Cryptopolitics
Exposure, Concealment, and Digital Media
Cryptopolitics
Exposure, Concealment, and Digital Media
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Description
“The strength of the book lies in its demonstration of how political and social practices are always anchored in local sociality, as well as understanding that the roles of social media in contemporary Africa are important to understand what is going on.” • Jo Helle-Valle, Oslo Metropolitan University
“The strength of the book lies in its demonstration of how political and social practices are always anchored in local sociality, as well as understanding that the roles of social media in contemporary Africa are important to understand what is going on.” • Jo Helle-Valle, Oslo Metropolitan University
Victoria Bernal is a cultural anthropologist and Professor of Anthropology at the University of California, Irvine. Her articles and chapters have appeared in various collections as well as in anthropological, African Studies, and interdisciplinary journals including American Ethnologist, Cultural Anthropology, American Anthropologist, Global Networks, Comparative Studies in Society and History, African Studies Review, and Political and Legal Anthropology Review.
Katrien Pype is a cultural anthropologist and works at the Department of Social and Cultural Anthropology at KU Leuven University. She is mainly interested in media, popular culture, and technology. Her monograph, The Making of the Pentecostal Melodrama. Religion, Media, and Gender in Kinshasa was published with Berghahn Books (2012). Pype also co-edited, with Jaco Hoffman, Aging in Sub-Saharan Africa: Spaces and Practices of Care (2016, Policy Press).
Daivi Rodima-Taylor is a social anthropologist and researcher at the African Studies Center of the Pardee School of Global Studies of Boston University. Her research focuses on the intersection of financial technology and human economies. She recently co-edited the volume Land and the Mortgage: History, Culture, Belonging (Berghahn Books, 2022) and the special issue Fintech in Africa (Journal of Cultural Economy, 2022).