The book examines the social and cultural role of selfies in India. It looks at how the selfie, unlike the photograph, which was a gesture towards an external reality, remains intimately self-referential, yet reconfigures social ordering, identity formation, agency, and spaces in curious ways. This volume approaches questions about the construction and performance of the self through the digital selfie and uses this situated, contextualized, and culturally specific phenomenon as a site to explore the themes of self-making, place-making, gender, subjectivity, and power. Highlighting the specific contexts of production, the authors examine the array of self-expressive capabilities realized in a multitude of uses of the selfie that simultaneously reconfigure the self, the space, and the world. An important study of visual social media culture, the volume will be useful for interpreting everyday media experiences and will be of interest to students and researchers of image studies, visual studies, photography studies, visual culture, media studies, culture studies, cultural anthropology, digital humanities, popular culture, sociology of technology, and South Asian studies.

Express yourself on a digital canvas Imagine flying through an inky night sky tethered to a red, heart-shaped balloon. Now imagine expressing that dream artistically. With Digital Expressions you can take ordinary photos and, with the help of Adobe Photoshop Elements, voice your flights of fancy. Digital Expressions guides you through 25 digital art projects created with Photoshop Elements. With this easy-to-follow guide, you'll get inspired to tackle all kinds of digital mixed-media techniques using stock photography, custom brushes, textured backgrounds and your own digital photos. Use your digital palette to: Manipulate single images by adding texture layers, color fills and text Re-create the look of traditional art like drawings and abstract paintings Build collages using transparent layers and photo filters Blend seamless montages with various effects Incorporate your own traditional art into digital works Mixed-media artists, art journalers and scrapbookers alike can turn the ordinary into extraordinary! Express yourself in digital form as you learn to master creative digital art techniques. Please note that the digital version of this book does not include the bonus CD.

This book is a very significant contribution to the question of protecting traditional cultural expressions. . . It is filled with fascinating ideas and perspectives that challenge the reader to rethink the law once again. Jamil Ammar, European Intellectual Property Review Legal protection for traditional cultural expressions is an area of contemporary policy making characterized by widespread concern and considerable controversy. Intellectual property scholars have a dire need for informed perspectives on the history of this subject area and the lucid commentary on its social and political implications that the authors of these cogent interdisciplinary essays provide. This impressive volume promises to be quickly acknowledged as an indispensable guide to the issues in this field. Rosemary J. Coombe, York University, Canada The first wave of scholarship on cultural appropriation was often better at denunciation than at grappling with the complexities of cultural heritage and its protection. Intellectual Property and Traditional Cultural Expressions in a Digital Environment launches a second wave: nuanced, interdisciplinary, looking past accusation toward flexible solutions. For all that, it is no less committed to social justice. By bringing together leading-edge scholarship from law, the arts, communications, anthropology, history, and philosophy, the editors have taken research on heritage protection to the next level of sophistication. Michael F. Brown, Williams College, US and author of Who Owns Native Culture? In the face of increasing globalisation, and a collision between global communication systems and local traditions, this book offers innovative trans-disciplinary analyses of the value of traditional cultural expressions (TCE) and suggests appropriate protection mechanisms for them. It combines approaches from history, philosophy, anthropology, sociology and law, and charts previously untravelled paths for developing new policy tools and legal designs that go beyond conventional copyright models. Its authors extend their reflections to a consideration of the specific features of the digital environment, which, despite enhancing the risks of misappropriation of traditional knowledge and creativity, may equally offer new opportunities for revitalising indigenous peoples values and provide for the sustainability of TCE. This book will appeal to scholars interested in multidisciplinary analyses of the fragmentation of international law in the field of intellectual property and traditional cultural expressions. It will also be valuable reading for those working on broader governance and human rights issues.

Fresh Expressions is a canary in the coal mine, alerting congregations to reevaluate what the Church is, where and when it can happen, and who can lead it. Church as we know it is inaccessible to most people. A fundamental premise of the movement is that Church can become accessible again by emerging in every nook and cranny where life already happens. Fresh Expressions is based in simplification, returning to basic scriptural principles, and a recovery of a “priesthood of all believers”—in the three places where people live and relate to others. First Place: The home or primary place of residence. Second Place: The workplace or school place. Third Place: The public places separate from the two usual social environments of home and workplace, which host regular, voluntary, informal, and neutral spaces of communion and play. Examples are environments such as cafes, pubs, theaters, parks, and so on. During a pandemic, our two primary mission spaces were closed off; the second and third places were shut down. We couldn’t have Tattoo Parlor Church; the tattoo parlor was closed. We couldn’t gather in Moe’s Southwest Grill for Burritos and Bibles; they were doing take-out only. The dog park was empty; no Paws of Praise. This limited us to the only spaces we have left: the first place, or the home place. The digital place, or the “space of flows.” This forces us into recognizing the digital space as its own kind of third place, a new missional frontier.

All artists are tired of persuading their nearest and dearest to look sad…look glad…look mad…madder…no, even madder…okay, hold it. For those artists (and their long-suffering friends), here is the best book ever. Facial Expressions includes more than 2,500 photographs of 50 faces—men and women of a variety of ages, shapes, sizes, and ethnicities—each demonstrating a wide range of emotions and shown from multiple angles. Who can use this book? Oh, only every artist on the planet, including art students, illustrators, fine artists, animators, storyboarders, and comic book artists. But wait, there’s more! Additional photos focus on people wearing hats and couples kissing, while illustrations show skull anatomy and facial musculature. Still not enough? How about a one-of-a-kind series of photos of lips pronouncing the phonemes used in human speech? Animators will swoon—and artists will show a range of facial expressions from happy to happiest to ecstatic.

The computational turn in the social sciences and humanities has generated much excitement about the potential to refresh our approaches to the study of the techno-social. From natively digital to digitised data, researchers of digital diasporas increasingly find themselves working with a range of disparate digital objects. These digital objects can include anything from hyperlink to timestamps, from platform behavioural metrics such as react, share, or retweet to different media formats such as text, image, pre-recorded or livestreamed videos. Taking these disparate objects into account, this book introduces digital methods as research strategies not only for dealing with the ephemeral and unstable nature of tracing the diaspora with digital data, but also for reconceptualizing digital diasporas as assemblages and networks of more-than-human actors. The book also introduces a range of theoretical perspectives and methodological techniques to studying digital diasporas as contingent and processual hybrid collectives of heterogeneous material, cultural, and practice-based assemblages. This book will be essential reading for students and scholars interested in the digital space and transnational communities.