This chapter investigates how the introduction of stereo complicated Hollywood’s vococentric practices. It also reveals how sound technicians developed mixing techniques that preserved the salience of dialogue in multi-channel soundscapes. The author refers to such techniques as monocentrism and illustrates monocentric norms by analyzing the c…[Read more]

Without fail a study in any depth of our fondness for music must eventually address the issue of consonance and dissonance. Past approaches to this issue have been bounded by a limited knowledge base and, further, marred by logical flaws, occasional hand waving, and the myopia of reductionism. Despite the explosion of progress in the last few…[Read more]

Without fail a study in any depth of our fondness for music must eventually address the issue of consonance and dissonance. Past approaches to this issue have been bounded by a limited knowledge base and, further, marred by logical flaws, occasional hand waving, and the myopia of reductionism. Despite the explosion of progress in the last few…[Read more]

In lieu of an abstract, here is the beginning of the article… One of the most striking things about speculative literature of the twenty-first century has been its increasingly focussed interest in imagining impending disaster: from the escalating likelihood of biblical deluge on a planetary scale to looming ecocatastrophes of drought and…[Read more]

This article explores an emerging cluster of ecocatastrophe narratives that locate utopian possibility within the Earth’s sub-crustal lithosphere. Texts such as N. K. Jemisin’s “Broken Earth” trilogy (2015–2017), J. G. Ballard’s The Crystal World (1966), Lars von Trier’s film Melancholia (2011), Irene Solà’s Catalan novel When I Sing, Mountains…[Read more]

“The company builds cars and destroys men” was the promotional tagline of one of the posters for “Blue Collar” (1978). Shot in Detroit and Kalamazoo, Michigan, the film stars Richard Pryor, Harvey Keitel, and Yaphet Kotto playing three Detroit auto workers in financial despair who break into and rob the offices of their own union. “Blue Collar”…[Read more]

La producción de los medios de comunicación constituye una expresión de la sociedad que los gesta. Los grupos sociales que intervienen en la producción televisiva actualmente son herederos de la práctica funcionalista y trasmisiva de los medios tradicionales de comunicación (prensa plana, radio y televisión). En esa lógica los temas que se represe…[Read more]

This Critical Exchange explores the nonhuman condition. It asks: What are the implications of decentering the human subject via a new materialist reading of radical democracy? Does this reading dilute political agency? Or should this be seen, on the contrary, as an invitation for new voices and demands to enter into democratic assemblages? How…[Read more]

An ecosystem theoretical and practical framework is posited for the evaluation and planning of advocacy, communication, public policies, research and teaching programmers, intertwining four dimensions of being-in-the-world (intimate, interactive, social and biophysical), as they combine, as donors and recipients, to induce the events…[Read more]

Los textosaudiovisualesdemandan una combinación de actividades entorno a larepresentación ydecodificación. El proceso se encuentra condicionado pordiferentesrolesen los procesos de producción y consumo televisivo. Se plantea como objetivo de la investigación: diseñarun modelo de producción para las comunidades de práctica televis…[Read more]

This map was featured in Mexico’s La Jornada supplement, Ojarasca, in its 312th edition. See article: “Represión en la granja: los cerdos y el mercado mundial” For information regarding sources, please refer to the aforementioned article. You may also consult the article’s English version here: https://doi.org/10.17613/8c2v-j144
English version