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Technoliberalism and the End of Participatory Culture in the United States
Adam Fish
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Description for Technoliberalism and the End of Participatory Culture in the United States
Hardback. Num Pages: 225 pages, biography. BIC Classification: 1KBB; JFD; KNTD; KNTX1. Category: (G) General (US: Trade). Dimension: 210 x 148. .
This new book examines whether television can be used as a tool not just for capitalism, but for democracy. Throughout television's history, activists have attempted to access it for that very reason. New technologies-cable, satellite, and the internet-provided brief openings for amateur and activist engagement with television. This book elaborates on this history by using ethnographic data to build a new iteration of liberalism, technoliberalism, which sees Silicon Valley technology and the free market of Hollywood end the need for a politics of participation.
This new book examines whether television can be used as a tool not just for capitalism, but for democracy. Throughout television's history, activists have attempted to access it for that very reason. New technologies-cable, satellite, and the internet-provided brief openings for amateur and activist engagement with television. This book elaborates on this history by using ethnographic data to build a new iteration of liberalism, technoliberalism, which sees Silicon Valley technology and the free market of Hollywood end the need for a politics of participation.
Product Details
Publisher
Springer International Publishing AG
Format
Hardback
Publication date
2017
Condition
New
Number of Pages
217
Place of Publication
Cham, Switzerland
ISBN
9783319312552
SKU
V9783319312552
Shipping Time
Usually ships in 15 to 20 working days
Ref
99-15
About Adam Fish
Adam Fish is Lecturer in the Sociology Department at Lancaster University, UK. As a cultural anthropologist, he examines digital industries that exercise their powers of persuasion and digital activists who challenge those powers. Much of his research focuses on the industry and activism surrounding digital video, of which he is both a critic and practitioner.
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