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MEDIA PRACTICE
Edited by James Curran, Goldsmiths College, University of
London

The Media Practice handbooks are comprehensive resource books for students of media and
journalism, and for anyone planning a career as a media professional. Each handbook combines
a clear introduction to understanding how the media work, with practical information about the
structure, processes and skills involved in working in today’s media industries, providing not only
a guide on ‘how to do it’ but also a critical reflection on contemporary media practice.

The Advertising Handbook The Music Industry Handbook

3rd edition Paul Rutter
Helen Powell, Jonathan Hardy, Sarah Hawkin
and Iain MacRury The Newspapers Handbook
4th edition
The Alternative Media Handbook Richard Keeble
Kate Coyer, Tony Dowmunt and Alan Fountain
The Photography Handbook
The Cyberspace Handbook 2nd edition
Jason Whittaker Terence Wright

The Digital Media Handbook The Public Relations Handbook

2nd edition 4th edition
Andrew Dewdney and Peter Ride Alison Theaker

The Documentary Handbook The Radio Handbook

Peter Lee-Wright 3rd edition
Carole Fleming
The Fashion Handbook
Tim Jackson and David Shaw The Sound Handbook
Tim Crook
The Film Handbook
Mark de Valk with Sarah Arnold The Television Handbook
4th edition
The Graphic Communication Handbook Jeremy Orlebar
Simon Downs

The Magazines Handbook

3rd edition
Jenny McKay
The Digital Media
Handbook
Second edition

Andrew Dewdney
and Peter Ride
Second edition published 2014
by Routledge
2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN
and by Routledge
711 Third Avenue, New York, NY 10017
Routledge is an imprint of the Taylor & Francis Group, an informa business
© 2006, 2014 Andrew Dewdney and Peter Ride
The right of Andrew Dewdney and Peter Ride to be identified as
author of this work has been asserted by them in accordance with
sections 77 and 78 of the Copyright, Designs and Patents Act 1988.
All rights reserved. No part of this book may be reprinted or
reproduced or utilised in any form or by any electronic, mechanical,
or other means, now known or hereafter invented, including photocopying
and recording, or in any information storage or retrieval system,
without permission in writing from the publishers.
Trademark notice: Product or corporate names may be trademarks
or registered trademarks, and are used only for identification
and explanation without intent to infringe.
First edition, The New Media Handbook, published by Routledge 2006.
British Library Cataloguing in Publication Data
A catalogue record for this book is available from the British Library
Library of Congress Cataloging in Publication Data
An application for CIP data has been submitted to the Library of Congress

ISBN: 978-0-415-69989-1 (hbk)

ISBN: 978-0-415-69991-4 (pbk)
ISBN: 978-0-203-06694-2 (ebk)

Typeset in Helvetica Neue and Avant Garde

by Florence Production Ltd, Stoodleigh, Devon, UK
Contents

List of illustrations vii

Notes on interviewees xi
Acknowledgements xiii

1 Introduction 1

2 Digital media as a subject 20

PART I Networks 43
3 Networks 45
Illustrated case study 1: social networks and geopolitics 61

4 Case study: professional networks 67

5 Case study: communication and marketing networks 76

6 Case study: networking the art museum 85

Part II Convergent media 99

7 Convergent media 101

8 Case study: audience attention 115

9 Case study: creative convergence 128

vi CONTENTS

10 Case study: design and digital experience 135

Illustrated case study 2: augmented reality 143

Part III Creative industries 147

11 Creative industries 149

12 Case study: designing a mobile app 165

13 Case study: video games development 176

14 Case study: pervasive gaming 188

Part IV Digital media 201

15 Software as culture 203

Illustrated case study 3: data tagging 216

16 Digital code 222

17 Case study: curating the networked image 230

18 Information 241
Illustrated case study 4: visualising data 249

19 Interface 255

20 Interactivity 263

21 Case study: image as data 277

Illustrated case study 5: 3-D modelling as portraiture 287

Part V Media histories and theories 293

22 Digital media histories 295

Illustrated case study 6: crowdsourcing and the London
2012 Olympic Games 327

23 Digital media theories 336

24 A framework for digital media 358

25 The network and the crisis of culture 373

Glossary 392
Bibliography 402
Index 411
Illustrations

3.1 The three layers of network media 50

3.2 Structure of computer network (seven-layer model of open systems
interconnection, OSI) 52
7.1 What is driving this convergence? 105
7.2 Cultural convergence 108
11.1 User–producer continuum 154
16.1 Diagram of Ferdinand de Saussure’s analysis of the sign
composed of two elements 227
22.1 A simple model of the complex of histories ‘through’ and
‘against’ which digital media emerge 305
23.1 Schematic of Raymond Williams’s distinction between received
and lived culture 352
23.2 Schematic of Stuart Hall’s ‘circuit of culture’ 353

CHAPTER CASE STUDIES

6.1 Screengrab of Tate website (2000) 87
6.2 Screengrab of Tate website (2004) 88
6.3 Screengrab of Tate website (2006) 88
6.4 Screengrab of Tate website (2012) 89
6.5 Screengrab of Tate Kids section of Tate website (2013) 91
6.6 Screengrab of Tate channel on YouTube (2013) 94
6.7 One-to-one with the artist, The Unilever Series: Ai Weiwei,
Sunflower Seeds (2000) 96
viii ILLUSTRATIONS

8.1 Pepys Road, detail from registration page 123

8.2 Pepys Road, detail from second page 124
8.3 Pepys Road, email from the project to the readers 125
12.1 Rendering of a creature in the online version of TechnoSphere
(1997) 166
12.2 Promotional image for the online version of TechnoSphere
(1997) 167
12.3 A museum visitor uses the real-time version of TechnoSphere
at the National Media Museum, Bradford 169
12.4 The design for the interface of the TechnoSphere mobile app 170
14.1 A performer in I’d Hide You by Blast Theory (2012) 190
14.2 Detail from You Get Me (2008) 193
14.3 Detail from You Get Me (2008) 193
14.4 Gamers playing You Get Me (2008) 194
14.5 A participant in Rider Spoke by Blast Theory (2007) 196
17.1 The Digital Wall at The Photographers’ Gallery, London 232
17.2 ‘Born in 1987: The Animated GIF’, The Photographers’
Gallery (2012) 233
17.3 GIF by Wendy McMurdo, exhibited as part of ‘Born in 1987:
The Animated GIF’, The Photographers’ Gallery (2012) 235
17.4 Jon Rafman, Jasper Johns Oval Office (2010) 236
17.5 Shironeko, aka ‘Basket Cat’, The Photographers’ Gallery (2012) 238

ILLUSTRATED CASE STUDIES

1 Social networks and geopolitics: Jon Thomson and

Alison Craighead, October
1 Stills from October showing images from video clips uploaded
to YouTube 62
2 Stills from October showing images from video clips uploaded
to YouTube 62
3 Stills from October showing images from video clips uploaded
to YouTube 63
4 Stills from October showing images from video clips uploaded
to YouTube 63
5 Stills from October showing images from video clips uploaded
to YouTube 64
6 Stills from October showing images from video clips uploaded
to YouTube 64
7 Installation of October showing the projected compass and
projection screen (2012) 65
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 ILLUSTRATIONS ix

2 Augmented reality: Pure Land: using augmented

reality for museums and heritage
1 Visitors experiencing Pure Land Augmented Reality Edition 143
2 Visitors experiencing Pure Land Augmented Reality Edition 144
3 Visitors experiencing Pure Land Augmented Reality Edition 145
4 Visitors experiencing Pure Land Augmented Reality Edition 146

3 Data tagging: Tales of Things

1 Tales of Things ‘ghost object’ at the National Museum Scotland 218
2 Shoppers in a charity shop in Manchester, UK, using the QR tags
on second-hand objects 218
3 Shoppers in a charity shop in Manchester, UK, using the QR tags
on second-hand objects 219
4 Shoppers in a charity shop in Manchester, UK, using the QR tags
on second-hand objects 220
5 Tales of Things website 221

4 Visualising data: Maurice Benayoun, Mechanics

of Emotions
1 Maurice Benayoun, World Emotional Mapping (2005) 250
2 Maurice Benayoun, Still Moving (2008) 250
3 Maurice Benayoun, Still Moving (2008) 251
4 Maurice Benayoun, Still Moving (2008) 251
5 Maurice Benayoun, Still Moving (2008) 252
6 Maurice Benayoun, Emotion Forecast (2010–11) 253
7 Maurice Benayoun, Emotion Forecast (2010–11) 254

5 3-D modelling as portraiture: Susan Sloan, Studies in

Stillness: Motion Capture Portraits
1 Susan Sloan, Annie: Motion Capture Study (2011) 288
2 Susan Sloan, Susan: Motion Capture Study (2011) 288
3 Susan Sloan, Mary: Motion Capture Study (2011) 289
4 Susan Sloan, Mary: Motion Capture Study (2011) 290

6 Crowdsourcing and the London 2012 Olympic

Games
1 Twitpic of Olympic supporters in London submitted to #citizencurators 328
2 Twitpic of Olympic supporter in London submitted to #citizencurators 328
x ILLUSTRATIONS

3 Twitpic of bagels in the shape of Olympic rings in London submitted

to #citizencurators 329
4 Twitpic of shirts in the shape of Olympic rings in a London shop
window submitted to #citizencurators 329
5 Tweet and pic of Olympic Games torch relay in London submitted
to #citizencurators 330
6 Tweet submitted to #citizencurators 330
7 Twitpic of Olympic flags in London submitted to #citizencurators 331
8 Tweet submitted to #citizencurators 332
9 Twitpic of Olympic Games tickets submitted to #citizencurators 339

TABLES
15.1 Schema distinguishing between the human and computer
level of interface communication 205
16.1 Diagram distinguishing the technical differences between
analogue and digital media 229
18.1 The contrasting media specific differences between analogue
and digital technologies 246
20.1 Binary contrasts of medium specifity between old and new media 268
22.1 Diagram relating primary material technologies to socal and
economic systems and their corresponding relationship to
Walter Benjamin’s historical scheme of artistic development
(our emphasis upon art as information) 303
23.1 Diagram contrasting the cultural and artistic modes of modernism
and postmodernism according to binary opposites 345
23.2 Section 1–3, shows Raymond Williams’s (1965) schema
elaborated in defining the role of artistic creativity in relationship
to everyday life. Section 4 represents our addition 355
24.1 Walter Benjamin’s historical scheme of art’s relationship to
economimc organisation 372
Interviewees

Matt Adams, Blast Theory, artist group

www.blasttheory.co.uk

Frank Boyd, Director of the Creative Industries Knowledge Transfer Network UK

connect.innovateuk.org/web/creativektn

Andrew Chetty, Production Director of ditto communications agency and

consultancy
www.ditto.tv

Jane Finnis, Chief Executive of Culture24, culture sector networking organisation

www.culture24.org.uk

Matt Locke, Director of Storythings, consultancy and creative production company

www.storythings.com

Jane Prophet, artist and co-producer of TechnoSphere

www.janeprophet.com

Richard Sedley, Director of Design of Seren, customer experience consultancy

www.seren.com

Katrina Sluis, Curator of the Digital Programme at The Photographers’ Gallery,

London
www.thephotographersgallery.org.uk

John Stack, Head of Tate Online at Tate, art museum

www.tate.org.uk
xii INTERVIEWEES

Maria Stukoff, Head of Academic Game Development for Sony Computer

Entertainment Europe
www.ukplaystation.com

Rainer Usselmann, Director of Happyfinish, creative production and post-

production agency
www.happyfinish.co.uk
Acknowledgements

We would like to acknowledge the help and support of the following people, without
whom this project would have been even harder than it was to keep on track.

PETER
I would like to thank the all interviewees for their significant participation and advice
on this project, my colleagues at the University of Westminster and my partner Ian
Iqbal Rashid for his constant support and enthusiasm.

ANDREW
I would like to thank my undergraduate students at London South Bank who have
engaged so positively and with healthy scepticism to the two courses I teach, New
Media and Digital Arts and Critical Cultures. I would also like to acknowledge my
indebtedness to Katrina Sluis and Daniel Rubinstein, who shared the office next to
mine in Borough Road and without whose sustained, critical and scholarly conversa-
tion about all things digital my task would have been immeasurably less interesting.
My gratitude to Catherine as always, to Alice and Max, who provide a compelling
motivation for life, and now to their children, Oscar, Thea and Astrid, who have
given me a new event horizon.
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