, materiality, and the book of the future. 2018.

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36

Entanglement: Architecture and the Materiality of Data Infrastructure. Actar D, 2021.

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37

Strutt, Dan. The Digital Image and Reality. Amsterdam University Press B.V., 2019. http://dx.doi.org/10.5040/9789048561490.

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The media technologies that surround and suffuse our everyday life profoundly affect our relation to reality. Philosophers since Plato and Aristotle have sought to understand the complex influence of apparently simple tools of expression on our understanding and experience of the world, time, space, materiality and energy. The Digital Image and Reality takes up this crucial philosophical task for our digital era. This rich yet accessible work argues that when new visual technologies arrive to represent and simulate reality, they give rise to nothing less than a radically different sensual image of the world. Through engaging with post-cinematic content and the new digital formats in which it appears, Strutt uncovers and explores how digital image-making is integral to emergent modes of metaphysical reflection - to speculative futurism, optimistic nihilism, and ethical plasticity. Ultimately, he prompts the reader to ask whether the impact of digital image processes might go even beyond our subjective consciousness of reality, towards the synthesis of objective actuality itself.
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38

Johnston, Nessa. Sounding Decay in the Digital Age. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190469894.003.0012.

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Bill Morrison’s Decasia (2012) and Peter Delpeut’s Lyrical Nitrate (1991) are collage works made up of decayed silent-era film fragments. The films approach sound in contrasting ways: Lyrical Nitrate uses old 78 rpm recordings of operatic music as musical accompaniment to its decayed images, whereas Decasia uses a specially commissioned score and exists not only in DVD format but also as an elaborately staged performance piece. This chapter is an investigation of the role of the soundtrack within both films’ repurposing strategy, comparing and contrasting their sonic approaches, using a Chion-esque idea of “audio-vision” in an effort to understand their aesthetic workings. Despite the material heterogeneity of film sound and film image, the spectator takes in the experience as a synthesis. Yet beyond representational strategies the materiality of sounds and images in the pre- and postdigital ages is arguably the subject of exploration unifying this comparative analysis.
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39

The aura in the age of digital materiality: Rethinking preservation in the shadow of an uncertain future. Cinisello Balsamo, Milano: Silvana editoriale, 2020.

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40

Trischler, Ronja. Digitale Materialität. transcript Verlag, 2021. http://dx.doi.org/10.1515/9783839457962.

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41

Gottlieb, Baruch. Digital Materialism: Origins, Philosophies, Prospects. Emerald Publishing Limited, 2018.

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42

Karatzogianni, Athina, and Baruch Gottlieb. Digital Materialism: Origins, Philosophies, Prospects. Emerald Publishing Limited, 2018.

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43

Karatzogianni, Athina, and Baruch Gottlieb. Digital Materialism: Origins, Philosophies, Prospects. Emerald Publishing Limited, 2018.

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44

Anger, Jiří. Towards a Film Theory from Below. Bloomsbury Publishing Plc, 2024. http://dx.doi.org/10.5040/9798765107300.

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Operating between film theory, media philosophy, archival practice, and audiovisual research, Jirí Anger focuses on the relationship between figuration and materiality in early films, experimental found footage cinema, and video essays. Would it be possible to do film theory from below, through the perspective of moving-image objects, of their multifarious details and facets, however marginal, unintentional, or aleatory they might be? Could we treat scratches, stains, and shakes in archival footage as speculatively and aesthetically generative features? Do these material actors have the capacity to create “weird shapes” within the figurative image that decenter, distort, and transform the existing conceptual and methodological frameworks? Building on his theoretical as well as practical experience with the recently digitized corpus of the first Czech films, created by Jan Kríženecký between 1898 and 1911, the author demonstrates how technological defects and accidents in archival films shape their aesthetic function and our understanding of the materiality of film in the digital age. The specific clashes between the figurative and material spheres are understood through the concept of a “crack-up.” This term, developed by Francis Scott Fitzgerald and theoretically reimagined by Gilles Deleuze, allows us to capture the convoluted relationship between figuration and materiality as inherent to the medium of film, containing negativity and productivity, difference and simultaneity, contingency and fate, at the same time, even within the tiniest cinematic units.
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45

Chion, Michel. Sensory Aspects of Contemporary Cinema. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.024.

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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. Film in the digital era is increasingly developing as a sensory experience. Sounds and images together yield sensations that can approximate senses other than sight and hearing. Cinema can thusrender(as distinct fromreproduce) the coolness of the wet spray experienced by a fountain, for example, or speed, force, materiality, hollowness, heaviness, and so forth. At the same time, the nature of recording and filming takes sounds and images out of their real multisensory context and creates sensory isolates. Those who study film, games, and other audiovisual media should not to ignore their trans-sensory aspects.
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46

Black, Anthea, and Nicole Burisch, eds. The New Politics of the Handmade. Bloomsbury Publishing Plc, 2021. http://dx.doi.org/10.5040/9781788316583.

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Contemporary craft, art and design are inseparable from the flows of production and consumption under global capitalism. The New Politics of the Handmade features twenty-three voices who critically rethink the handmade in this dramatically shifting economy. The authors examine craft within the conditions of extreme material and economic disparity; a renewed focus on labour and materiality in contemporary art and museums; the political dimensions of craftivism, neoliberalism, and state power; efforts toward urban renewal and sustainability; the use of digital technologies; and craft’s connections to race, cultural identity and sovereignty in texts that criss-cross five continents. They claim contemporary craft as a dynamic critical position for understanding the most immediate political and aesthetic issues of our time.
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47

Ezra, Elizabeth, and Catherine Wheatley, eds. Shoe Reels. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474451406.001.0001.

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Shoe Reels examines the special relationship between shoes and cinema. The book considers the narrative and aesthetic functions of shoes, asking why they are so memorable, and what their wider cultural resonance might be. Written by experts from a range of disciplines, including film and television studies, philosophy, history, and fashion, this collection covers cinema from its origins to the present day, and spans a global range of films from the United States, Europe, Africa and Asia. Besides protecting the feet, shoes contribute to the performance of gender; they indicate aspects of personality, sexuality, race, ethnicity and social class; and they serve as tools of seduction. As objects designed for the body, shoes also affirm the materiality of individual bodies and the endurance of the human body itself when physical presence has been progressively de-emphasised, first with the advent of technical reproducibility (printing, photography, cinema, radio and the like), and now with the rise of digital technology in the virtual era. The very materiality of shoes—the fact that they are things—is what makes them ripe for analysis. Shoes humanise, setting people apart from non-human animals, but they can also serve to dehumanise. Objects par excellence of hyper-consumption, shoes are situated at the crossroads of sexual fetishism and commodity fetishism. Shoes are clearly more than just good to wear, then: to paraphrase Claude Lévi-Strauss, they are also good to think.
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48

Trischler, Ronja. Digitale Materialität: Eine Ethnografie Arbeitsteiliger Visual-Effects-Produktion. Transcript Verlag, 2021.

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49

Wood, Aylish. Invisible Digital. Bloomsbury Publishing Plc, 2024. http://dx.doi.org/10.5040/9781501390869.

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Invisible Digital helps us makes sense of something we cannot see by presenting an innovative approach to digital images and digital culture. At its heart is a novel method for exploring software used in the creation of moving images as markers of converging cultural, organizational and technological influences. The three main case studies of Invisible Digital are the animated feature Moana (2016) and the computer games No Man’s Sky (2016) and Everything (2017). All three were created using procedural techniques: simulation software for Moana, and procedural content generation for No Man’s Sky and Everything. Production culture disclosures associated with procedural techniques often emphasize the influences of automated systems and their algorithms, making them ideal for a study that interrogates digital processes. The approach of Invisible Digital is informed by relational theories and the concept of entanglement based on materialist perspectives, combined with insights from work that more explicitly interrogates algorithms and algorithmic culture. Aylish Wood employs the notion of assemblages to introduce the concept of material-cultural narratives. Using this conceptual framework, she draws out material-cultural narratives for each case study to demonstrate what they reveal about software and digital culture. These analyses of software provide a widely applicable method through which moving image studies can contribute more fully to the wider and growing debates about algorithmic culture.
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50

Kronengold, Charles. Audiovisual Objects, Multisensory People, and the Intensified Ordinary in Hong Kong Action Films. Edited by John Richardson, Claudia Gorbman, and Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.0003.

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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. This chapter explores audiovisual intensification in post-1997 Hong Kong action films, focusing on the performance of everyday activities in Johnnie To’s 2004Breaking News (Dai si gin, 2004) This film’s heightened depictions of materiality, temporality, and the ordinary provide a means to register multisensory experience in a changing urban society. Sound and music work alongside the narrative and the mise-en-scène, creating a contrapuntal weave of lines through the film. Without relying on dialogue,Breaking Newsreveals the weight and dimensionality of the human in ways specific to both digital cinema and Hong Kong experience. Everyday objects, and the quotidian activities associated with them, are granted a strong audiovisual presence; this helps create an intensified ordinary that deepens and supplements the film’s status as action cinema.
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