Принципи та цілі логістичного обслуговування в контексті підвищення рівня конкурентоспроможності підприємства

In this article, we examine the digitalised emotional campaigning of one of Australia’s peak animal welfare body, Animals Australia, focusing on their most effective digital strategies associated with their campaigns against factory farming. Our broader interest lies with sounding out the affective affordances of the technologies informing such activist work; technologies of affect in a very significant sense. This discussion comprises three parts. First, we unpack the context for the problematic faced by animal and environmental activisms: neoliberalism, showing how neoliberal assumptions constrain such activisms to emotional appeals and denounce them for such strategising. Second, we sound out some of the affordances of digital media technologies for affectively oriented activisms; and finally, we delve into some of Animals Australia’s digital campaigning with regard to issues of factory farming in order to show the efficacy of such affectively oriented mediated strategising for the forming of new relations with factory farm. © 2017, © The Author(s) 2017

The tragedy of self in digitised popular culture: the existential consequences of digital fame on YouTube

Digital data is constitutive of many forms of popular culture and user engagement. How data feeds back and is integrated into practice is of critical importance when it comes to analysing the place of the ‘self’ in contemporary culture. This article provides an account of video-blogging on YouTube. It takes as its case study three UK ‘YouTube Celebrities’ – Charlie McDonnell, Chris Kendall and Benjamin Cook – and focuses upon three vlogs which all express disquiet with their celebrity. This unease is articulated in relation to the digital consummation of self YouTube provides its users. Through a textual and performance analysis the article explores the cultural heritage of the vlog in what Charles Taylor calls western culture’s ‘expressive turn’. It argues that what a digitised popular culture gives us is a novel space to rework longstanding cultural ideals around the self, individuality and self-expression