Post Memes

Art-form, send-up, farce, ironic disarticulation, pastiche, propaganda, trololololol, mode of critique, mode of production, means of politicisation, even of subjectivation -- memes are the inner currency of the internet’s circulatory system. Independent of any one set value, memes are famously the mode of conveyance for the alt-right, the irony left, and the apoliticos alike,  and they are impervious to many economic valuations: the attempts made in co-opting their discourse in advertising and big business have made little headway, and have usually been derailed by retaliative meming. Post-Memes: Seizing the Memes of Production takes advantage of the meme’s subversive adaptability and ripeness for a focused, in-depth study. Pulling together the interrogative forces of a raft of thinkers at the forefront of tech theory and media dissection, this collection of essays paves a way to articulating the semiotic fabric of the early 21st century’s most prevalent means of content posting, and aims at the very seizing of the memes of production for the imagining and creation of new political horizons.With contributions from Scott and McKenzie Wark, Patricia Reed, Jay Owens, Thomas Hobson and Kaajal Modi, Dominic Pettman, Bogna M. Konior, and Eric Wilson, among others, this essay volume offers the freshest approaches available in the field of memes studies and inaugurates a new kind of writing about the newest manifestations of the written online. The book aims to become the go-to resource for all students and scholars of memes, and will be of the utmost interest to anyone interested in the internet’s most viral phenomenon

Course Catalog 1985-1986

CONTENTS ACADEMIC CALENDAR 4 THE CSU 7 UNIVERSITY ADMINISTRATION 13 THE UNIVERSITY 19 STUDENT LIFE 27 ADMISSION 39 EVENING OFFICE 51 FEE SCHEDULE 53 ACADEMIC REGULATIONS 57 DEGREE REQUIREMENTS 71 GRADUATE PROGRAMS 81 CERTIFICATE PROGRAMS 91 EXTENDED EDUCATION 111 THE CURRICULUM 115 FACULTY 379 APPENDIX 407 INDEX 417https://scholarworks.lib.csusb.edu/csusb-catalog/1040/thumbnail.jp

Perfect moments: British advertising during the 1990s - an assessment of determinants

The aim of this thesis is to consider how advertisers and their clients in the 1990s conceptualised social and technological change. In particular, I address how advertisers deduced and represented new characteristics in their customers. By reflecting on changes in the content of adverts, I take a symptomatic approach in considering how new conceptualisations were incorporated into new and broader ad styles. To do this, in Chapter 1, the Literature Review, I identify my central approach and key issues against existing literature in the field. Given that this study is essentially an industry-oriented analysis of advertising, which not been attempted this way before, I consider the relevance of existing industrial and academic-centred critical models for this study. Chapter 2 then maps out the key changes in advertising in the 1990s from previous decades. It considers what prompted the ad industries to change their perspectives and how advertisers restructured their operations in an attempt to re-imagine their consumers. In Chapter 3 benchmarks of the key changes are examined in more detail. Three campaigns are examined to explore how promotional strategies negotiated (perceived) changes in consumers. The campaigns for Britvic Tango (1992), Daewoo cars (1995) and Tesco Clubcard (1997) were chosen because they are symptomatic of key moments during the 1990s in which the way advertising targeted consumers was re-addressed. In the final part of this chapter I consider how shifting methods of advertising during the 1990s registers in the 'bigger picture' of twentieth century communication. Following the case studies, the next two chapters review two key issues for advertising during the 1990s. Chapter 4 considers how advertisers changed their tone of address. Here issues such as national/personal representation and 'boutiques of history' are considered. Most notably, changes in youth mood is considered against advertising's own strategies for coping with change. Chapter 5 then considers changes in modes of address, and in particular the impact of digital technology on advertising's means of communication. Unlike the previous chapter, which demonstrates how advertising negotiated change, this section shows how the existing agency system was forced to change. Before 1990 an attitude perSisted in the ad industry that changes to the way agencies communicated and did business was (to a large extent) determined by advertisers themselves. This was not the case in 1990s. This study maps out how change was negotiated in a climate of cultural fragmentation and digitised communication

In-Transit Televisions: Productive Patterns and Urban Imageries of Mobility

Il termine go-tv fa riferimento a i sistemi di videocomunicazione collocati a bordo di mezzi di trasporto e in ambienti collegati, ad alto transito di passeggeri. Limitando l’analisi al territorio italiano, la ricerca intende ricostruire le coordinate storiche del suo sviluppo, inquadrandolo entro il più ampio contesto dei media contemporanei. Da un punto di vista teorico, sono considerati sia il legame del mezzo con l’ambiente urbano, sia le interconnessioni tra comunicazione, mobilità e trasporti, riflesse nel particolare statuto sociale e topologico chiamato in causa dai suoi luoghi di consumo. Dall’approvvigionamento alla messa in onda dei contenuti, cardine speculativo del lavoro è la disamina, su base esplorativa, delle consuetudini commerciali e professionali sottese a questo speciale canale di distribuzione audiovisiva, nel quadro di apposite pratiche d’azienda, campionate nel solco degli studi sulla produzione mediale. Tre sono gli snodi principali del progetto: la proposta di una definizione univoca del fenomeno, condivisibile dai diversi attori coinvolti nella filiera, una prima modellizzazione del suo profilo mediale e una mappatura dei principali casi di go-tv rinvenibili a livello nazionale, arricchita da una serie di studi di caso."Go-tv" refers to video-communication systems located onboard transportation vehicles and in connected venues, in high-transit locations. The research focuses on the Italian territory and provides the main historical coordinates of the development of this medium, framed within the wider context of contemporary media. From a theoretical level, the dissertation considers both the relation between this medium and the urban environment and the interconnections between communication, mobility, and transportation. Its consumption places, indeed, call into question a particular sociological and topological status. The main output of this work consists of an explorative analysis of the commercial and professional habits underlying this particular channel of audiovisual distribution, which is examined in the wake of media production studies. The project revolves around three main points: the proposal of a univocal definition of the phenomenon, a tentative modelling of its media profile and a mapping of the main cases of Italian go-tvs, complemented by a series of case studies