標(biāo)題: Titlebook: Creative Tools and the Softwarization of Cultural Production; Frédérik Lesage,Michael Terren Book 2024 The Editor(s) (if applicable) and T [打印本頁] 作者: cessation 時間: 2025-3-21 18:30
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作者: 過于光澤 時間: 2025-3-22 00:00
TikTok as a Platform Tool: Surveying Disciplinary Perspectives on Platforms and Cultural Productionstand the shift in cultural production from cultural tools to platform tools and its impacts on cultural producers. “Platform tools” refer to the combined set of software-based resources that are infrastructurally integrated with data-driven platform companies. They are distinct from “cultural tools作者: 受傷 時間: 2025-3-22 03:23 作者: Fabric 時間: 2025-3-22 07:13 作者: Coeval 時間: 2025-3-22 10:34
Autoharps, Chord Organs, and MIDI Packs: Easy-Playing Instruments, Gender, and Classes of Musical Pargely marketed to amateur producers and engineers working in the genres of pop, hip hop, and R&B—to examine the politics of amateurism, skill-building, and masculinity in digital music production environments. Instead of treating these software as completely novel musical tools, the chapter situates作者: hypnotic 時間: 2025-3-22 16:14 作者: hypnotic 時間: 2025-3-22 20:47 作者: delusion 時間: 2025-3-22 21:48 作者: Obstreperous 時間: 2025-3-23 02:50
Alternative Gamemaking Tools as Grassroots Platforms extraction that platformisation normalises, the tools of videogame production are also nonetheless more accessible than ever before. Whereas once gamemaking required extensive technical skills and custom-made software, a vast ecosystem of commercial and non-commercial gamemaking tools have emerged 作者: extrovert 時間: 2025-3-23 06:11
Bypassing Defaults in Data Visualization Design Processes: A Tableau Case Studyhis chapter looks at the communities of practice that have facilitated this process. It interrogates the roles undertaken by the developers of the hack, and it traces their key moments, interactions, and sources of inspiration. Then, by bringing into discussion similar acts as conducted with other s作者: CON 時間: 2025-3-23 12:18
The Creative Appropriation of a Scientific Software: The FITS Liberator, a Case Studyntists, image processors, and other users of this type of data need to master their idiosyncratic file format, the ., or . format. For nearly 20 years, one software has aligned many of the actors who create the images we see everywhere online, on television, and in the newspapers: the .. The user-fr作者: 潛移默化 時間: 2025-3-23 17:16 作者: EXCEL 時間: 2025-3-23 21:24 作者: LAP 時間: 2025-3-23 23:24
The Spatial Languages of Virtual Production: Critiquing Softwarization with Aesthetic Analysisonship between Unreal Engine’s management of multiple spaces (3D, physical, cinematographic) and the spatial aesthetics of the images it produces. It draws on the media-epistemological work of Vilem Flusser and Wendy H. K. Chun to establish the stakes of such an analysis and point towards the episte作者: Tailor 時間: 2025-3-24 02:39 作者: 西瓜 時間: 2025-3-24 09:53
Autoharps, Chord Organs, and MIDI Packs: Easy-Playing Instruments, Gender, and Classes of Musical Pahat the autoharp and chord organ marketed have given way to fantasies of professionalized “progress.” I argue that each instrument, in its historical moment, makes promises of creativity and ease that act as surreptitious promises of class mobility and inclusion, but that the easy-playing software i作者: 用樹皮 時間: 2025-3-24 11:17 作者: 羊欄 時間: 2025-3-24 18:34 作者: Prosaic 時間: 2025-3-24 22:13 作者: 漫步 時間: 2025-3-25 00:40
The Creative Appropriation of a Scientific Software: The FITS Liberator, a Case Studytures made with . data through their use of specialized digital tools. . offers an insightful view of the social ordering of amateurs’ practices because of its development as a means of communication of professional data for non-professionals, but also because its use was mediated by amateur astrono作者: Grandstand 時間: 2025-3-25 04:51 作者: 可卡 時間: 2025-3-25 08:31 作者: 不能和解 時間: 2025-3-25 15:36 作者: BOLUS 時間: 2025-3-25 18:38
Book 2024s for understanding this complex, emerging, and dynamic field that speaks beyond the disciplinary categories of ‘tool,’ ‘instrument,’ and/or ‘software’. It makes a unique intervention in the fields of cultural production and the cultural and creative industries.. .?作者: 泥瓦匠 時間: 2025-3-25 20:46
Electrode Potential Measurements,atform tools. These tool-related decisions are not made in a vacuum, but rather formed by interactions between various groups or “sides” of the platform (e.g., cultural producers, developers, and end-users). Second, interactions among users are managed by platform companies, who facilitate what busi作者: 拱形大橋 時間: 2025-3-26 03:14 作者: 退出可食用 時間: 2025-3-26 06:56
Hans Joachim Braun,Wolfhard Weberty, changing workflows, and equitable working conditions that can be inferred from the already-observable cultural and aesthetic implications of AI in visual design work. The chapter analyzes these hopes, fears, and expectations as part of a broader ‘technological imaginary’ of game-making through a作者: 單獨(dú) 時間: 2025-3-26 11:39
Hans Joachim Braun,Wolfhard Weberhat the autoharp and chord organ marketed have given way to fantasies of professionalized “progress.” I argue that each instrument, in its historical moment, makes promises of creativity and ease that act as surreptitious promises of class mobility and inclusion, but that the easy-playing software i作者: onlooker 時間: 2025-3-26 15:05
Hans Joachim Braun,Wolfhard Weber like the one encountered in the fieldwork, demonstrating how these institutions impart creative practice as something that is interdisciplinary, industry-oriented, and organizationally flexible. We then relate three vignettes of encounters with the tool agnostic over the course of the 16 months of 作者: Dissonance 時間: 2025-3-26 18:20 作者: Choreography 時間: 2025-3-26 22:33 作者: vasospasm 時間: 2025-3-27 01:53
Hans Joachim Braun,Wolfhard Webertures made with . data through their use of specialized digital tools. . offers an insightful view of the social ordering of amateurs’ practices because of its development as a means of communication of professional data for non-professionals, but also because its use was mediated by amateur astrono作者: Gesture 時間: 2025-3-27 06:06
Was ist Theoretische Pathologie?e and resources required to adopt it. I argue that the mutable nature of the software platform, Dolby’s ambitious expansion strategy, and challenging economic conditions in the music industry at large render these investments highly precarious. I contend that the associated risks fall disproportiona作者: 搖曳 時間: 2025-3-27 10:56 作者: Cloudburst 時間: 2025-3-27 16:19
Electrode Potential Measurements,stand the shift in cultural production from cultural tools to platform tools and its impacts on cultural producers. “Platform tools” refer to the combined set of software-based resources that are infrastructurally integrated with data-driven platform companies. They are distinct from “cultural tools作者: fluoroscopy 時間: 2025-3-27 19:19 作者: 歡笑 時間: 2025-3-28 00:05
Hans Joachim Braun,Wolfhard WeberIDIA’s GameGAN to production-ready tools like Ludo AI and its impact on the contemporary ‘technological imaginary’ of digital gaming. Game-making, particularly the creation of procedural complexity from a few, simple rules, has?repeatedly been characterized as a magic trick, which is not fully ratio作者: PANG 時間: 2025-3-28 05:36
Hans Joachim Braun,Wolfhard Weberrgely marketed to amateur producers and engineers working in the genres of pop, hip hop, and R&B—to examine the politics of amateurism, skill-building, and masculinity in digital music production environments. Instead of treating these software as completely novel musical tools, the chapter situates作者: 天然熱噴泉 時間: 2025-3-28 06:18
Hans Joachim Braun,Wolfhard Webercontemporary cultural production. We develop this sketch through an analysis based on fieldwork of a graduate digital media training program. After a brief introduction, we begin the chapter by discussing our conceptual framework for the tool agnostic as figuration. We argue that it affords its acto作者: bromide 時間: 2025-3-28 13:31 作者: instate 時間: 2025-3-28 15:42
Hans Joachim Braun,Wolfhard Weberthese works—such as the ways in which sound can be edited and manipulated through digital means and how visual material can be rendered—offers commentary for critically assessing relationships between artists and creative software. Creativity can be stifled by software if intuition and individual in作者: 陪審團(tuán) 時間: 2025-3-28 21:15
Hans Joachim Braun,Wolfhard Weber extraction that platformisation normalises, the tools of videogame production are also nonetheless more accessible than ever before. Whereas once gamemaking required extensive technical skills and custom-made software, a vast ecosystem of commercial and non-commercial gamemaking tools have emerged 作者: 愛哭 時間: 2025-3-29 01:31 作者: 拖網(wǎng) 時間: 2025-3-29 06:24
Hans Joachim Braun,Wolfhard Weberntists, image processors, and other users of this type of data need to master their idiosyncratic file format, the ., or . format. For nearly 20 years, one software has aligned many of the actors who create the images we see everywhere online, on television, and in the newspapers: the .. The user-fr作者: 施加 時間: 2025-3-29 10:00
Was ist Theoretische Pathologie?around the listener and for a single surround sound mix to be played back on a variety of loudspeaker configurations. This chapter traces the expansion of the platform from the cinema into recorded music and examines its potential impacts on the working lives of recording artists, producers, and eng
