Book Description
Control Systems for Live Entertainment provides essential information for technicians, engineers and designers interested in how control systems and computers are used in the live entertainment arena. Specifically covering control for lighting, lasers, sound, video, film projection, stage machinery, animatronics, special effects and pyrotechnics for theatre, concerts, theme parks, themed-retail, cruise ships, museums, corporate and other events.
Drawing on his extensive experience in the field and classroom, author John Huntington clearly explains everything that goes on behind the scenes and inside the machines to bring bold visions to life in real-world settings.
Sections on all major entertainment control standards, methods and protocols, including DMX512, MIDI, MIDI Show Control, Sony 9-Pin, SMPTE Time Code and many others
Basics of control systems, data communications, and networks, including EIA serial standards and Ethernet
System design concepts and case studies featuring realistic problems and practical solutions, with a unique combined focus on computers, art and practice
Customer Reviews:
Worth the cost.......2006-03-28
I had to buy this book for a class I am taking, and it has proven very helpful and useful.
The bible for automation and show control industry.......2001-02-03
A well dog-eared copy of the first edition has been in my tool kit / computer kit for the last couple of years. I have found it a valuable resource. It has helped me on-site more than once. The second edition is more comprehensive and organized. Kudos to John in publishing a great resource fit for the student and experienced professional.
George Tucker- Show Control Engineer- Scharff Wesiberg NYC
THE Great Show Control Reference!.......1997-09-12
John Huntington's book is the THE reference tool in our lighting shop for show control. It has everything you need for the different control languages, in clear and concise formats.It is a must on every theatre technician's bookshelf
Control Systems for Live Entertainment-The title says it all.......1996-09-24
John Huntington's new book, Control Systems for Live
Entertainment, is one of the most useful and informative
books available for anyone interested in theatre technology.
The book covers such technologies as MIDI, DMX512, MediaLink,
MIDI Show Control, and others.
Book Description
"Cinema brings the industrial revolution to the eye," writes Jonathan Beller, "and engages spectators in increasingly dematerialized processes of social production." In his groundbreaking critical study, cinema is the paradigmatic example of how the act of looking has been construed by capital as "productive labor." Through an examination of cinema over the course of the twentieth century, Beller establishes on both theoretical and historical grounds the process of the emergent capitalization of perception. This process, he says, underpins the current global economy.
By exploring a set of films made since the late 1920s, Beller argues that, through cinema, capital first posits and then presupposes looking as a value-productive activity. He argues that cinema, as the first crystallization of a new order of media, is itself an abstraction of assembly-line processes, and that the contemporary image is a politico-economic interface between the body and capitalized social machinery. Where factory workers first performed sequenced physical operations on moving objects in order to produce a commodity, in the cinema, spectators perform sequenced visual operations on moving montage fragments to produce an image.
Beller develops his argument by highlighting various innovations and film texts of the past century. These innovations include concepts and practices from the revolutionary Soviet cinema, behaviorism, Taylorism, psychoanalysis, and contemporary Hollywood film. He thus develops an analysis of what amounts to the global industrialization of perception that today informs not only the specific social functions of new media, but also sustains a violent and hierarchical global society.
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Television Talk Shows: Discourse, Performance, Spectacle (Lea's Communication Series)
Manufacturer: Lawrence Erlbaum
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ASIN: 0805837469 |
Book Description
The "talk show" has become a ubiquitous feature of American and European television. The various examples have been frequently discussed by academic commentators, as well as journalists in an attempt to place them in a cultural setting. Ultimately, the conclusion is reached by both academics and non-academics that talk shows matter because they are a focus for considerable public debate and are crucial to the landscape of popular television.
All the variations of talk shows, from chat shows to celebrity interviews, have key elements in common: They all feature groups of guests, not individual interviewees, and they all involve audience participation. The studio audience is not only visible, but is given the opportunity to comment and intervene.
Other books have applied academic analysis to the phenomenon of these shows, but this is the first to analyze the actual "talk" of the talk shows, and in that sense it is closer to discourse analysis than to other forms of analysis. This book provides a systematic empirical study of the broadcast talk in talk shows and maps out the range of formats that appear in the major American and British television shows. The contributors are members of an international network of researchers interested in the study of broadcast talk.
Average customer rating:
- Not as racy as you might think, but fun for an academic book
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Secrets, Sex, and Spectacle: The Rules of Scandal in Japan and the United States
Mark D. West
Manufacturer: University Of Chicago Press
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ASIN: 0226894088 |
Book Description
A leader of a global superpower is betrayed by his mistress, who makes public the sordid details of their secret affair. His wife stands by as he denies the charges. Debates over definitions of moral leadership ensue. Sound familiar? If you guessed Clinton and Lewinsky, try again. This incident involved former Japanese prime minister Sosuke Uno and a geisha.
In Secrets, Sex, and Spectacle, Mark D. West organizes the seemingly random worlds of Japanese and American scandal—from corporate fraud to baseball cheaters, political corruption to celebrity sexcapades—to explore well-ingrained similarities and contrasts in law and society. In Japan and the United States, legal and organizational rules tell us what kind of behavior is considered scandalous. When Japanese and American scandal stories differ, those rules—rules that define what’s public and what’s private, rules that protect injuries to dignity and honor, and rules about sex, to name a few—often help explain the differences. In the cases of Clinton and Uno, the rules help explain why the media didn’t cover Uno’s affair, why Uno’s wife apologized on her husband’s behalf, and why Uno—and not Clinton—resigned.
Secrets, Sex, and Spectacle offers a novel approach to viewing the phenomenon of scandal—one that will be applauded by anyone who has obsessed over (or ridiculed) these public episodes.
Customer Reviews:
Not as racy as you might think, but fun for an academic book.......2007-05-28
The cover of this book is a bit of a tease. What lies within is not a breezy bit of titillation, but a footnote-rich book about comparative law. It's not a fast read -- quite the opposite (unless your sensibility has been warped by the grotesque literary standards of American legal scholarship, in which case this book reads like a romance novel). In case you're wondering, the "sex" chapter takes up only about 15% of the main text, and includes the relatively humdrum topic of divorce. So cool down.
Within the parameters the author has chosen for the book -- a comparison of Japanese and US attitudes towards what constitutes a scandal, what types of social and legal redress (group discipline, defamation law, etc.) are avaliable against an allegation of a scandal, how protagonists are punished (or not), and how to apologize -- it is terrific. The emphasis is on Japan, with US mainly as a foil to highlight the Japanese point of view. And that point of view can be quite surprising for a Westerner. E.g., West compares the Clinton-Lewinsky scandal with a 1989 scandal involving then-Prime Minister Uno Sousuke and a mistress. The public turned against Uno, who was forced to resign. But it wasn't because he had an affair. Rather, the trouble came after the mistress revealved that Uno gave her only $3,000/month support (much of which he consumed by eating meals at her house most nights) -- Uno was too cheap!
The book describes literally dozens of scandals involving corporations, entertainers, athletes, politicians and ordinary citizens. The emphasis is on the past 20 years or so (Heisei Emperor's era); in fact many of the scandals are from 2000-2005. An impressive feature of the book is that West actually interviewed many of the scandal protagonists or their friends or colleagues, as well as Japanese journalists. You'll learn a lot about the infrastructure of the Japanese media, including talent agencies and press clubs, and the book provides many serious insights into the nature and extent of press freedom in Japan. But while the author tries to maintain an entertaining tone throughout, this is pretty much impossible in those parts of the book that describe US or Japanese law rather than facts of actual cases. And although most of his cultural observations are pretty acute, occasionally they're slightly off. E.g., he glosses 'enka' as "Japanese folk song", but in modern times it's more like very commercial country music on a stock theme such as hey bartender or I miss dear old mom or glad I'm a fisherman, all punctuated with cheesy electric guitar riffs. The author also makes a religious cult or two sound more benign than they really are.
Here are a couple of caveats that might limit the appeal of this book to a wide readership, and that might help you to calibrate my review: First, most of the first couple of chapters focuses on law, so it may take more than 100 pages before the mood lightens somewhat for the average reader. I'm a lawyer myself, and even for me some patches in these chapters were a bit of a slog. Second, while on the one hand you can learn a lot about Japanese society, on the other you may be overwhelmed with detail if you don't already know anything about it. If you've never browsed even for a couple of minutes in a Japanese newsstand or never channel-surfed Japanese TV, you will need a very powerful imagination to follow the action in this book. There are tons of knowledgeable references to Japanese TV show formats, actors, actresses and MCs, to different categories of magazines and to such institutions as "gurabia" (gravure) models, as well as to various business and political scandals that were headline news in the past 5 years. I've been visiting Japan often during the past 10+ years, and now live there much of the time, but even I had to run to a search engine to look up photos of entertainers whose names were meaningless to me. If you're relatively new to Japan, prepare either for information overload or for a lot of online research into pop culture and recent history. But if you have some familiarity with the Japanese scene, and if you believe that even a book with footnotes can be fun, then this book is a great choice.
Book Description
Prominent social critic Henry Giroux explores how new forms of media are challenging the very nature of politics in his most poignant and striking book to date.
The emergence of the spectacle of terror as a new form of politics raises important questions about how fear and anxiety can be marketed, how terrorism can be used to recruit people in support of authoritarian causes, and how the spectacle of terrorism works in an age of injustices, deep insecurities, disembodied social relations, fragmented communities, and a growing militarization of everyday life. At the same time, the new media such as the Internet, digital camcorders, and cell phones can be used to energize sites of resistance, provide alternative public spheres, pluralize political struggles, and expand rather than close down democratic relations. Giroux considers what conditions and changes are necessary to reinvigorate democracy in light of these new challenges.
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- An Interesting Look At The Media Through A Specific Event
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The Spectacle: Media and the Making of the O.J. Simpson Story
Paul Thaler
Manufacturer: Praeger Paperback
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In Cold Blood
ASIN: 0275953203 |
Book Description
In the "Year of Simpson," the country was caught in the throes of the biggest story ever. No other single news event in our history could match the sheer scope and intensity of coverage given to the O. J. Simpson murder case. But the media did not just report the Simpson case, they were instrumental in creating it--a spectacle of such stupendous proportions that it "hijacked" American culture. In this critical expose of American media, Thaler presents a riveting narrative about the men and women who gave us the story of the century. It is a sprawling tale of the media grappling with their role as news-reporting entities; seduced by the values of entertainment and tabloidism; and faced with increased competition, fragmented audiences, and frantic pressure to keep both eyes on the bottom line. The Simpson story is one of exploitation, of media overkill and outright pandering, of huge profitmaking, all of which undermined the trial and fueled tremendous public cynicism about the way in which justice--and the media--work in this country. For more than a year, America was held captive to the great murder story. In Thaler's analysis, the media, more than any other single "participant," altered the workings of the Simpson courtroom and the outcome of one of the most celebrated trials in America's history. From the first coverage of the murders to the final days of the "trial of the century," the media were not only telling us what had become of justice in this country, but also what had become of them. This is that story.
Customer Reviews:
An Interesting Look At The Media Through A Specific Event.......2004-04-13
In the introduction to this book, author Paul Thaler proposes that "The media themselves may have been the single most decisive factor contributing to the legal strategies and decisions coming from the presiding judge and trial attorneys" in the O.J. Simpson murder trial.
The journey to his proving this statement is well-researched and entertaining, and is a good primer on some fundamental issues about the media's ability to shape the news rather than just report it.
Since it deals with a news story that almost everyone is familiar with at least the basic framework of, this is a good vehicle whereby to think about said issues, and Thaler introduces them to us with an engaging and friendly, concise-yet-thorough writing style.
Highly reccomended to those looking for a relatively quick, thought-provoking read.
Book Description
During the mid-1990s, the O.J. Simpson murder trials dominated the media in the United States and were circulated throughout the world via global communications networks. The case became a spectacle of race, gender, class and violence, bringing in elements of domestic melodrama, crime drama and legal drama. According to cultural critic and scholar Douglas Kellner, the Simpson case was just one example of what the author calls 'media spectacle' -- a form of media culture that puts contemporary dreams, nightmares, fantasies and values on display.
Through the analysis of several such media spectacles -- including Elvis, the X Files, Michael Jordan, and the Bill Clinton sex scandals - Kellner's insightful and fascinating book draws out important insights into media, journalism, the public sphere and politics in an era of new technologies. Media Spectacle is a brilliant dissection of contemporary society; its ongoing appetite for scandal, tragedy and perversion; and the new technologies and media that strive to feed this immense hunger. This is cultural criticism and media analysis at its best.
Customer Reviews:
Little new here.......2003-10-18
"Media Spectacle" presents Douglas Kellner's critique of contemporary high-tech, media-driven society which, he proposes, is dominated by the phenomenon of spectacle. The whole notion of "spectacle" as the dominant mode of capitalist/consumerist society is by no means original to Kellner. His analysis seems inspired in part by the philosophy of Guy Debord (Society of the Spectacle, 1967), and by the American historian/philosopher Daniel Boorstin, whose provocative 1961 book "The Image" is an earlier and more accessible exposition of the same ideas. Boorstin referred to "pseudo-events" and famously defined the celebrity as one who is "known for his well-knownness."
What is refreshing about Boorstin is his apolitical, objective, yet passionate analysis, which Debord vehemently rejects as apologetic and naive. Kellner, like Debord and his Frankfurt School predecessors, reads contemporary culture as the subjugation of the masses by a "culture industry"--an all-powerful imperious collusion of dominant media and the shadowy controllers of the means of production. He seems bent on placing blame for what he perceives as the excesses of consumerism. Boorstin, on the other hand, believes it far more productive to look within ourselves, rather than to blame a nefarious conspiracy: "Daring not to admit we may be our own deceivers, we anxiously seek someone to accuse of deceiving us."
Kellner does not disguise his political beliefs, referring repeatedly in this work to George H.W. Bush as "Bush Daddy," to that president's agenda as "hardright and utterly corrupt," to the "Bush-Cheney gang," and proclaiming that the younger Bush "stole the presidency" (the topic of another recent Kellner book)..
There is certainly nothing "wrong" with interpreting culture through a particular political perspective. Indeed Debord, Adorno and the others did the same, although with greater originality. I agree entirely with Kellner's assessments and characterizations of Bush père et fils, but wish he would focus more in this work on promoting an understanding of culture and communication than on advancing his own political agenda. After all, he describes his goal as to "teach students and citizens how to read their culture," and that is a disingenuous characterization of his apparent intent. He seems rather more devoted to teaching WHAT to read in culture than HOW to make one's own informed analysis.
Kellner has written or edited two dozen books and published more than two hundred articles on critical theory, culture, and society. Perhaps it would be difficult for one so prolific to avoid becoming self-referential, but the bibliography in "Media Spectacle" lists 18 of Kellner's own works and the text and notes refer to those works at least 98 times. By this time, he seems to be repeating himself.
Indeed, the redundancies within this work itself are aggravating. Discussing a character in "The X-Files," Kellner reports that, "Mulder typically takes charge, provides the explanations, and is more often than not proven correct." And only two paragraphs later writes that "Mulder is the senior partner, who usually gives orders and who often-but not always-has the more correct analysis." He reiterates several times and in great detail how Michael Jordan's image reflects US cultural values and mythology. He tells us repeatedly, with slight variations in vocabulary, that O.J. Simpson, " was a well known sports star and media figure." This is a book in desperate need of a good editor.
Finally, Kellner certainly makes the valid point that the public needs to be aware that corporations and individuals should be judged critically--and that they often manipulate public opinion and perceptions. His examples, though, are all so well known as to be trite. McDonald's serves fatty foods? Michael Jordan avoids politics? O.J. Simpson's trial was a circus? The X-Files is popular because people don't trust the government? George W. Bush stole the election? Kellner should either provide some new insight into these "spectacles" or tackle something a little more difficult--a set of phenomena about which we don't already have grave suspicions--and shed some light in those places where the motives behind spectacles still lurk in the darkness.
In the end, the reader is left with important questions unanswered: What are the elements of spectacle? What has created a culture of spectacle? How and why does spectacle communicate to us? What messages do spectacles present? If the answers are here, they are buried under mounds of verbiage. And they were far more cogently addressed by Daniel Boorstin more than 40 years ago.
Customer Reviews:
A New Age of Worship.......2001-09-17
Tex Sample is a student of modern culture and media. His grasp of the history, scope, and influence of our electronic culture provide a great resource for understanding our day and age. Coupled with Sample's heart for worship among the gathered people of God, he sets forth a challenge for the church to connect with today's culture.
For the church to connect with modern culture Sample asserts that it must become involved with and participate in the indigenous practices of its people (19). Samples spends much time expounding modern electronic culture trends in terms of engaging the world through images, sound as beat, and visualization.
While much of his analysis of electronic culture was insightful, I found much of it to be unhelpful rhetoric. Sample's sample worship service closing his book, instead of convincing me of the validity of his suggestions throughout the book, were more absurd than useful - Singing Frank Sinatra's My Way as lead into confession? Come on.
The most challenging section of the book dealt with the church being and incarnational presence among the people. As Christ became flesh and pitched tent among us, so too should we enter into the world and culture around us and dwell among the people. What better way to understand the needs and cultural nuances of the society and age in which we live. Furthermore, Sample's reminder that incarnation is more than just God becoming a part of our world, in reality it is a "disclosure that the world is part of God's story" (106). The church is still a distinctive culture with a distinctive message that needs to be communicated through modern means in an electronic culture.
Understanding Cultural Worship.......2001-09-13
Tex Sample, in his book "The Spectacle of Worship in a Wired World," addresses the cultural divisions between the postmodern generation and the moderns (those born before 1945), and how that division plays out in the worship of the church. The basic elements of the electronic culture (postmodern) are images, sound as beat, and visualization. Sample blends scholasticism and humorous anecdotes to demonstrate how much of the postmodern cultural elements (images, sound as beat, and visualization) are already present in worship. Rather than fight against these elements, Sample argues for their understanding and intentional use in worship.
Sample continues to argue against the use of the word "relevant," but chooses the word "Incarnational." When churches are "out of touch with the people who live around them, the problem is not that they are irrelevant, but that they (are) not Incarnational" (1998:105). The book concludes with an illustrated worship service designed with the electronic culture in mind (a worship service using images, sound as beat, and visualization).
Syncretism to the Wired World.......2001-09-04
Tex Sample in The Spectacle of Worship in a Wired World, wanted to provoke the Church to "get with it" by pitching its tent where masses of unbelievers are congregating. Sample deliberately engaged the electronic culture to demonstrate that it was not to be discounted or feared, but could be utilized, embraced and directed for God's purpose. Music, movies, and dance can provide major source materials for evoking the presence of God.
Wired World is explosive. It is rich in the use of contemporary imagery, personal experience, commentary, and creative illustrations. Wired World recognized that the electronic revolution is a fact of twentieth (twentieth-first) century being and that it exerts an unprecedented influence on our predominantly secular consumer society. In the cacophonous intensity of deafening electronic sound the appearance of reality becomes its own reality. Art and reality obscure each other. One possible implication of this aspect to reality is that meaning in being has become lost. The Church, Sample argued, offers hope to this wired world. The Church needs to drop its "holier than thou" posturing and infiltrate.
Sample, a grandfather, and an astute observer of our times, expressed worry at the Church's inability to convey its values to his and our children and grandchildren. Sample deliberately set on a course of self-education and invited the reader to journey with him. The church in its apparent irrelevance to the North American electronic culture, Sample argues, may have a metaphoric `window of vulnerability' to counteract this illusion. Engagement, not dismissal, is essential if the church is going to be at all relevant to this wired world.
Sample quoted Emile Durkheim, the French sociologist, two times! This is a sure sign to pay attention. Sample wrote: "[Durkheim] observed that when you get people in close physical proximity to one another, focus their attention on a common object, and engage them in exercises that arouse emotion, bonding occurs" (57, 84). The type of bonding that occurs in massive electronic musical rally experiences is not the specific type of bonding the Church advocates. The question is: "How can the Church use Durkheim's observation, the fact of an electronic culture, and its own desire to fulfill the Great Commission?" The answer seems to fall under the adage: "If you cannot beat them, join them." In this case, "join" does not mean become as "they are." Join means to be with "them" in their environment, learn their language, use their imaging, and interpret the message of Christ using their own ways and means to "speak" to their condition.
Sample's conclusion is precise: "The call here is for a church that will `imitate' Christ to pitch tent, to embody itself, to take form in the indigenous practices of our time, not for the purpose of accommodation to the world but rather to be God's people. It is a twofold effort: To join the practices of an electronic culture, on the one hand, and to keep faith with the story of Christ on the other. In worship this will mean taking up the practices of spectacle and faithfulness to the biblical narrative and to the integrity of Christian liturgy" (122).
The Cross of Christ may represent the intersection of the Eternal Christ with the Principalities and Powers of the World. In the case of the wired world Christ and culture meet anew to discover old truths. Christ is accessible to culture. Christ is able to meet culture. Christ is both in and above culture available to all cultures. Sample opened the thought that Christ and the wired world need to engage for mutual enrichment. The Christian Church simply needs to apply the principles of syncretism to the culture of the wired world as it has to other cultures in other times.
Understanding the Worship Wars.......2001-08-08
The Spectacle of Worship in A Wired World is highly useful for those who are attempting to comprehend the worship wars that are taking place across the church. Sample, a scholar and keen observer of culture, particularly of entertainment spectacles, explores the worship ramifications of the cultural gap that separates those born before 1945 and those born after. Developing a historically grounded argument that is both scholarly and anecdotal, Sample focuses upon the effects of electronic media upon the manner in which younger people experience and know their world. He persuasively demonstrates that electronic culture is profoundly shaping the worship needs and expectations of these younger believers. Postmodern persons increasingly comprehend the world through images, sound as beat and visualization. Moderns perceive meaning in words, utilizing rational and analytical discourse whereas postmodern persons perceive meaning more subjectively, emotively, and experientially. These differences have extraordinary ramifications for creating worship services. Postmodern persons are sometimes accused of being intellectually bankrupt but Sample demonstrates how powerfully electronic media can critique culture. Sample closes his helpful book with an illustrative worship service utilizing electronic media and designed to impact electronic culture.
Communicating Faith in the 21st Century.......2000-05-20
This is an important book, not only because the author has such a firm grip on his subject, but also because of the timely need. The church today must retool its communication systems if it is to have an audience in the under 40 crowd. Dr. Sample makes the case that if an older generation of church goers is so comfortable with the status quo, especially in worship, and sees no need to change, its children and grandchildren will soon be strangers to the church.
The author says that those born after 1960 are simply wired differently than their seniors, and require another approach to communicating through worship. Sight and sound, lively music, multi-image video, drama, dance must replace reliance on a twenty minute sermon as the chief means of telling the story of faith. The electronic culture that has swamped our globe must not be ignored by the church. This revolution is as significant as that of the print revolution in the middle ages. And just as Martin Luther used that new medium to proclaim the faith, so church leaders today must claim the new media as the means of conveying the story.
Dr. Sample explores the meanings of this new way of looking at life and reality and then applies it to the church, especially at worship.
I not only highly recommend the book; I think its message is crucial for the church's ability to reach this electronic generation.
Book Description
Media Spectacle and the Crisis of Democracy investigates the rapidly changing role of the media after the momentous political events since 9/11. Kellner shows how corporate media ownership, linked with a rightward shift of establishment media, have disadvantaged the Democrats and benefited the Republicans.
Kellner argues that 'media spectacles' have come to dominate news covereage and distract the public from the substance of real public issues. Exploring the role of media spectacle in the 9/11 attacks and subsequent Terror Wars in Afghanistan and Iraq, Kellner documents the centrality of media politics in advancing foreign policy agendas and militarism. He reveals how conflicting political forces ranging from Al Qaeda to the Bush administration construct media spectacles to advance their politics. Two chapters delineate the role of the media in the highly significant 2004 election campaign that many believe to be one of the key political struggles of the contemporary era. Criticizing unilateralism abroad, Kellner argues for a multilateral and cosmopolitan globalization and the need for democratic media to take a more decisive role to overcome the current crisis of democracy.
Books:
- Convergence Culture: Where Old and New Media Collide
- Creative Whack Pack
- Cultural Misunderstandings: The French-American Experience
- Divergent Modernities: Culture and Politics in Nineteenth-Century Latin America (Post-Contemporary Interventions)
- Dropping the Ball: Baseball's Troubles and How We Can and Must Solve Them
- Dry: A Memoir
- Edge City: Life on the New Frontier
- Emotional Vampires: Dealing With People Who Drain You Dry
- Encyclopedia of Counseling: Master Review and Tutorial for the National Counselor Examination and State Exams
- Exploring Socio-Cultural Themes in Education: Readings in Social Foundations (2nd Edition)
Books Index
Books Home
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Automated Lighting: The Art and Science of Moving Light in Theatre, Live Performance, Broadcast, and Entertainment
Concert Lighting, Second Edition: Techniques, Art and Business
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