Titlebook: Creative Tools and the Softwarization of Cultural Production; Frédérik Lesage,Michael Terren Book 2024 The Editor(s) (if applicable) and T

Choreography

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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

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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

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Cloudburst

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

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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

PANG

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

天然熱噴泉

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

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