Bibliografías temáticas / WNYC (Radio station : New York, N.Y.)

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Literatura académica sobre el tema "WNYC (Radio station : New York, N.Y.)"

Autor: Grafiati
Publicado: 26 de julio de 2024
Última modificación: 31 de julio de 2025

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Artículos de revistas sobre el tema "WNYC (Radio station : New York, N.Y.)"

1

Joyce, Robin Owen. "Putting abstraction to work: Radio station murals and mechanized labour." Art & the Public Sphere 13, no. 1 (2024): 47–60. https://doi.org/10.1386/aps_00107_1.

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This article explores how abstract murals produced by Byron Browne, Stuart Davis, Louis Schanker and Hans Wicht for radio station WNYC operated as part of New York City’s radio infrastructure. Framed by the Works Progress Administration’s Federal Art Project (WPA/FAP) as integral to the broadcast, these murals mediated between office workers and the machine and participated more broadly in municipal radio’s disciplinary project. By conflating painting and music, these murals fulfilled WNYC’s desire for focused workers and good citizens while also proving the NYC WPA/FAP’s claim that abstractio
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2

Wasser, Frederick. "Media Is Driving Work." M/C Journal 4, no. 5 (2001). http://dx.doi.org/10.5204/mcj.1935.

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My thesis is that new media, starting with analog broadcast and going through digital convergence, blur the line between work time and free time. The technology that we are adopting has transformed free time into potential and actual labour time. At the dawn of the modern age, work shifted from tasked time to measured time. Previously, tasked time intermingled work and leisure according to the vagaries of nature. All this was banished when industrial capitalism instituted the work clock (Mumford 12-8). But now, many have noticed how post-industrial capitalism features a new intermingling captu
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3

White, Peter B., and Naomi White. "Staying Safe and Guilty Pleasures." M/C Journal 10, no. 1 (2007). http://dx.doi.org/10.5204/mcj.2614.

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 Introduction In a period marked by the pervasiveness of new mobile technologies saturating urban areas of the Asia-Pacific region, it can be easy to forget the realities of life in the rural areas. In a location such as Australia, in which 80% of the population lives in urban areas, one must be reminded of the sociotechnological realities of rural existence where often-newer mobile communication devices cease to function. This paper focuses on these black spots – and often forgotten areas – where examples of older, mediated technologies such as UHF Citizen Band (CB) radios
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4

Deer, Patrick, and Toby Miller. "A Day That Will Live In … ?" M/C Journal 5, no. 1 (2002). http://dx.doi.org/10.5204/mcj.1938.

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By the time you read this, it will be wrong. Things seemed to be moving so fast in these first days after airplanes crashed into the World Trade Center, the Pentagon, and the Pennsylvania earth. Each certainty is as carelessly dropped as it was once carelessly assumed. The sounds of lower Manhattan that used to serve as white noise for residents—sirens, screeches, screams—are no longer signs without a referent. Instead, they make folks stare and stop, hurry and hustle, wondering whether the noises we know so well are in fact, this time, coefficients of a new reality. At the time of writing
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5

Podkalicka, Aneta. "To Brunswick and Beyond: A Geography of Creative and Social Participation for Marginalised Youth." M/C Journal 14, no. 4 (2011). http://dx.doi.org/10.5204/mcj.367.

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This article uses a case study of a Melbourne-based youth media project called Youthworx to explore the processes at stake in cultural engagement for marginalised young people. Drawing on ethnographic research conducted between 2008 and 2010, I identify some ways in which the city is implicated in promoting or preventing access to socially valued spaces of creativity and intended social mobility. The ethnographic material presented here has both empirical and theoretical value. It reveals the important relationships between the experience of place, creativity, and social life, demonstrating po
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6

Pegrum, Mark. "Pop Goes the Spiritual." M/C Journal 4, no. 2 (2001). http://dx.doi.org/10.5204/mcj.1904.

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Kylie Minogue, her interviewer tells us in the October 2000 issue of Sky Magazine, is a "fatalist": meaning she "believe[s] everything happens for a reason" (Minogue "Kylie" 20). And what kind of reason would that be? Well, the Australian singer gives us a few clues in her interview of the previous month with Attitude, which she liberally peppers with references to her personal beliefs (Minogue "Special K" 43-46). When asked why she shouldn't be on top all the time, she explains: "It's yin and yang. It's all in the balance." A Taoist – or at any rate Chinese – perspective then? Yet, when asked
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7

Kabir, Nahid. "Why I Call Australia ‘Home’?" M/C Journal 10, no. 4 (2007). http://dx.doi.org/10.5204/mcj.2700.

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 Introduction I am a transmigrant who has moved back and forth between the West and the Rest. I was born and raised in a Muslim family in a predominantly Muslim country, Bangladesh, but I spent several years of my childhood in Pakistan. After my marriage, I lived in the United States for a year and a half, the Middle East for 5 years, Australia for three years, back to the Middle East for another 5 years, then, finally, in Australia for the last 12 years. I speak Bengali (my mother tongue), Urdu (which I learnt in Pakistan), a bit of Arabic (learnt in the Middle East); but
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