Bøger i Sign, Storage, Transmission serien

Charles R. Acland charts the origins, impact, and dynamics of the blockbuster, showing how it became a complex economic and cultural machine designed to advance popular support for technological advances.

Henning Schmidgen reflects on the dynamic phenomena of touch in media, analyzing works by artists, scientists, and philosophers ranging from Salvador Dali to Walter Benjamin, who each explore the interplay between tactility and technological and biological surfaces.

Paper Knowledge is a remarkable book about the mundane: the library card, the promissory note, the movie ticket, the PDF (Portable Document Format). It is a media history of the document.

Shaoling Ma examines late Qing China's political upheavals and modernizing energies through the problem of the dynamics between new media technologies such as the telegraph the discursive representations of them.

Rafico Ruiz uses the Grenfell Mission in Newfoundland and Labrador, Canada, to theorize how settler colonialism establishes itself through the building, maintenance, and mediation of site-specific infrastructure.

Mack Hagood outlines how noise-cancelling headphones, tinnitus maskers, white noise machines, nature-sound mobile apps, and other forms of media give users the ability to create sonic safe spaces for themselves, showing how the desire to block certain sounds are informed by ideologies of race, gender, and class.

Nicole Starosielski examines undersea communication cable network, bringing it to the surface of media scholarship and making visible the "wireless" network's materiality. She argues that the network is inextricably linked to historical and political factors and that it is precarious, rural, aquatic, territorially entrench and semi-centralized.

Cait McKinney traces how lesbian feminist activists in the United States and Canada between the 1970s and the present developed communication networks, databases, and digital archives to use as a foundation for their feminist, antiracist, and trans-inclusive work.

Rahul Mukherjee explores how the media coverage of and debates about nuclear power plants and cellular phone antennas in India frames and sustains environmental activism.

Susan Murray traces four decades of technological, cultural, and aesthetic debates about the possibility, use, and meaning of color television within the broader history of twentieth-century visual culture.

This provocative book considers how photographic, electronic, and digital media have been used to record and reconstruct accidents, particularly high-speed crashes and catastrophes, and argues that "forensic media" thereby transmute disruptive chance occurrences into reassuring narratives of causal succession.

Jonathan Sterne shows that understanding the historical meaning of the MP3, the world's most common format for recorded audio, involves rethinking the place of digital technologies in the broader universe of twentieth-century communication history.

Ochoa Gautier's groundbreaking book draws primarily from nineteenth-century Colombian sources to explore how listening has been central to the production of notions of language, music, voice, and sound.

Through an analysis of four contemporary operas, Nina Sun Eidsheim offers a vibrational theory of music that radically re-envisions of how we think about sound, music, and listening by challenging common assumptions about sound, freeing it from a constraining set of fixed concepts and meanings.

Drawing on more than a decade of research in Japan and the United States, David Novak traces the "cultural feedback" that generates and sustains Noise, an underground music genre combining distortion and electronic effects.

Doron Galili traces television's early history, from the fantastical devices initially imagined fifty years before the first television prototypes to the emergence of broadcast television in the 1930s, showing how television was always discussed and treated in relation to cinema.