Networked Reenactments: Stories Transdisciplinary Knowledges Tell

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"Networked Reenactments is an extraordinary book that explores how to inhabit with seriousness and pleasure the many discomforts that we experience when trying to do work that matters to us and maybe to others... Because any serious person is obliged to 'traverse knowledge worlds in terms not of our own making,' King shows her readers how to 'befriend transdisciplinary movements' with all of our vulnerability and power, capacity and incapacity, hope and worry. It is all about learning to play, or, as King writes, 'learning to be affected.'" Donna Haraway, from the foreword "In this lively, thoughtful, and provocative book, Katie King traces the multiple layers and complex intertwined 'communities of practice' that assemble around such diverse discursive sites as television programs, academic classes and conferences, museum exhibitions, and other public spectacles. Networked Reenactments leaves the reader with a heightened sense of the possibilities, as well as the limits and dangers, of contemporary knowledge production, of the ways that we collectively make meanings and understand the heritage of the past in the present." Steven Shaviro, author of Connected, or What It Means to Live in the Network Society

Vom Verlag:

Since the 1990s, the knowledge, culture, and entertainment industries have found themselves experimenting, not altogether voluntarily, with communicating complex information across multiple media platforms. Against a backdrop of competing national priorities, changing technologies, globalization, and academic capitalism, these industries have sought to reach increasingly differentiated local audiences, even as distributed production practices have made the lack of authorial control increasingly obvious. As Katie King describes in Networked Reenactments, science-styled television - such as the Secrets of Lost Empires series shown on the PBS program Nova - demonstrates how new technical and collaborative skills are honed by television producers, curators, hobbyists, fans, and even scholars. Examining how trans-media storytelling is produced across platforms such as television and the web, she analyzes what this all means for the humanities. What sort of knowledge projects take up these skills, attending to grain of detail, evoking affective intensities, and zooming in and out, representing multiple scales, as well as many different perspectives? And what might this mean for feminist trans-disciplinary work, or something sometimes called the post-humanities?

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