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This paper builds on the concept of 'tagging aesthetics' (Bozzi, 2020b) to discuss new media art projects that combine machine vision and social media to address how different kinds of socio-technical subjects are assembled through AI. The premise outlines how the naturalisation of machine vision involves a range of subjects, juxtaposed along different conflictual lines: ontological (human-machine), biopolitical (classifier-classified), socio-technical (tech worker-data cleaner), political (AI-viewing public). Embracing the ambiguity inherent in the shifting boundaries of these subjects, I analyse works by different new media artists who approach one or more of these juxtapositions by engaging with diverse forms of tagging. The practice of tagging is often discussed through data-driven analyses of hashtags and how related publics can be mapped, but in my framework, tagging can encompass a wider spectrum of techno-social practices of connection (e.g. geotagging, tagging users). I discuss artworks by Kate Crawford and Trevor Paglen, Dries Depoorter and Max Dovey to illustrate how these practices can be leveraged artistically to make visible and even 'stitch together' the manifold subjects of machine vision. I explain how those taggings denaturalise processes of socio-technical classification by activating awareness, if not agency, through the sheer proximity they enact. Far from being a tool to map knowledge and essentialised identities, tagging aesthetics are ways to perform the techno-social and shape future cultural encounters with various forms of others. By exploring different approaches to tagging aesthetics – (dis)identification, semi-automated assembly and embodied encounter – this paper illustrates how tagging can be used to culturally negotiate the impact of machine vision in terms of issues such as surveillance and the performance of digital identity.

In this photo essay, we mobilize digital media to sense elemental phenomena at the same time as we ask what 'elements' – what constitutive, material and fundamental substrates – enable digitally mediated sensations. Taking an infrastructural perspective, we focus on data centres as core elements that condition digital systems. We describe data centres as zones of elemental intensity where globally distributed material compositions are concentrated, transduced and crystallized. Drawing from fieldwork across the Midwestern United States, we reflect on 'haze' as a material trace of these zones as well as an aesthetic sense of the terraforming undertaken to develop infrastructures of computation.

While feminists have long recognised the importance of self-managed, alternative media to transport their messages, to challenge the status quo, and to spin novel social processes, this topic has been an under-researched area. Hence, this book explores the processes of women's and feminist media production in the context of participatory spaces, technology, and cultural citizenship.The collection is composed of theoretical analyses and critical case studies. It highlights contemporary alternative feminist media in general as well as blogs, zines, culture jamming, and street art.

The COVID-19 pandemic has reorganized existing methods of exchange, turning comparatively marginal technologies into the new normal. Multipoint videoconferencing in particular has become a favored means for web-based forms of remote communication and collaboration without physical copresence. Taking the recent mainstreaming of videoconferencing as its point of departure, this anthology examines the complex mediality of this new form of social interaction. Connecting theoretical reflection with material case studies, the contributors question practices, politics and aesthetics of videoconferencing and the specific meanings it acquires in different historical, cultural and social contexts.

This paper argues that generative music and art techniques have much to tell us about the politics of operations in infrastructural and political contexts, that generative techniques are an unavoidable aspect of informatic operations, and that an artistic and materially-grounded sensibility toward the manipulation of the inherent biases of operations is necessary, if not sufficient, for creating high-stakes automated systems that take an ethics of care as foundational to their becoming. This paper does so through concepts from mid-twentieth century philosopher of technology Gilbert Simondon's On the Mode of Existence of Technical Objects alongside critical readings of a pair of software artifacts—namely the predictive policing platform Geolitica (formerly PredPol) and the procedurally-generated videogame No Man's Sky. The analysis is supplemented by the author's experience as an experimental electronic musician, media artist and software product developer.

The article presents the results of an aesthetic study of content and visual forms on Instagram, a relatively new social media platform. The study focuses on how the products of digital technology, understood as new artifacts within the postmodern aesthetic framework, have been taken up within the digital culture. The results of the research help us to understand the characteristics of this new social media platform, indicating that Instagram has been highly successful in changing aesthetic criteria and standards and creating new aesthetic forms and content.

In the last decade, comics and graphic novels on migration have become an essential forum for representing refugee experience. This emergent genre of graphic narration not only offers the representation of migrant hardships from the subjective perspective of refugees, artists and volunteers working in the community, comics on the refugee crisis also develop empathy and awareness for the plight of migrants internationally by giving a voice to countless nameless – and often faceless – migrants, whose images circulate widely in the media. Moreover, comic artists working on refugee and migrant subjects are inventing new visual languages to express these individuals' perilous journeys from war-torn regions of the Middle East, Africa and Asia to European soil, incorporating the very media technologies essential for migration – and its representation – into the comics form. Looking at the smartphone and social media aesthetics of two comics on global forced migration, Kate Evans's Threads: From the Refugee Crisis and Reinhard Kleist's An Olympic Dream: The Story of Samia Yusuf Omar, this article assesses the significance of incorporating the technologies of migration into its representation.

The author discusses the aesthetic effects of the "shock of the real" and how it emerges in specific realist films and literature that portray urban experiences in contemporary Brazil. In the midst of the violence, image overflow, and uncertainty of many Brazilian cities, realist productions provide an interpretative pedagogy of the "real." Although they attempt to forge a connection between lived experience and representation, contemporary realist registers not only rely on former depictions of Brazilian "reality" but also make use of genres that have become available through the global circulation of the media, such as the detective novel, the gangster film, and the dirty realism of the mean street narratives and visual images.

This patchwork‐style article on peace aesthetics is based on the twin idea that it is possible to represent peace visually and that such representation can contribute to peace. Indeed, visual depictions of peace can be found across space and over time. However, they radically differ from one another and are not always easily recognizable as images of peace. The article identifies six problem areas with which visual peace research should engage: (i) representations of peace in the visual arts; (ii) photographic approaches to the aftermath of violent conflict, especially to the aftermath‐as‐event; (iii) peace photography as discussed and practiced in photojournalism; (iv) appropriation as a method in visual peace research; (v) digitization and machine–machine cultures; and (vi) the relationship between imaging and imagining. The analysis suggests that peace aesthetics, as a dissident practice, is both political and critical; it is interdisciplinary and based on an episodic understanding of the relationship between images and peace. It combines empirical, theoretical, and conceptual knowledge produced in the social sciences, art history, and media and communication studies, both with one another and with artistic practice.

The article investigate the relation between Trumpism and visual aesthetics from Trump Tower to Capitol Hill, January 6 2021.Trump had no organized cultural policy and thereby he differed from other despotic regimes, he had only himself as a brand. Other despotic regimes,, such as in the Soviet Union under Stalin and Germany under Hitler, had immediately organized aesthetics politically. Trump had himself as the brand, not an arranged cultural policy, not a well-organized aestheticization of the politics with Water Benjamin's term . He had himself as a grandiose brand. which the surroundings should mirror and give narcissistic supply back. ; The article investigate the relation between Trumpism and visual aesthetics from Trump Tower to Capitol Hill, January 6 2021.Trump had no organized cultural policy and thereby he differed from other despotic regimes, he had only himself as a brand. Other despotic regimes,, such as in the Soviet Union under Stalin and Germany under Hitler, had immediately organized aesthetics politically. Trump had himself as the brand, not an arranged cultural policy, not a well-organized aestheticization of the politics with Water Benjamin's term . He had himself as a grandiose brand. which the surroundings should mirror and give narcissistic supply back.

"This monograph explores and investigates key issues facing Middle Eastern societies, including religion and sectarianism, history and collective memory, urban space and socioeconomic difference, policing and securitization, and gender relations. In the Middle East, television drama creators serve as public intellectuals who, with uncanny prescience, tell the world something. As this volume demonstrates, fictional television provides a crucial space for social and political debate in much of the region. Writing from a range disciplines-anthropology, communication, folklore, gender studies, history, and law- contributors include seasoned academics who have dedicated their careers to researching Middle Eastern media and emerging scholars who build on earlier work and introduce fresh perspectives. Together, they provide an invaluable overview of Middle Eastern serial television and their political impact, drawing examples from Afghanistan, Egypt, Iran, Syria, and Turkey. Bringing together a diverse range of academic perspectives, this book will be of key interest to students and scholars in media and communication studies, Middle Eastern Studies, and popular culture studies"--