Green Media and Popular Culture

Parham, John

doi:10.1007/978-1-137-00948-7

Cited by 28 publications

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“…In conclusion, despite the spread of environmentally friendly options and competition, the competitive prices of these suppliers for less triable products, are difficult to bring into general attention, especially if initial impressions exist. Hence, despite the loathe environmentalist critics are known to bare toward media and popular culture, it is recommended that social media and popular culture be considered as an effective method for spreading new beliefs about the affordability and benefits of environmentally friendly products which are less triable and currently less popular [29]. Social networking sites have already been effective in using medical social influencers to contribute toward healthier living, and already have millennials trending green products and practices, with research showing that effectiveness of social media use is mainly due to factors of trust and positive word of mouth, reaching a wide audience for a small cost [30][31][32][33].…”

Section: Discussionmentioning

confidence: 99%

Financial Costs of Green Options: Financial Perceptions Surrounding Green Products and Purchase

2021

SIAM

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Despite strong progress toward range of green products and competition, perceptions toward the financial responsibilities associated to green options have not been as progressive. This paper provides insight for the financial concerns and issues commonly associated to the purchase of green products and recommends the use of social media and popular culture as a method to initiate change of these beliefs.

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Section: Discussionmentioning

confidence: 99%

Financial Costs of Green Options: Financial Perceptions Surrounding Green Products and Purchase

2021

SIAM

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“…as "texts," following the ecocritical perspective of authors such as Parham (2016), who refers to Bill Nichols' documentary modes to identify motifs in "environmental and ecological documentary " (195). However, it appears more fruitful to consider them, like the in-game landscape photographs above, primarily as theoretical objects, that is, as objects with an agency of their own or as props in a performative practice of developing environmental literacy (as defined by McBride et al 2013).…”

Section: Remediating Nature Documentary Filmmaking In Gta V and Destinymentioning

confidence: 99%

Ecogames

2024

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This series is a critical starting point for readers interested in the growing field of green media studies as a subdiscipline within the environmental humanities and social sciences. It examines the ways in which 'Green Media' can influence the public's awareness and understanding of environmental issues and the ecological impact of media technologies.Contemporary media are increasingly used to support and frame environmental action by companies, NGOs, activists and related groups, as well as to persuade people to adopt more sustainable lifestyles. Because environmental justice and social justice are intrinsically interconnected, the 'Green Media' series seeks to research how people might become global ecological citizens. It introduces the readers to key environmental issues as these are represented in-and connected to the production, distribution and consumption of-videogames, VR, social media, data visualizations, transmedia, film, documentaries, television series, theatre and more.The underlying questions are: How do green media construct forms of civic engagement on a micro, meso and macro level? How do we conceptualize the impact of green media from a media-comparative perspective? How can green media help transform existing industries as well as corresponding cultural and business practices? What is the ecological footprint of media production, distribution and consumption, and how could sustainable alternatives look like?In the 1970s, a select audience of computer nerds, economists, and museumgoers had the opportunity to engage with the original "Ecogame." Designed by the Computer Arts Society, Ecogame (1970) was a video game as well as an art installation and a multimedia information architecture (Stott 2021). The game simulated a national economy, allowing players to make decisions regarding resource allocation, showing them the consequences of their actions via slides projected onto the walls, indicating the mood of the nation. Depending on your performance, they might show "dole queues, civic unrest, and environmental degradation" (Stott 2021, 47). Two decades later the audience for these sorts of playful experiments would be vastly expanded. Writing from Australia in 1994, McKenzie Wark recounts turning to the early internet in her struggle to keep the biosphere safe from both global warming and nuclear winter in playthroughs of SimEarth (Maxis 1990), a game that allows players to tinker with the parameters that determine life on Earth. Ecogames were no longer confined to museums and conferences, they had come home, and were living inside people's desktops. In the twenty-first century, ecogames are even more prevalent, not just because you can choose to play a quick game of Beecarbonize (Charles Games 2023, see Figure 0.1) on your mobile phone on your way home from work, but because themes of climate collapse and environmental engagement have begun to dominate mainstream media, showing up in games more generally, both digital and analog. This book collects scholarship on this subject, exploring the ...

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“…NachAbraham (2022: 81) ist die Frage nach guten oder schlechten ökologischen Interaktionen schlicht nicht von Belang, da die spielmechanischen Logiken, die implementierten Handlungshorizonte und die zugrunde liegenden, algorithmisch regulierten Systeme ohnehin vereinfacht oderCook und Jardim 2017; Cubitt 2017;Aslan 2020;. In einem weiter gefassten Zugriff auf die Populärkultur und verschiedene Unterhaltungsmedien thematisieren mehrere Publikationen die Relevanz und den Stellenwert ökologischer Potenziale und anthropozentrischer Perspektiven von fiktionalen Welten: The Machine in the Garden(Marx 1964), Green Planets, Ecology and Science Fiction(Canavan und Robinson 2014), Green Media and Popular Culture(Parham 2016), Literature as Cultural Ecology. Sustainable Texts(Zapf 2016), Green Utopias, Environmental Hope Before and After Nature(Garforth 2018), A Film-Philosophy of Ecology and Enlightenment (Read 2018), Environmental Literacy and New Digital Audiences(Brereton 2019) und Epistemologien des Umgebens.…”

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Offene-Welt-Strukturen

Bonner¹

2023

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Welche Rolle spielen Algorithmen für den Bildbau und die Darstellung von Welt und Wetter in Computerspielen? Wie beeinflusst die Gestaltung der Räume, Level und Topografien die Entscheidungen und das Verhalten der Spieler_innen? Ist der Brutalismus der erste genuine Architekturstil der Computerspiele? Welche Bedeutung haben Landschaftsgärten und Nationalparks im Strukturieren von Spielwelten? Wie wird Natur in Zeiten des Klimawandels dargestellt? Insbesondere in den letzten 20 Jahren adaptieren digitale Spielwelten akribischer denn je Merkmale der physisch-realen Welt. Durch aufwändige Produktionsverfahren und komplexe Visualisierungsstrategien wird die Angleichung an unsere übrige Alltagswelt stets in Abhängigkeit von Spielmechanik und Weltlichkeit erzeugt. Wie sich spätestens am Beispiel der Open-World-Spiele zeigt, führt die Übernahme bestimmter Weltbilder und Bildtraditionen zu ideologischen Implikationen, die weit über die bisher im Fokus der Forschung stehenden, aus anderen Medienformaten transferierten Erzählkonventionen hinausgehen. Mit seiner Theorie der Architektur als medialem Scharnier legt Marc Bonner offen, dass digitale Spielwelten medienspezifische Eigenschaften aufweisen, die bisher nicht zu greifen waren und der Erforschung harrten. Durch Verschränken von Konzepten aus u.a. Medienwissenschaft, Game Studies, Philosophie, Architekturtheorie, Humangeografie, Landschaftstheorie und Kunstgeschichte erarbeitet Bonner ein transdisziplinäres Theoriemodell und ermöglicht anhand der daraus entwickelten analytischen Methoden erstmals, die komplexe Struktur heutiger Computerspiele – vom Indie Game bis zur AAA Open World – zu verstehen und zu benennen. Mit »Offene-Welt-Strukturen« wird die Architektonik digitaler Spielwelten umfassend zugänglich.

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Green Media and Popular Culture

Cited by 28 publications

References 0 publications

Financial Costs of Green Options: Financial Perceptions Surrounding Green Products and Purchase

Financial Costs of Green Options: Financial Perceptions Surrounding Green Products and Purchase

Ecogames

Offene-Welt-Strukturen

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