By Chris Atton
During this ebook, Chris Atton deals a clean advent to replacement media: one that isn't really constrained to `radical' media, yet may also account for more recent cultural types comparable to zines, fanzines, and private web pages. substitute Media: Examines how and why humans produce and use replacement media - to make that means, to interpret, and to alter the area within which they reside features a wide variety of other media and attracts on examples from either the us and uk Locates modern replacement media of their cultural, old and political contexts
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Extra info for Alternative Media (Culture, Representation and Identity)
It is expected that those doing so might wish to make a charge to cover their duplicating costs, but this is not expected to include a profit margin. Some titles explicitly encourage the copying and distribution of the work in its entirety, only asking that the original publisher is informed, so that they are kept aware of the number of editions circulating. (Mter all, a small publisher on a tight budget might decide that, due to the number and extent of pirate editions in existence, there is no need for a reprint of the original edition.
Bourdieu (1993: 128) sees plagiarism in large-scale production as an indicator of 'indifference or conservatism': in the hands of an avowedly working-class autodidact such as Stewart Home (a further example of the composite artist-author-editorpublisher) plagiarism is radicalized as a demotic avant-garde (for example Home, 1995). A demotic avant-garde appropriates and repositions capital and authority directly from high culture, radically re-Iegitimizing an artistic practice from that legitimate culture.
For all that it may admit, the cultural field is perhaps too limited: it is after all concerned with literary and artistic values of production. This is despite the ability of Bourdieu's field of cultural production to encompass 'extremes' of creative activity. For Bourdieu, though, these take place within the sector of the field concerned with restricted production, to be distinguished from an opposing sector of large-scale production. One purpose in positing an entire 'oppositional field' - rather than attempting to accommodate contestation within any existing formulation - is that Bourdieu's field seems inhospitable to certain notions of radicality.
Alternative Media (Culture, Representation and Identity) by Chris Atton