Michael Strangelove – författare

Where many critics see the Internet as an instrument of corporate hegemony, Michael Strangelove sees something else: an alternative space inhabited by communities dedicated to anarchic freedom, culture jamming, alternative journalism, and resistance to authoritarian forms of consumer capitalism and globalization. In The Empire of Mind, "Dr. Strangelove," the scholar Canadian Business referred to as the "acknowledged dean of Internet entrepreneurs" and Wired called "the Canadian guru of Internet advertising," presents the compelling argument that the Internet and new digital communication technology actually undermine the power of capital, producing an alternative symbolic economy.Strangelove contends that the Internet breaks with the capitalist logic of commodification and that, while television produces a passive consumer audience, Internet audiences are more active, creative, and subversive. Writers, activists, and artists on the Internet undermine commercial media and its management of consumer behaviour, a behaviour that is challenged by the Web's tendency toward the disintegration of intellectual property rights. Case studies describe the invention of new meaning given to cultural and consumer icons like Barbie and McDonald's and explore how novel modes of online news production alter the representation of the world as it is produced by the mainstream, corporate press.In the course of exploring new media, The Empire of Mind also makes apparent that digital piracy will not be eliminated. The Internet community effectively converts private property into public, thereby presenting serious obstacles for the management of consumer behaviour and significantly eroding brand value. Much to the dismay of the corporate sector, online communities are disinterested in the ethics of private property. In fact, the entire philosophical framework on which capitalism is based is threatened by these alternative means of cultural production.

An anonymous musician plays Pachelbel's Canon on the electric guitar in a clip that has been viewed over sixty million times. The Dramatic Gopher is viewed over sixteen million times, as is a severely inebriated David Hasselhoff attempting to eat a hamburger. Over 800 variations, parodies, and parodies-of-parodies are uploaded of Beyonce Knowles' Single Ladies dance. Tay Zonday sings Chocolate Rain in a video viewed almost forty million times and scores himself a record deal. Obama Girl enters the political arena with contributions such as I Got a Crush on Obama and gets coverage in mainstream news networks.In Watching YouTube, Michael Strangelove provides a broad overview of the world of amateur online videos and the people who make them. Dr. Strangelove, the Governor General Literary Award-nominated author that Wired Magazine called a 'guru of Internet advertising,' describes how online digital video is both similar to and different from traditional home-movie-making and argues that we are moving into a post-television era characterized by mass participation. Strangelove draws from television, film, cultural, and media studies to help define an entirely new field of research. Online practices of representation, confessional video diaries, gendered uses of amateur video, and debates over elections, religion, and armed conflicts make up the bulk of this groundbreaking study, which is supplemented by an online blog at strangelove.com/blog. An innovative and timely study, Watching YouTube raises questions about the future of cultural memory, identity, politics, warfare, and family life when everyday representational practices are altered by four billion cameras in the hands of ordinary people.

In the late 2000s, television no longer referred to an object to be watched; it had transformed into content to be streamed, downloaded, and shared. Tens of millions of viewers have “cut the cord,” abandoned cable television, tuned into online services like Netflix, Hulu, and YouTube, and also watch pirated movies and programmes at an unprecedented rate. The idea that the Internet will devastate the television and film industry in the same way that it gutted the music industry no longer seems farfetched. The television industry, however, remains driven by outmoded market-based business models that ignore audience behaviour and preferences.In Post-TV, Michael Strangelove explores the viewing habits and values of the post-television generation, one that finds new ways to exploit technology to find its entertainment for free, rather than for a fee. Challenging the notion that the audience is constrained by regulatory and industrial regimes, Strangelove argues that cord-cutting, digital piracy, increased competition, and new modes of production and distribution are making audiences and content more difficult to control, opening up the possibility of a freer, more democratic, media environment.A follow-up to the award-winning Watching YouTube, Post-TV is a lively examination of the social and economic implications of a world where people can watch what they want, when they want, wherever they want.

Where many critics see the Internet as an instrument of corporate hegemony, Michael Strangelove sees something else: an alternative space inhabited by communities dedicated to anarchic freedom, culture jamming, alternative journalism, and resistance to authoritarian forms of consumer capitalism and globalization. In The Empire of Mind, "Dr. Strangelove," the scholar Canadian Business referred to as the "acknowledged dean of Internet entrepreneurs" and Wired called "the Canadian guru of Internet advertising," presents the compelling argument that the Internet and new digital communication technology actually undermine the power of capital, producing an alternative symbolic economy.Strangelove contends that the Internet breaks with the capitalist logic of commodification and that, while television produces a passive consumer audience, Internet audiences are more active, creative, and subversive. Writers, activists, and artists on the Internet undermine commercial media and its management of consumer behaviour, a behaviour that is challenged by the Web's tendency toward the disintegration of intellectual property rights. Case studies describe the invention of new meaning given to cultural and consumer icons like Barbie and McDonald's and explore how novel modes of online news production alter the representation of the world as it is produced by the mainstream, corporate press.In the course of exploring new media, The Empire of Mind also makes apparent that digital piracy will not be eliminated. The Internet community effectively converts private property into public, thereby presenting serious obstacles for the management of consumer behaviour and significantly eroding brand value. Much to the dismay of the corporate sector, online communities are disinterested in the ethics of private property. In fact, the entire philosophical framework on which capitalism is based is threatened by these alternative means of cultural production.

Where many critics see the Internet as an instrument of corporate hegemony, Michael Strangelove sees something else: an alternative space inhabited by communities dedicated to anarchic freedom, culture jamming, alternative journalism, and resistance to authoritarian forms of consumer capitalism and globalization. In The Empire of Mind, "Dr. Strangelove," the scholar Canadian Business referred to as the "acknowledged dean of Internet entrepreneurs" and Wired called "the Canadian guru of Internet advertising," presents the compelling argument that the Internet and new digital communication technology actually undermine the power of capital, producing an alternative symbolic economy.Strangelove contends that the Internet breaks with the capitalist logic of commodification and that, while television produces a passive consumer audience, Internet audiences are more active, creative, and subversive. Writers, activists, and artists on the Internet undermine commercial media and its management of consumer behaviour, a behaviour that is challenged by the Web's tendency toward the disintegration of intellectual property rights. Case studies describe the invention of new meaning given to cultural and consumer icons like Barbie and McDonald's and explore how novel modes of online news production alter the representation of the world as it is produced by the mainstream, corporate press.In the course of exploring new media, The Empire of Mind also makes apparent that digital piracy will not be eliminated. The Internet community effectively converts private property into public, thereby presenting serious obstacles for the management of consumer behaviour and significantly eroding brand value. Much to the dismay of the corporate sector, online communities are disinterested in the ethics of private property. In fact, the entire philosophical framework on which capitalism is based is threatened by these alternative means of cultural production.

In the late 2000s, television no longer referred to an object to be watched; it had transformed into content to be streamed, downloaded, and shared. Tens of millions of viewers have “cut the cord,” abandoned cable television, tuned into online services like Netflix, Hulu, and YouTube, and also watch pirated movies and programmes at an unprecedented rate. The idea that the Internet will devastate the television and film industry in the same way that it gutted the music industry no longer seems farfetched. The television industry, however, remains driven by outmoded market-based business models that ignore audience behaviour and preferences.In Post-TV, Michael Strangelove explores the viewing habits and values of the post-television generation, one that finds new ways to exploit technology to find its entertainment for free, rather than for a fee. Challenging the notion that the audience is constrained by regulatory and industrial regimes, Strangelove argues that cord-cutting, digital piracy, increased competition, and new modes of production and distribution are making audiences and content more difficult to control, opening up the possibility of a freer, more democratic, media environment.A follow-up to the award-winning Watching YouTube, Post-TV is a lively examination of the social and economic implications of a world where people can watch what they want, when they want, wherever they want.

In the late 2000s, television no longer referred to an object to be watched; it had transformed into content to be streamed, downloaded, and shared. Tens of millions of viewers have “cut the cord,” abandoned cable television, tuned into online services like Netflix, Hulu, and YouTube, and also watch pirated movies and programmes at an unprecedented rate. The idea that the Internet will devastate the television and film industry in the same way that it gutted the music industry no longer seems farfetched. The television industry, however, remains driven by outmoded market-based business models that ignore audience behaviour and preferences.In Post-TV, Michael Strangelove explores the viewing habits and values of the post-television generation, one that finds new ways to exploit technology to find its entertainment for free, rather than for a fee. Challenging the notion that the audience is constrained by regulatory and industrial regimes, Strangelove argues that cord-cutting, digital piracy, increased competition, and new modes of production and distribution are making audiences and content more difficult to control, opening up the possibility of a freer, more democratic, media environment.A follow-up to the award-winning Watching YouTube, Post-TV is a lively examination of the social and economic implications of a world where people can watch what they want, when they want, wherever they want.

An anonymous musician plays Pachelbel's Canon on the electric guitar in a clip that has been viewed over sixty million times. The Dramatic Gopher is viewed over sixteen million times, as is a severely inebriated David Hasselhoff attempting to eat a hamburger. Over 800 variations, parodies, and parodies-of-parodies are uploaded of Beyonce Knowles' Single Ladies dance. Tay Zonday sings Chocolate Rain in a video viewed almost forty million times and scores himself a record deal. Obama Girl enters the political arena with contributions such as I Got a Crush on Obama and gets coverage in mainstream news networks.In Watching YouTube, Michael Strangelove provides a broad overview of the world of amateur online videos and the people who make them. Dr. Strangelove, the Governor General Literary Award-nominated author that Wired Magazine called a 'guru of Internet advertising,' describes how online digital video is both similar to and different from traditional home-movie-making and argues that we are moving into a post-television era characterized by mass participation. Strangelove draws from television, film, cultural, and media studies to help define an entirely new field of research. Online practices of representation, confessional video diaries, gendered uses of amateur video, and debates over elections, religion, and armed conflicts make up the bulk of this groundbreaking study, which is supplemented by an online blog at strangelove.com/blog. An innovative and timely study, Watching YouTube raises questions about the future of cultural memory, identity, politics, warfare, and family life when everyday representational practices are altered by four billion cameras in the hands of ordinary people.