Camera Obscura Feminism Culture And Media Studies

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Despite feminists' criticisms of “girl games'” gender essentialism in the 1990s, many contemporary producers of children's goods remain counting on traditional gender norms to reach female youth. In order to better understand this phenomenon, this article targets a more recent slate of girl-oriented consumer electronics: mediamaking gear for girls. Like the “pink software” of the girl games era, a lot of this “pink technology” depends on style strategies grounded in stereotypes of girls, girlhood, and girls' lifestyle in order to attract woman youth to historically male-dominated activities. This study explores the look and marketing of Daisy Rock Girl Guitars and Mattel's Barbie Wireless Video Camcorder, two early types of this unique category of consumer electronics. Since males possess historically dominated both filmmaking and guitar playing, these two products offer wealthy sites for exploring the particular challenges designers and entrepreneurs face in attracting feminine youth to media creation. Grounding this study can be Ellen van Oost's theory of “gender scripts,” the discourses of gender that designers encode into customer goods based on their assumptions about those items' major users. Michel Foucault's theories of governmentality and disciplinary technologies are also used to understand the way the micropolitics of gendered product design connect to the macropolitics of social control. Building on feminist technology analysis, this study hopes to inspire further conversation about gender and technology among media and cultural research scholars.


Eventually I stepped up to the plate and went with the Mustang model. Looking back I'm pleased I did this, because this amp has everything I wanted. Even without the software program that was marketed with it would've been an awesome amp. However with the few software program, this amplifier for me it is today the very best of the heap. It's very easy to add any kind of effect you would like to hear, and in addition alter these effects like everyone else would if you were using real petals. But using the software you'll in fact be able to perform this in much more depth and fine detail than the majority of the multi-FX models which are being sold available today. The Fender Mustang I guitar amplifier software program is a bit a cake to find the hang of, although you may or is probably not impressed with Amplitube. The amp itself in my opinion is genuine genius engineering on behalf of the nice folks at Fender. After all seriously, who likes lugging around even more petals and cables and have to. I favor to use guitar amplifiers such as this one because I need not get worried about producing all of the special effects myself being that they are already included in this guitar amplifier.


Unlike Hurtado, Santana concentrated his experimenting complexities that brought the Spanish guitar to a completely different level. Even so, Santana didn't lack the ability to utilize this instrument as a lyrical device. Jointly, Santana and his guitar can make beautiful and emotionally powerful music that comes second to non-e in reference to Latin American artists. The guitar has been incredibly highly relevant to Latin American cultures since it was launched to Latin America by the Spanish. Widely recognized by the masses, the guitar has been incorporated into nearly all Latin music. Not only utilized as a solo instrument, the guitar has also been applied as a major back round instrument to many Latin American items. Regarded by many as the utmost popular musical instrument around, the guitar is the focal point of almost all Latin American music. Bakan, Michael B. Globe Music: Traditions and Transformations. NY: McGraw-Hill, 2007. Print. Beezley, William H, and Judith Ewell. The Human Tradition in Latin America: The Twentieth Hundred years. Wilmington, Del: Scholarly Assets, 1987. Print. Bellow, Alexander. click to find out more Illustrated History of the Guitar. NY: Colombo Publications, 1970. Printing. Bennett, Andy, Barry Shank, and Jason Toynbee. THE FAVORITE Music Research Reader. London: Routledge, 2006. Print. Spence, Elizabeth I. The Spanish Guitar: AN ACCOUNT, for the Use of Young Individuals. Boston: Printed by Munroe, Francis & Parker, 1815. Printing. Wade, Graham. Traditions of the Classical Guitar.


Popoola and Imafidor became area of the enthusiasm of renovating the Kokomo. The people of Lemmon bought lots of their artwork. Judy Larson, with her very own Dakotan humility, describes herself not as an artist but as a hobbyist, supporter, connector, and community enthusiast. “My talent is based on seeing stuff in people they don’t see in themselves. Linking the right scenario and encouraging and producing opportunities happen for them.” She and her family members are artists a lot more than she allows on. Her husband may be the business lead guitarist for a band called Eclectic Wreck; she's a folk-arts apprenticeship on the accordion with the North Dakota Council on the Arts, and also plays guitar and accordion with Eclectic Wreck. Larson describes more that is in process in Lemmon: a placemakers’ cooperative, an arts council, a recently remodeled theater that includes a live show stage, an idea for an artist-in-residence program, various music programs in town, and discussions in what to do with the school when it is replaced with a new one. “The ‘underground creatives’ have been watching and also have been motivated,” Judy describes.


Nonlinear results in vibrating strings are a well-studied phenomenon, though mainly researchers have centered on the bending of the resonance curve when huge amplitude transverse modes of vibration are thrilled,1-41. D. W. Oplinger, “ Frequency response of a nonlinear stretched string,” J. Acoust. G. S. S. Murthy and B. S. Ramakrishna, “ non-linear personality of resonance in stretched strings,” J. Acoust. J. W. Miles, “ Stability of forced oscillations of a vibrating string,” J. Acoust. R. Narasimha, “ nonlinear vibration of an elastic string,” J. Sound Vib. C. Gough, “ The non-linear free of charge vibration of a damped elastic string,” J. Acoust. O. O'Reilly and P. J. Holmes, “ nonlinear, non-planar and non-periodic vibrations of a string,” J. Sound Vib. T. C. Molteno and N. B. Tufillaro, “ An experimental investigation into the dynamics of a string,” Am. R. J. Hanson, H. K. Macomber, A. C. Morrison, and M. A. Boucher, “ Primarily non-linear effects observed in a powered asymmetrical vibrating wire,” J. Acoust. U. Hassan, Z. Usman, and M. Sabieh Anwar, “ Video-based spatial portraits of a nonlinear vibrating string,” Am. For instance, regarding to linear wave theory a tight string fixed at each end and plucked at its center will evolve from an initial triangular form into an expanding trapezoid, and this was actually found to end up being the case for “little amplitude” plucks in the paper by Whitfield and Flesch.1010. S. B. Whitfield and K. B. Flesch, “ An experimental analysis of a vibrating guitar string using high-speed picture taking,” Am. S. Bilbao and J. O. Smith, “ Energy-conserving finite difference schemes for non-linear strings,” Acta Acust. Therefore, the observations in the Whitfield and Flesch1010. S. B. Whitfield and K. B. Flesch, “ An experimental evaluation of a vibrating guitar string using high-speed pictures,” Am.