The Internet at the eco-village: Performing sustainability in the twenty-first century

First Monday ◽  
2016 ◽  
Author(s):  
Teresa Cerratto-Pargman ◽  
Daniel Pargman ◽  
Bonnie Nardi
Keyword(s):  
Blind Spot ◽  
First Century ◽  
The Internet ◽  
Ecological Communities ◽  
Peak Oil ◽  
Digital Devices ◽  
Social Technologies ◽  
Twenty First Century ◽  
The One ◽  
Eco Village

Is the digital infrastructure and its footprint an ideological blind spot for recently emerging ecological communities, including eco-villages? This paper examines how a group of people who are concerned with environmental issues such as peak oil and climate change are orchestrating a transition toward a more sustainable and resilient way of living. We studied a Swedish eco-village, considering how computing in this community contributes to defining what alternative ways of living might look like in the twenty-first century. Drawing on a social-ecological perspective, the analysis illustrates, on the one hand, that the Internet, along with the digital devices we use to access it, capitalizes and mobilizes values, knowledge and social relationships that in turn enhance resilience in the eco-village. On the other hand, the analysis shows that an explicit focus on ecological values is not sufficient for a community of individuals to significantly transform Internet use to conform to ecological ideals. This work contributes to a deeper understanding of the imbrication of social technologies with practices that are oriented to perform sustainable and resilient ways of living.

scholarly journals VIRAL MUSICKING: AESTHETICS AND ITERATIONS IN ONLINE CONTAGION

2020 ◽  
Author(s):  
Paula Clare Harper
Keyword(s):  
Social Media ◽  
Science Fiction ◽  
First Century ◽  
The Internet ◽  
Digital Devices ◽  
Early Twenty ◽  
Social Media Platforms ◽  
Late Twentieth ◽  
Twenty First Century ◽  
Late Twentieth Century

Cats at keyboards. Dancing hamsters. A photo of a dress, and videos set to “Harlem Shake.”  The above are recognizable as “viral” phenomena—artifacts of the early twenty-first century whose production and dissemination were facilitated by the internet, proliferating social media platforms, and ubiquitous digital devices. In this paper, I argue that participation in such phenomena (producing, consuming, circulating, or “sharing” them) constitutes a significant site of twenty-first-century musical practice: viral musicking, to borrow and adapt Christopher Small’s foundational 1998 coinage. In this paper I analyze instances of viral musicking from the 2000s through the 2010s, tracking viral circulation as heterogeneous, capacious, and contradictory—a dynamic, relational assemblage of both “new” and “old” media and practices. The notion of virus as a metaphor for cultural spread is often credited to computer science and science fiction, with subsequent co-option into marketing and media; such formulations run adjacent to the popularization of "virus" in philosophical models for globalization and pervasive capitalism across the late twentieth century, from Derrida to Baudrillard and Deleuze. In this paper, I seek to braid these lineages with the work of scholars reading cultural contagion through lenses of alterity and difference, situating music as a particularly felicitous vector for viral contagion, exceeding and preceding Internet circulation. Ultimately, I argue that viral musicking activates utopian promises of digital advocates, through the cooperative social operation of “sharing,” even as it resonates through histories and presents of racialization, miscegenation, appropriation, and the realities of porous, breachable borders, cultures, and bodies.

History Has Its Eyes on You

2018 ◽  
Author(s):  
Laurence Maslon
Keyword(s):  
Popular Culture ◽  
Pop Culture ◽  
Technological Advance ◽  
First Century ◽  
The Internet ◽  
Generational Change ◽  
Personal Preference ◽  
Broadway Musical ◽  
Twenty First Century ◽  
Consumer Habits

A generational change at the beginning of the twenty-first century intersected with the technological advance of the Internet to provide a renaissance of Broadway music in popular culture. Downloading playlists allowed the home listener to become, in essence, his/her own record producer; length, narrative, performer were now all in the hands of the consumer’s personal preference. Following in the footsteps of Rent (as a favorite of a younger demographic), Lin-Manuel Miranda’s Hamilton emerged as the greatest pop culture/Broadway musical phenomenon of the twenty-first century; its cast album and cover recording shot up near the top of music’s pop charts. A rediscovery of the power of Broadway’s music to transform listening and consumer habits seems imminent with the addition of Hamilton and Dear Evan Hansen to a devoted fan base—and beyond.

Messiah with the Microphone? Oral Historians, Technology, and Sound Archives

2012 ◽  
Author(s):  
Robert B. Perks
Keyword(s):  
Oral History ◽  
First Century ◽  
The Internet ◽  
Digital Audio ◽  
Digital Revolution ◽  
The World ◽  
Technological Skills ◽  
Twenty First Century ◽  
The Relationship

For decades, oral historians and their tape recorders have been inseparable, but it has also been an uneasy marriage of convenience. The recorder is both our “tool of trade” and also that part of the interview with which historians are least comfortable. Oral historians' relationship with archivists has been an uneasy one. From the very beginnings of the modern oral history movement in the 1940s, archivists have played an important role. The arrival of “artifact-free” digital audio recorders and mass access via the Internet has transformed the relationship between the historian and the source. Accomplished twenty-first-century oral history practitioners are now expected to acquire advanced technological skills to capture, preserve, analyze, edit, and present their data to ever larger audiences. The development of oral history in many parts of the world was influenced by the involvement of sound archivists and librarians. Digital revolution in the present century continues to influence oral history.

scholarly journals Heterotopian Disorientation: Intersectionality in William Oldroyd’s Lady Macbeth

Humanities ◽  
2022 ◽  
Vol 11 (1) ◽  
pp. 13
Author(s):  
Marlena Tronicke
Keyword(s):  
White Privilege ◽  
First Century ◽  
Country House ◽  
Spatial Disorientation ◽  
Lady Macbeth ◽  
Twenty First Century ◽  
The One ◽  
Relationship Of ◽  
White Hegemony ◽  
Blind Spots

This article reads William Oldroyd’s Lady Macbeth (2016) through the lens of Michel Foucault’s concept of the heterotopia to explore the film’s ambivalent gender and racial politics. The country house that Katherine Lester is locked away in forms a quasi-heterotopia, mediated through a disorienting cinematography of incarceration. Although she manages to transgress the ideological boundaries surrounding her, she simultaneously contributes to the oppression of her Black housemaid, Anna. On the one hand, the film suggests that the coercive space of the colony—another Foucauldian heterotopia—may threaten white hegemony: While Mr Lester’s Black, illegitimate son Teddy almost manages to claim his inheritance and, hence, contest the racialised master/servant relationship of the country house, Anna’s voice threatens to cause Katherine’s downfall. On the other hand, through eventually denying Anna’s and Teddy’s agency, Lady Macbeth exposes the pervasiveness of intersectional forms of oppression that are at play in both Victorian and twenty-first-century Britain. The constant spatial disorientation that the film produces, this article suggests, not only identifies blind spots in Foucault’s writings on heterotopian space as far as intersectionality is concerned, but also speaks to white privilege as a vital concern of both twenty-first-century feminism and neo-Victorian criticism.

scholarly journals DANTES LITTERÆRE ATMOSFÆROLOGI

1970 ◽  
Vol 41 (116) ◽  
pp. 33-48
Author(s):  
Dennis Meyhoff Brink
Keyword(s):  
Divine Comedy ◽  
First Century ◽  
The Other ◽  
Other Hand ◽  
Peter Sloterdijk ◽  
Twenty First Century ◽  
The One ◽  
Atmospheric Phenomena ◽  
Lauren Berlant

DANTE’S LITERARY ATMOSPHEROLOGY | The article argues that recent theories on affect and atmosphere by, for instance, Teresa Brennan, Lauren Berlant, and Peter Sloterdijk, can enter into an extraordinarily fruitful interchange with Dante’s Divine Comedy. On the one hand, these theories can direct our attention to the hitherto overlooked atmospheric phenomena that occur ubiquitously in Dante’s Comedy and provide us with concepts that render them legible as products of human emissions. On the other hand, the numerous descriptions of different atmospheres in Dante’s Comedy can contribute to overcoming the lack of linguistic specifications and distinctions which – according to theorists such as Brian Massumi and Peter Sloterdijk – characterizes today’s Western understanding of affective atmospheres and impedes its ongoing theorization. Based on readings of a selected number of atmospheres in Dante’s Comedy, the article argues that the Comedy not only anticipated insights that were not articulated theoretically until the twentieth and twenty-first century, butalso makes up an exceptional encyclopedia of affective atmospheres that have not yet been examined, neither by Dante researchers, nor by theorists of affects and atmospheres. Therefore, both camps have much to learn from Dante’s literary atmospherology, which the article aims to make explicit.

scholarly journals Niemiecka wizja miejsca Rosji w multipolarnym świecie

2017 ◽  
pp. 19-37
Author(s):  
Piotr Madajczyk
Keyword(s):  
German Society ◽  
First Century ◽  
Global Policy ◽  
Euro Zone ◽  
The World ◽  
Recent Debate ◽  
Twenty First Century ◽  
Hybrid War ◽  
The One

The commonly held truth is that the attitude of German society and the German elite to Russia is different to the attitude of Poland. This is not entirely true because due to Russian policy, the Germans have become more critical of Russia in the twenty-first century than before. Germany, however, pursues a more global policy than Poland. As Russia and Germany are of great significance in Polish politics, it is important to question the German vision of Russia’s place in today’s multipolar world. This is all the more important given that Germany, as the strongest country in Europe and the one that stabilized the euro zone, has difficulty in defining its role in the international arena. It is only as a result of the recent debate about the hybrid war, that Germany has overcome its unilateral geo-economic perception of the world. It is clear that the Germans are facing a new challenge, which they have not been prepared for.

“I Just Wanted a World That Looked Like the One I Know”

2018 ◽  
pp. 83-107
Author(s):  
Ralina L. Joseph
Keyword(s):  
Black Women ◽  
Black Woman ◽  
Black Female ◽  
First Century ◽  
Strategic Ambiguity ◽  
The Press ◽  
Twenty First Century ◽  
The One

Chapter 3 examines showrunner Shonda Rhimes’ twenty-first century Black respectability politics through the form of strategic ambiguity. Joseph traces Rhimes’ performance of strategic ambiguity first in the pre-Obama era when she stuck to a script of colorblindness, and a second in the #BlackLivesMatter moment when she called out racialized sexism and redefined Black female respectability. In the shift from the pre-Obama era to the #BlackLivesMatter era, this chapter asks: how did Rhimes’ careful negotiation of the press demonstrate that, in the former moment, to be a respectable Black woman was to perform strategic ambiguity, or not speak frankly about race, while in the latter, respectable Black women could and must engage in racialized self-expression, and redefine the bounds of respectability?

A Theology of Religious and Cultural Tolerance in a Pluralistic Context from Amos 2:1–3

2017 ◽  
Vol 88 (3) ◽  
pp. 259-267
Author(s):  
William H. U. Anderson
Keyword(s):  
First Century ◽  
Practical Application ◽  
Twenty First Century ◽  
The One ◽  
Marilyn Manson

The thesis of this article is that Amos 2:1–3 teaches religious and cultural tolerance in a pluralistic context. Amos 2:1–3 is a bizarre text which deals with an act of desecration: the king of Moab burning the king of Edom’s bones. The shocking question this text raises is: why would YHWH the one true God and savior of Israel care about how one pagan king treated another dead pagan king? The juxtaposition of exclusivism and pluralism is the precise mechanism that generates a theology of religious and cultural tolerance from Amos 2:1–3. The second installment of this study makes a practical application of this theology entitled ‘From Marilyn Manson to Amos: Navigating Pluralism in the Twenty-first Century West’.

That Must Not Be True of Tomorrow

2017 ◽  
Author(s):  
Chris Myers Asch ◽  
George Derek Musgrove
Keyword(s):  
Langston Hughes ◽  
First Century ◽  
Upper Class ◽  
The Past ◽  
Twenty First Century ◽  
The One

The past has been a mint Of blood and sorrow. That must not be True of tomorrow. —LANGSTON HUGHES, “History,” 1934 The original Busboys and Poets sits at the corner of Fourteenth and V Streets NW, just a block north of the epicenter of the 1968 riots. A combination restaurant, bookstore, lounge, and theater, Busboys took its name from Langston Hughes, the one-time busboy at D.C.’s Wardman Hotel who gained international renown as a poet (albeit one who denounced the snobbery of D.C.’s black upper class). After it opened in 2005, it became an immediate commercial and cultural success, attracting young, hip Washingtonians who swarmed the surrounding Shaw neighborhood in the twenty-first century....

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