Omschrijving
Amanda Lagerkvist, an established scholar of media, memory and global urban landscapes, in this book breaks radical new ground, both for herself and for the whole field of media and communications research. Reflecting deeply not just on the inheritance of existentialist philosophy, but on the contemporary crises of climate change, datafication and the global pandemic, Lagerkvist's writing is fresh, precise and impassioned: this book urgently needs to be read.
Amanda Lagerkvist, an established scholar of media, memory and global urban landscapes, in this book breaks radical new ground, both for herself and for the whole field of media and communications research. Reflecting deeply not just on the inheritance of existentialist philosophy, but on the contemporary crises of climate change, datafication and the global pandemic, Lagerkvist's writing is fresh, precise and impassioned: this book urgently needs to be read.
We live through media and always have. Yet rarely do scholars take the courageous and risky approach of Lagerkvist in explaining what media do to how we understand our own existence. If Sartre were to write about existentialism today, this is how he would write — or rather, he might wish HE had written this. A deep and original account of how we through media, come closer to and push away from the limits of human existence.
Amanda Lagerkvist is Professor of Media and Communication Studies in the Department of Informatics and Media at Uppsala University. She is principal investigator of the Uppsala Informatics and Media Hub for Digital Existence. As Wallenberg Academy Fellow (2014-2018) she founded the field of existential media studies. She heads the project: "BioMe: Existential Challenges and Ethical Imperatives of Biometric AI in Everyday Lifeworlds" funded by the Marianne and Marcus Wallenberg Foundation, in which her group studies the lived experiences of biometric AI, for example voice and face recognition technologies. She is the editor of Digital Existence: Ontology, Ethics and Transcendence in Digital Culture (2019).