{"product_id":"transmedia-frictions-the-digital-the-arts-and-the-humanities-hardcover","title":"Transmedia Frictions: The Digital, the Arts, and the Humanities - Hardcover","description":"\u003cdiv\u003e\u003cp style=\"text-align: right;\"\u003e\u003ca href=\"https:\/\/reportcopyrightinfringement.com\/\" target=\"_blank\" rel=\"nofollow\"\u003e\u003cb\u003eReport copyright infringement\u003c\/b\u003e\u003c\/a\u003e\u003c\/p\u003e\u003c\/div\u003e\u003cp\u003eby \u003cb\u003eMarsha Kinder\u003c\/b\u003e (Editor), \u003cb\u003eTara McPherson\u003c\/b\u003e (Editor), \u003cb\u003eN. Katherine Hayles\u003c\/b\u003e (Contribution by)\u003c\/p\u003e\u003cp\u003eEditors Marsha Kinder and Tara McPherson present an authoritative collection of essays on the continuing debates over medium specificity and the politics of the digital arts. Comparing the term \"transmedia\" with \"transnational,\" they show that the movement beyond specific media or nations does not invalidate those entities but makes us look more closely at the cultural specificity of each combination. In two parts, the book stages debates across essays, creating dialogues that give different narrative accounts of what is historically and ideologically at stake in medium specificity and digital politics. Each part includes a substantive introduction by one of the editors. \u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e Part 1 examines precursors, contemporary theorists, and artists who are protagonists in this discursive drama, focusing on how the transmedia frictions and continuities between old and new forms can be read most productively: N. Katherine Hayles and Lev Manovich redefine medium specificity, Edward Branigan and Yuri Tsivian explore nondigital precursors, Steve Anderson and Stephen Mamber assess contemporary archival histories, and Grahame Weinbren and Caroline Bassett defend the open-ended mobility of newly emergent media. \u003cp\u003e\u003c\/p\u003e In part 2, trios of essays address various ideologies of the digital: John Hess and Patricia R. Zimmerman, Herman Gray, and David Wade Crane redraw contours of race, space, and the margins; Eric Gordon, Cristina Venegas, and John T. Caldwell unearth database cities, portable homelands, and virtual fieldwork; and Mark B.N. Hansen, Holly Willis, and Rafael Lozano-Hemmer and Guillermo Gómez-Peña examine interactive bodies transformed by shock, gender, and color. \u003cp\u003e\u003c\/p\u003e An invaluable reference work in the field of visual media studies, \u003ci\u003eTransmedia Frictions\u003c\/i\u003e provides sound historical perspective on the social and political aspects of the interactive digital arts, demonstrating that they are never neutral or innocent.\u003ch3\u003eFront Jacket\u003c\/h3\u003e\u003cp\u003eAs someone who attended and participated in the 1999 Interactive Fictions conference, which in many ways consolidated more than a decade of theorizing about and experimenting with digital media, I was uncertain what to expect from \u003ci\u003eTransmedia Frictions.\u003c\/i\u003e What I found was a rich collection that looks both backward to reconstruct the paths not taken in digital theory and forward to imagine alternative ways of framing issues of medium specificity, digital identities, embodiment, and space\/place. This collection is sure to transform how we theorize--and teach--the next phases of our profound and prolonged moment of media transition.--Henry Jenkins, author of \u003ci\u003eConvergence Culture: Where Old and New Media Collide\u003c\/i\u003e \u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e \"This anthology is both an essential document in the history of new media studies and a springboard for critical future work in this field. The breadth of this impressive work is itself instructive about our twenty-first-century academic and scholarly goals.\"--Mark J. Williams, coeditor of \u003ci\u003eInterfaces: Studies in Visual Culture\u003c\/i\u003e series\u003ch3\u003eAuthor Biography\u003c\/h3\u003e\u003cp\u003e\u003cb\u003eMarsha Kinder\u003c\/b\u003e is Emerita University Professor at University of Southern California's School of Cinematic Arts, where she was the founding director of the Labyrinth Project. Her books include \u003ci\u003ePlaying with Power in Movies, Television, and Video Games\u003c\/i\u003e and \u003ci\u003eBlood Cinema: The Reconstruction of National Identity in Spain\u003c\/i\u003e. \u003c\/p\u003e\u003cp\u003e\u003c\/p\u003e\u003cb\u003eTara McPherson\u003c\/b\u003e is Professor and the Hefner Endowed Chair of Censorship Studies in the University of Southern California's School of Cinematic Arts. She is author of \u003ci\u003eFeminist in a Software Lab \u003c\/i\u003eand\u003ci\u003e Reconstructing Dixie\u003c\/i\u003e, editor of \u003ci\u003eDigital Youth, Innovation, and the Unexpected, \u003c\/i\u003e and coeditor of \u003ci\u003eHop on Pop: The Politics and Pleasures of Popular Culture\u003c\/i\u003e. \u003cbr\u003e\n            \u003cdiv\u003e\n\u003cstrong\u003eNumber of Pages:\u003c\/strong\u003e 416\u003c\/div\u003e\n            \u003cdiv\u003e\n\u003cstrong\u003eDimensions:\u003c\/strong\u003e 1.2 x 10 x 7 IN\u003c\/div\u003e\n            \u003cdiv\u003e\n\u003cstrong\u003ePublication Date:\u003c\/strong\u003e July 25, 2014\u003c\/div\u003e\n            ","brand":"BooksCloud","offers":[{"title":"Default Title","offer_id":45424784375910,"sku":"9780520281851","price":184.84,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0599\/7255\/0758\/files\/alJuYUdSTUVwTWVudWNIWFdYMEh2Zz09.webp?v=1775609432","url":"https:\/\/infinitylightwa.com\/products\/transmedia-frictions-the-digital-the-arts-and-the-humanities-hardcover","provider":"Infinity Light","version":"1.0","type":"link"}