Creativity and Advertising develops novel ways to theorise advertising and creativity. Arguing that combinatory accounts of advertising based on representation, textualism and reductionism are of limited value, Andrew McStay suggests that advertising and creativity are better recognised in terms of the ‘event’. Drawing on a diverse set of philosophical influences including Scotus, Spinoza, Vico, Kant, Schiller, James, Dewey, Schopenhauer, Whitehead, Bataille, Heidegger and Deleuze, the book posits a sensational, process-based, transgressive, lived and embodied approach to thinking about media, aesthetics, creativity and our interaction with advertising.

Elaborating an affective account of creativity, McStay assesses creative advertising from Coke, Evian, Google, Sony, Uniqlo and Volkswagen among others, and articulates the ways in which award-winning creative advertising may increasingly be read in terms of co-production, playfulness, ecological conceptions of media, improvisation, and immersion in fields and processes of corporeal affect.

Philosophically wide-ranging yet grounded in robust understanding of industry practices, the book will also be of use to scholars with an interest in aesthetics, art, design, media, performance, philosophy and those with a general interest in creativity.

Andrew McStay lectures at Bangor University and is author of Digital Advertising, and The Mood of Information: A Critique of Online Behavioural Advertising and Deconstructing Privacy, the latter forthcoming in 2014.

Creativity and Advertising develops novel ways to theorise advertising and creativity. Arguing that combinatory accounts of advertising based on representation, textualism and reductionism are of limited value, Andrew McStay suggests that advertising and creativity are better recognised in terms of the ‘event’. Drawing on a diverse set of philosophical influences including Scotus, Spinoza, Vico, Kant, Schiller, James, Dewey, Schopenhauer, Whitehead, Bataille, Heidegger and Deleuze, the book posits a sensational, process-based, transgressive, lived and embodied approach to thinking about media, aesthetics, creativity and our interaction with advertising.

Elaborating an affective account of creativity, McStay assesses creative advertising from Coke, Evian, Google, Sony, Uniqlo and Volkswagen among others, and articulates the ways in which award-winning creative advertising may increasingly be read in terms of co-production, playfulness, ecological conceptions of media, improvisation, and immersion in fields and processes of corporeal affect.

Philosophically wide-ranging yet grounded in robust understanding of industry practices, the book will also be of use to scholars with an interest in aesthetics, art, design, media, performance, philosophy and those with a general interest in creativity.

Andrew McStay lectures at Bangor University and is author of Digital Advertising, and The Mood of Information: A Critique of Online Behavioural Advertising and Deconstructing Privacy, the latter forthcoming in 2014.

This core textbook addresses structural change in the advertising industry, its legal and political environment, and the ways in which people engage with advertising. Providing an assessment of the contemporary and emergent advertising techniques that drive the world’s largest media companies, this second edition charts the scope of recent change at both analytical and creative levels. Accounting for a re-shaped advertising industry, this key text introduces the reader both to the practical make-up of digital advertising, and the theory needed to understand its history and future direction.

Succinct and accessible, this is an ideal text for undergraduate courses in advertising, media studies, communications and marketing. This timely and engaging book is also an essential resource for academics and anyone interested in advertising and what funds modern media.

Situated within contemporary scholarly debate and interest in recursive media that involves intensification of discourses of feedback, personalization, recommendation, co-production, constructivism and the preempting of intent, this book represents a departure from textual criticism of advertising to one based on exposition of networked means of inferring preferences, desires and orientations that reflect ways of being, or moods of information.

Situated within contemporary scholarly debate and interest in recursive media that involves intensification of discourses of feedback, personalization, recommendation, co-production, constructivism and the preempting of intent, this book represents a departure from textual criticism of advertising to one based on exposition of networked means of inferring preferences, desires and orientations that reflect ways of being, or moods of information.

Privacy and the Media is not a polemic on privacy as ‘good’ or ‘bad’, but a call to assess the detail and the potential implications of contemporary media technologies and practices. It is essential reading for students and researchers of digital media, social media, digital politics, and the creative and cultural industries. 

Privacy and the Media is not a polemic on privacy as ‘good’ or ‘bad’, but a call to assess the detail and the potential implications of contemporary media technologies and practices. It is essential reading for students and researchers of digital media, social media, digital politics, and the creative and cultural industries. 

What happens when media technologies are able to interpret our feelings, emotions, moods, and intentions? In this cutting edge new book, Andrew McStay explores that very question and argues that these abilities result in a form of technological empathy. Offering a balanced and incisive overview of the issues raised by ‘Emotional AI’, this book:

Combining established theory with original analysis, this book will change the way students view, use and interact with new technologies. It should be required reading for students and researchers in media, communications, the social sciences and beyond.

What happens when media technologies are able to interpret our feelings, emotions, moods, and intentions? In this cutting edge new book, Andrew McStay explores that very question and argues that these abilities result in a form of technological empathy. Offering a balanced and incisive overview of the issues raised by ‘Emotional AI’, this book:

Combining established theory with original analysis, this book will change the way students view, use and interact with new technologies. It should be required reading for students and researchers in media, communications, the social sciences and beyond.

Privacy and the Media is not a polemic on privacy as ‘good’ or ‘bad’, but a call to assess the detail and the potential implications of contemporary media technologies and practices. It is essential reading for students and researchers of digital media, social media, digital politics, and the creative and cultural industries. 

What happens when media technologies are able to interpret our feelings, emotions, moods, and intentions? In this cutting edge new book, Andrew McStay explores that very question and argues that these abilities result in a form of technological empathy. Offering a balanced and incisive overview of the issues raised by ‘Emotional AI’, this book:

Combining established theory with original analysis, this book will change the way students view, use and interact with new technologies. It should be required reading for students and researchers in media, communications, the social sciences and beyond.

Creativity and Advertising develops novel ways to theorise advertising and creativity. Arguing that combinatory accounts of advertising based on representation, textualism and reductionism are of limited value, Andrew McStay suggests that advertising and creativity are better recognised in terms of the ‘event’. Drawing on a diverse set of philosophical influences including Scotus, Spinoza, Vico, Kant, Schiller, James, Dewey, Schopenhauer, Whitehead, Bataille, Heidegger and Deleuze, the book posits a sensational, process-based, transgressive, lived and embodied approach to thinking about media, aesthetics, creativity and our interaction with advertising.

Elaborating an affective account of creativity, McStay assesses creative advertising from Coke, Evian, Google, Sony, Uniqlo and Volkswagen among others, and articulates the ways in which award-winning creative advertising may increasingly be read in terms of co-production, playfulness, ecological conceptions of media, improvisation, and immersion in fields and processes of corporeal affect.

Philosophically wide-ranging yet grounded in robust understanding of industry practices, the book will also be of use to scholars with an interest in aesthetics, art, design, media, performance, philosophy and those with a general interest in creativity.

Andrew McStay lectures at Bangor University and is author of Digital Advertising, and The Mood of Information: A Critique of Online Behavioural Advertising and Deconstructing Privacy, the latter forthcoming in 2014.

Creativity and Advertising develops novel ways to theorise advertising and creativity. Arguing that combinatory accounts of advertising based on representation, textualism and reductionism are of limited value, Andrew McStay suggests that advertising and creativity are better recognised in terms of the ‘event’. Drawing on a diverse set of philosophical influences including Scotus, Spinoza, Vico, Kant, Schiller, James, Dewey, Schopenhauer, Whitehead, Bataille, Heidegger and Deleuze, the book posits a sensational, process-based, transgressive, lived and embodied approach to thinking about media, aesthetics, creativity and our interaction with advertising.

Elaborating an affective account of creativity, McStay assesses creative advertising from Coke, Evian, Google, Sony, Uniqlo and Volkswagen among others, and articulates the ways in which award-winning creative advertising may increasingly be read in terms of co-production, playfulness, ecological conceptions of media, improvisation, and immersion in fields and processes of corporeal affect.

Philosophically wide-ranging yet grounded in robust understanding of industry practices, the book will also be of use to scholars with an interest in aesthetics, art, design, media, performance, philosophy and those with a general interest in creativity.

Andrew McStay lectures at Bangor University and is author of Digital Advertising, and The Mood of Information: A Critique of Online Behavioural Advertising and Deconstructing Privacy, the latter forthcoming in 2014.

This core textbook addresses structural change in the advertising industry, its legal and political environment, and the ways in which people engage with advertising. Providing an assessment of the contemporary and emergent advertising techniques that drive the world’s largest media companies, this second edition charts the scope of recent change at both analytical and creative levels. Accounting for a re-shaped advertising industry, this key text introduces the reader both to the practical make-up of digital advertising, and the theory needed to understand its history and future direction.

Succinct and accessible, this is an ideal text for undergraduate courses in advertising, media studies, communications and marketing. This timely and engaging book is also an essential resource for academics and anyone interested in advertising and what funds modern media.

Situated within contemporary scholarly debate and interest in recursive media that involves intensification of discourses of feedback, personalization, recommendation, co-production, constructivism and the preempting of intent, this book represents a departure from textual criticism of advertising to one based on exposition of networked means of inferring preferences, desires and orientations that reflect ways of being, or moods of information.

Situated within contemporary scholarly debate and interest in recursive media that involves intensification of discourses of feedback, personalization, recommendation, co-production, constructivism and the preempting of intent, this book represents a departure from textual criticism of advertising to one based on exposition of networked means of inferring preferences, desires and orientations that reflect ways of being, or moods of information.

Privacy and the Media is not a polemic on privacy as ‘good’ or ‘bad’, but a call to assess the detail and the potential implications of contemporary media technologies and practices. It is essential reading for students and researchers of digital media, social media, digital politics, and the creative and cultural industries. 

Privacy and the Media is not a polemic on privacy as ‘good’ or ‘bad’, but a call to assess the detail and the potential implications of contemporary media technologies and practices. It is essential reading for students and researchers of digital media, social media, digital politics, and the creative and cultural industries. 

What happens when media technologies are able to interpret our feelings, emotions, moods, and intentions? In this cutting edge new book, Andrew McStay explores that very question and argues that these abilities result in a form of technological empathy. Offering a balanced and incisive overview of the issues raised by ‘Emotional AI’, this book:

Combining established theory with original analysis, this book will change the way students view, use and interact with new technologies. It should be required reading for students and researchers in media, communications, the social sciences and beyond.

What happens when media technologies are able to interpret our feelings, emotions, moods, and intentions? In this cutting edge new book, Andrew McStay explores that very question and argues that these abilities result in a form of technological empathy. Offering a balanced and incisive overview of the issues raised by ‘Emotional AI’, this book:

Combining established theory with original analysis, this book will change the way students view, use and interact with new technologies. It should be required reading for students and researchers in media, communications, the social sciences and beyond.

Privacy and the Media is not a polemic on privacy as ‘good’ or ‘bad’, but a call to assess the detail and the potential implications of contemporary media technologies and practices. It is essential reading for students and researchers of digital media, social media, digital politics, and the creative and cultural industries. 

What happens when media technologies are able to interpret our feelings, emotions, moods, and intentions? In this cutting edge new book, Andrew McStay explores that very question and argues that these abilities result in a form of technological empathy. Offering a balanced and incisive overview of the issues raised by ‘Emotional AI’, this book:

Combining established theory with original analysis, this book will change the way students view, use and interact with new technologies. It should be required reading for students and researchers in media, communications, the social sciences and beyond.