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Television : Technology and Cultural Form
Television: Technology and Cultural Form was first published in 1974, long before the dawn of multi-channel TV, or the reality and celebrity shows that now pack the schedules.Yet Williams' analysis of television's history, its institutions, programmes and practices, and its future prospects, remains remarkably prescient.Williams stresses the importance of technology in shaping the cultural form of television, while always resisting the determinism of McLuhan's dictum that 'the medium is the message'.If the medium really is the message, Williams asks, what is left for us to do or say?Williams argues that, on the contrary, we as viewers have the power to disturb, disrupt and to distract the otherwise cold logic of history and technology - not just because television is part of the fabric of our daily lives, but because new technologies continue to offer opportunities, momentarily outside the sway of transnational corporations or the grasp of media moguls, for new forms of self and political expression.
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Gaming Technology: Streaming, VR and More
Can you imagine going on a trip into space? What about flying along at 300 miles an hour in a levitating train? Or clinging onto your seat at a 4D movie? Thanks to STEM, soon you can do all this and more! Science, technology, engineering and maths are bringing new toys, tolls and technological gadgets into our everyday lives.Come and meet Professor Tess Tube, and join her STEM school, where you will learn about the amazing gadgets and gizmos that are all around us.
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Digital Media : Human–Technology Connection
Digital Media: Human-Technology Connection examines what it is like to be alive in today’s technologically textured world and showcases specific digital media technologies that makes this kind of world possible.So much of human experience occurs through digital media that it is time to pause and consider the process and proliferation of digital consumption and humanity’s role in it through an interdisciplinary array of sources from philosophy, media studies, film studies, media ecology and philosophy of technology.When placed in the interpretive lens of artifact, instrument, and tool, digital media can be studied in a uniquely different way, as a kind of technology that pushes the boundaries on production, distribution and communication and alters the way humans and technology connect with each other and the world.The book is divided into two sections to provide overarching definitions and case study specifics.Section one, Raw Materials, examines pertinent concepts like digital media, philosophy of technology, phenomenology and postphenomenology by author Stacey O Irwin.In Section Two, Feeling the Weave, Irwin uses conversations with digital media users and other written materials along with the postphenomenological framework to explore nine empirical cases that focus on deep analysis of screens, sound, photo manipulation, data-mining, aggregate news and self-tracking.Postphenomenological concepts like multistability, variational theory, microperception, macroperception, embodiment, technological mediation, and culture figure prominently in the investigation.The aim of the book is to recognize that digital media technologies and the content it creates and proliferates are not neutral.They texture the world in multiple and varied ways that transform human abilities, augment experience and pattern the world in significant and comprehensive ways.
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American Blockbuster : Movies, Technology, and Wonder
Ben-Hur (1959), Jaws (1975), Avatar (2009), Wonder Woman (2017): the blockbuster movie has held a dominant position in American popular culture for decades.In American Blockbuster Charles R. Acland charts the origins, impact, and dynamics of this most visible, entertaining, and disparaged cultural form.Acland narrates how blockbusters emerged from Hollywood's turn to a hit-driven focus during the industry's business crisis in the 1950s.Movies became bigger, louder, and more spectacular. They also became prototypes for ideas and commodities associated with the future of technology and culture, accelerating the prominence of technological innovation in modern American life.Acland shows that blockbusters continue to be more than just movies; they are industrial strategies and complex cultural machines designed to normalize the ideologies of our technological age.
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Who is familiar with television technology?
Individuals who work in the television industry, such as television engineers, technicians, producers, and directors, are familiar with television technology. They have knowledge of how television cameras, lighting equipment, sound systems, and editing software work to create television programs. Additionally, individuals who have a background in electrical engineering or media studies may also be familiar with television technology.
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What technology does your current television have?
My current television is a smart TV, which means it has built-in internet connectivity and can access streaming services like Netflix, Hulu, and YouTube. It also has a 4K Ultra HD resolution, providing a high-quality picture with vibrant colors and sharp details. Additionally, it has voice control capabilities, allowing me to use voice commands to change channels, search for content, and control other smart home devices.
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What are the specializations available at the HTL for media technology or network technology?
At the HTL for media technology, students can specialize in areas such as audio and video production, multimedia design, and digital media management. For network technology, specializations may include network administration, cybersecurity, and telecommunications. These specializations allow students to focus on specific areas within the broader fields of media technology and network technology, gaining in-depth knowledge and skills that are relevant to their career goals.
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Can technology upscale old movies to 8K quality?
Yes, technology has advanced to the point where old movies can be upscaled to 8K quality. Through the use of artificial intelligence and machine learning algorithms, it is possible to enhance the resolution and quality of older films to meet the standards of 8K resolution. However, the success of the upscaling process depends on the quality of the original source material and the expertise of the technicians involved in the restoration process. Overall, while it is technically possible to upscale old movies to 8K quality, the results may vary depending on various factors.
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Skin Shows : Gothic Horror and the Technology of Monsters
In this examination of the monster as cultural object, Judith Halberstam offers a rereading of the monstrous that revises our view of the Gothic.Moving from the nineteenth century and the works of Shelley, Stevenson, Stoker, and Wilde to contemporary horror film exemplified by such movies as Silence of the Lambs, Texas Chainsaw Massacre, and Candyman, Skin Shows understands the Gothic as a versatile technology, a means of producing monsters that is constantly being rewritten by historically and culturally conditioned fears generated by a shared sense of otherness and difference. Deploying feminist and queer approaches to the monstrous body, Halberstam views the Gothic as a broad-based cultural phenomenon that supports and sustains the economic, social, and sexual hierarchies of the time.She resists familiar psychoanalytic critiques and cautions against any interpretive attempt to reduce the affective power of the monstrous to a single factor.The nineteenth-century monster is shown, for example, as configuring otherness as an amalgam of race, class, gender, and sexuality.Invoking Foucault, Halberstam describes the history of monsters in terms of its shifting relation to the body and its representations.As a result, her readings of familiar texts are radically new.She locates psychoanalysis itself within the gothic tradition and sees sexuality as a beast created in nineteenth century literature.Excessive interpretability, Halberstam argues, whether in film, literature, or in the culture at large, is the actual hallmark of monstrosity.
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Educational Media and Technology Yearbook : Volume 41
The Educational Media and Technology Yearbook has become a standard reference in many libraries and professional collections.It provides a valuable historical record of current ideas and developments in the field.Part One of this updated volume, “Trends and Issues in Learning, Design, and Technology,” presents an array of chapters that develop some of the current themes listed above, in addition to others.In Part Two, “Leadership Profiles,” authors provide biographical sketches of the careers of instructional technology leaders.Part Three, “Organizations and Associations in North America,” and Part Four, “Graduate Programs,” are, respectively, directories of instructional technology-related organizations and institutions of higher learning offering degrees in related fields.Finally, Part Five, the “Mediagraphy,” presents an annotated listing of selected current publications related to the field.
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Television, Technology and Gender : New Platforms and New Audiences
The way we watch television is changing. While consumption of traditional broadcast television is going down, consumption of non-traditional platform television including subscription viewing, box-set series and online streaming is going up.This is the first study to consider the ways in which recent technologies of television can be understood in terms of the gendering of audiences.Taking a viewer-based approach, Sarah Arnold shows how old claims that television is a female medium are now being called into question, due to changes in the spatial practices of viewing and developments in content.Though film has commonly been characterised as 'masculine' and television 'feminine', this paradigm is now being complicated and challenged.This timely book offers important critical insight into current intersections between gender, television consumption and technology."
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Science Technology Enamel Pins Custom Science Fiction Movies
Science Technology Enamel Pins Custom Science Fiction Movies
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Which display technology is used for the new television?
The new television uses OLED (Organic Light Emitting Diode) display technology. OLED technology offers superior picture quality with vibrant colors, deep blacks, and high contrast levels. It also provides better energy efficiency and a thinner, more flexible display compared to traditional LCD or LED displays. Overall, OLED technology enhances the viewing experience and is a popular choice for high-end televisions.
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Should I learn wood technology or carpentry technology?
The decision between learning wood technology or carpentry technology depends on your interests and career goals. Wood technology focuses on the science and engineering of wood materials, including processing, preservation, and utilization. This field is more research and industry-oriented, with opportunities in manufacturing, product development, and quality control. On the other hand, carpentry technology is more hands-on and practical, focusing on the skills and techniques needed for construction and woodworking projects. If you are more interested in the technical and scientific aspects of wood, then wood technology may be the better choice. However, if you enjoy working with your hands and want to pursue a career in construction or woodworking, then carpentry technology may be the better fit for you.
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Does anyone have experience with the field of media technology?
Yes, I have experience in the field of media technology. I have worked with various media technologies such as video editing software, graphic design tools, and audio production equipment. I have also studied the impact of emerging technologies on media consumption and production. Additionally, I have experience in creating and implementing media technology solutions for various industries.
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Can one live without a mobile phone, television, and technology?
Yes, it is possible to live without a mobile phone, television, and technology. Many people around the world live without these modern conveniences and lead fulfilling lives. It may require adjusting to a different way of communicating and accessing information, but it is definitely possible. In fact, some people choose to live without these technologies in order to simplify their lives and reduce their dependence on screens.
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