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Crang, M., & Thrift, N. (Eds). (2000). Thinking space. London: Routledge.   
Added by: Mark Grimshaw-Aagaard 30/06/2006, 12:32
Darley, A. (2000). Visual digital culture: Surface play and spectacle in new media genres. London: Routledge.    
Added by: Mark Grimshaw-Aagaard   Last edited by: Mark Grimshaw-Aagaard 05/11/2006, 10:59

Quoting Gene Youngblood (Youngblood 1970, p.206):

""If the visual subsystems exist today, it is folly to assume that the computing hardware won't exist tomorrow. The notion of 'reality' will be utterly and finally obscured when we reach that point ... [of generating] totally convincing reality within the information processing system ... We're entering a Mythic age of electronic realities that exist only on a metaphysical plane.""

  
Makes the case that narrative cinema in the early C20th. supplanted the early cinema as spectacle which was derived from vaudeville, circus, amusement parks, dioramas etc.: "...the marvellous gives way to realism and characterisation." Darley gives no reason for this.  
Talking of digital media (including games) and arguing that they emphasize spectacle over semantic meaning: "They do not propose spectators who are bent on interpretation, or who are looking for semantic resonance. The activity mobilised in this instance is not primarily intellectual, not reflective or interpretative in character, but rather sensual and diverting in other ways."  
"They lack the symbolic depth and representational complexity of earlier forms, appearing by contrast to work within a drastically reduced field of meaning. They are direct and one-dimensional, about little, other than their ability to commandeer the sight and the senses."  
Quoting Jean Baudrillard, Simulations, New York: Semiotext(e), 2003:

"...no contemplation is possible. ... Montage and codification demand, in effect, that the receiver construe and decode by observing the same procedure whereby the work was assembled. The reading of the message is then only a perceptual examination of the code." (119-120). 		 
1995 saw the release of "the first feature-length computer synthesized film Toy Story".  
Argues that computer generated images, as they do not involve recording, are iconic rather than indexical in the Peircian sense -- this despite any attempt at photo-realism on the part of the animators.  
Claims that the idea of producing realism has dominated the computer image industry/research since the late 1970s. Realism is defined as the degree of resemblance to real-world objects with, for images, photography being the yardstick.
Grimshaw, M. (2016). The privatization of sound space. In V. Meelberg, M. Cobussen & B. Truax (Eds.), The Routledge Companion to Sounding Art. (pp. 463–472). London: Routledge.   
Added by: Mark Grimshaw-Aagaard   Last edited by: Mark Grimshaw-Aagaard 26/12/2017, 14:00
Grimshaw, M. (2023). Sound. In M. J. P. Wolf & B. Perron (Eds.), The Routledge Companion to Video Game Studies 2nd ed. (pp. 188–195). London: Routledge.   
Added by: Mark Grimshaw-Aagaard   Last edited by: Mark Grimshaw-Aagaard 10/01/2024, 11:45
Grimshaw, M. (2017). Presence through sound. In C. Wöllner (Ed), Body, Sound and Space in Music and Beyond: Multimodal Explorations. (pp. 279–298). London: Routledge.   
Added by: Mark Grimshaw-Aagaard   Last edited by: Mark Grimshaw-Aagaard 28/08/2020, 21:07
Janz, B. B. (2019). Virtual place and virtualized place. In E. Champion (Ed), The Phenomenology of Real and Virtual Places. (pp. 60–75). London: Routledge.   
Added by: Mark Grimshaw-Aagaard   Last edited by: Mark Grimshaw-Aagaard 03/05/2026, 01:24
Kress, G. (2003). Literacy in the new media age. London: Routledge.    
Added by: Mark Grimshaw-Aagaard   Last edited by: Mark Grimshaw-Aagaard 11/08/2006, 12:37
"Whatever is represented in speech (or to some lesser extent in writing) inevitably has to bow to the logic of time and of sequence in time. ... Human engagement with the world through speech or writing cannot escape that logic; it orders and shapes that human engagement with the world. Whatever is represented in image has to bow, equally, to the logic of space, and to the simultaneity of elements in spatial arrangements. ... 'The world narrated' is a different world to 'the world depicted and displayed'."  
"The 'scape' in 'landscape' is related to the English word 'shape', and it is also related to the German word 'schaffen' -- meaning both 'to work' and 'to create'." ... any landscape, the communicational included, is the result of human work."  
"The affective affordances of sound are entirely different to those of sight or those of touch; sound is more immediately tangibly felt in the body than is sight, but certainly differently felt."  
"Extending one theory too far, into a domain for which it was never meant, does no one a service..."
Levinson, P. (2003). REALSPACE: The fate of physical presence in the digital age, on and off planet. London: Routledge.    
Added by: Mark Grimshaw-Aagaard 05/11/2018, 07:58
"[The] potential accuracy of all perception and communication is offset by physical engagement – by locomotion to and through the source of perceptions. If we want to really know if that shimmering image in the sand can quench our thirst, we need to travel to it."
Moura, F. T. (Ed.). (2024). Artificial intelligence, co-creation and creativity: The new frontier for innovation. London: Routledge.   
Added by: Mark Grimshaw-Aagaard   Last edited by: Mark Grimshaw-Aagaard 06/06/2025, 03:08
Springer, S., Birch, K., & MacLeavy, J. (2016). An introduction to neoliberalism. In S. Springer, K. Birch & J. MacLeavy (Eds.), Handbook of Neoliberalism. London: Routledge.    
Added by: Mark Grimshaw-Aagaard   Last edited by: Mark Grimshaw-Aagaard 04/05/2026, 09:19

"the concept of the human subject as ‘an autonomous, individualized, selfdirecting, decision-making agent at the heart of policy-making’ (Bondi 2005: 499) has been called into being by neoliberalism."

Bondi, L. 2005. Working the Spaces of Neoliberal Subjectivity: Psychotherapeutic Technologies, Professionalisation and Counselling. Antipode, 37.3: 497–514.

 

  
Wilth neoliberalims, "we are generally referring to the new political, economic, and social arrangements within society that emphasize market relations, re-tasking the role of the state, and individual responsibility. Most scholars tend to agree that neoliberalism is broadly defined as the extension of competitive markets into all areas of life, including the economy, politics, and society"
Sterne, J. (2012). Sonic imaginations. In J. Sterne (Ed), The Sound Studies Reader. (pp. 1–17). London: Routledge.    
Added by: Mark Grimshaw-Aagaard 13/05/2016, 14:30
"Does sound refer to a phenomenon out in the world which ears then pick up? Does it refer to a human phenomenon that only exists in relation to the physical world? Or is it something else? The answer to the question has tremendous implications for both the objects and methods of sound studies."  
Sterne uses the term 'sound students' to describe those who "produce and transform knowledge about sound and in the process reflexively attend to the (cultural, political, environmental, aesthetic. . .) stakes of that knowledge production".  
  • Sound studies is an academic field in the humanities and social sciences defined by combination of object and approach. Not all scholarship about or with sound is "sound studies," just as not all scholarship about society is Sociology, not all scholarship with a concept of culture is cultural studies or Anthropology, not all scholarship that works with concepts of languages is Linguistics. The inside/outside description is useful for characterization, but is not useful in the first instance of the judgment of relevance or quality.
  • Sound students recognize sound as a problem that cuts across academic disciplines, methods and objects, though the field's institutional existence will vary as it moves across different national university cultures (and all disciplines begin begin as interdisciplines).
  • Sound studies work reflexively attends to its core concepts and objects.
  • Sound studies work is conscious of its own historicity. Sound students are aware that they are part of an ongoing conversation about sound that spans eras, traditions, places, and disciplines; they are also aware of the specific histories of inquiring about and writing about sound in their home disciplines.
  • Sound studies has an essential "critical" element, in the broadest sense of critique. It may also take on characteristics of a producer, policy, technical, political, artistic or training discourse. But without critique, it is art, technical discourse, science, cultural production or training practices "about sound," and not sound studies (though such work will often be of great interest to sound students).
  
"Sound studies' challenge is to think across sounds, to consider sonic phenomena in relationship to one another—as types of sonic phenomena rather than as things-in-themselves—whether they be music, voices, listening, media, buildings, performances, or another other [sic] path into sonic life."  
"Sound studies is a name for the interdisciplinary ferment in the human sciences that takes sound as its analytical point of departure or arrival. By analyzing both sonic practices and the discourses and institutions that describe them, it redescribes what sound does in the human world, and what humans do in the sonic world."
Trippett, D. (2021). Human sounds and the obscenity of information. In A. Hennion & C. Levaux (Eds.), Rethinking Music through Science and Technology Studies, London: Routledge.   
Added by: Mark Grimshaw-Aagaard 25/02/2024, 11:38
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