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Paul Henley

in the same series as this one, and this provides a much more informed analysis of the film than anything that I could offer here. 13 I therefore turn instead to a more recent film, which was released in 2015 when the maker was still a doctoral student at the University of Manchester. Whereas the praxis of Suhr's film is based on relatively conventional observational realism, the ethnographer-film-maker in this case took advantage of recent developments in digital technology

in Beyond observation
Mia-Marie Hammarlin

reporting was reduced. Since then, the audience’s influence over both reporting in general and scandal reporting in particular has only increased, especially because of the opportunities provided by digital technology for interaction and dialogue with the newsrooms. In addition, the journalist tends to become the main figure of the scoop, where balanced information is pushed into the background in favour of the heroic deed. Håkan Juholt touched on this during our conversation. He repeatedly claimed that it is not the affected individual who is the main character in the

in Exposed
Open Access (free)
Mia-Marie Hammarlin

surrounds us. Here I find phenomenologist and media scholar Amanda Lagerkvist’s studies inspiring. Her simple and beautiful phrase ‘questions concerning digital technologies are … questions about human existence’ (Lagerkvist 2017:97) forms a kind of point of departure for my research as well. On the basis of Martin Heidegger’s concept of thrownness, Lagerkvist poses the initial question: ‘What does it mean to be a human being in the digital age?’ (Lagerkvist 2017:97; original emphasis). She believes that a new form of idiosyncratic, existential vulnerability has taken

in Exposed
Open Access (free)
The beast that no-one could – or should – control?
Stephen Curry

, and clarification of the notions of academic freedom and responsibility. The journey since the 1990s suggests that no-one is in overall control of these processes. This is perhaps inevitable, and may even be desirable in a democratic society that aspires to be more open. Open access 35 What is open access and how has it been implemented as a policy? Open access is very much an academic initiative, largely conceived as a tool for researchers. Its origins lie at the messy confluence of digital technology and open licensing for software (Eve, 2014; Suber, 2012

in Science and the politics of openness
Dana Phillips

of Oryx and Crake is that by engineering the Crakers and placing them alongside all the other transgenic novelties that now fill the landscape, and by wiping out most of the human population at the same time, Crake does not reprogramme the course of humanoid evolution as he had planned to do, hacking it like the computer games and other digital technologies he tinkered with as a teenager. He merely reboots it. However altered individual genomes may be in the MaddAddam trilogy, evolutionary processes continue to run just as they always have done. The result of Crake

in Literature and sustainability
Implications for jobs and inequality
Rosemary Batt and Eileen Appelbaum

, with attention paid primarily to describing the phenomenon, why it was emerging in the context of heightened competition and the enabling features of digital technologies, and whether it led to superior firm performance. Few scholars paid 72 Making work more equal attention to the implications of these structural changes for work and employment relations. At the forefront of new scholarship investigating these issues, Rubery and her colleagues published a series of qualitative case studies and a coedited book in the early to mid-2000s (Marchington et al., 2005

in Making work more equal
Open Access (free)
Christopher T. Marsden

education, to the protection of competition and its primary private sector exemption, intellectual property. Authorising the creation of the science base is critical to the development of digital technologies. 60 Moglen explained that the corporate–political relationships: extend in many cases back to the period immediately after [World

in Network neutrality
Open Access (free)
Senses of country living in a Basque-speaking village
Kepa Fernández De Larrinoa

during the 1970s and 1980s, people acquired second homes or flats on the Basque coast or nearby. Acquiring a chalet or vacation flat was for many their initiation into conspicuous leisure consumption. The development of villas in rural towns and mountain villages in the Tolosa area is thus due to various elements, including pressure in the real estate market; excellent land communications infrastructure; an urban imaginary which connects rural living to quality of life and social distinction; and the development of digital technology, which permits tele-cottaging.4 A

in Alternative countrysides
The films of David and Judith MacDougall in Africa and Australia
Paul Henley

for granted that it is difficult to appreciate just how transformative this innovation was for documentary film-making. But in my view, the step-change that portable synchronous sound enabled in ethnographic film-making was considerably greater than the much-vaunted advent of digital technology a generation later. Certainly it is difficult to imagine the more collaborative approaches of the 1970s and 1980s taking place without it. Reflexivity and participation In the course of the 1970s, two new terms became commonplace in the

in Beyond observation
Open Access (free)
Indigenous media and the Video nas Aldeias project
Paul Henley

image camera is not the obstacle that it once was. However, operating an edit suite is not only technically more complex than operating a camera, but conceptually more complex too. With the arrival of digital technology, editing systems may have become cheaper, easier to operate and portable, but this has done nothing to diminish the conceptual complexities associated with the transformation of the copy of the world produced by a camera into a film with some sort of narrative structure or argument. It is on account of these complexities that

in Beyond observation