Author: Robert Kyncl File Type: epub An entertainment and tech insiderYouTubes chief business officerdelivers the first detailed account of the rise of YouTube, the creative minds who have capitalized on it to become pop culture stars, and how streaming video is revolutionizing the media world.In the past ten years, the internet video platform YouTube has changed media and entertainment as profoundly as the invention of film, radio, and television did, more than six decades earlier. Streampunks is a firsthand account of this upstart company, examining how it evolved and where it will take us next.Sharing behind-the-scenes stories of YouTubes most influential starsStreampunks like Tyler Oakley, Lilly Singh, and Casey Neistatand the dealmakers brokering the future of entertainment like Scooter Braun and Shane Smith, Robert Kyncl uses his experiences at three of the most innovative media companies, HBO, Netflix, and YouTube, to tell the story of streaming video and this modern pop culture juggernaut. Collaborating with Google speechwriter Maany Peyvan, Kyncl explains how the new rules of entertainment are being written and how and why the media landscape is radically changing, while giving aspiring Streampunks some necessary advice to launch their own new media careers.Kyncl persuasively argues that, despite concerns about technology impoverishing artists or undermining artistic quality, the new media revolution is actually fueling a creative boom and leading to more compelling, diverse, and immersive content. Enlightening, surprising, and thoroughly entertaining, Streampunks is a revelatory ride through the new media rebellion that is reshaping our world.**ReviewRoberts vision is clear and compelling the future of media will be one in which fans decide what matters. (Reed Hastings) Discovering YouTube was the happiest accident of my life. Its allowed me to share my comedy with the world and reach an entirely new global audience. Fans have even told me theyve learned English from watching my show on YouTube -- which is a mistake. (Conan OBrien) If you want to understand how media is changing, you need to understand YouTube. Streampunks is a fascinating look into the imaginative and determined minds of the people who are changing what we watch. --(Brian Grazer) Thinking of starting your own new media career? Read Streampunks first. Its a revealing, thoughtful portrait of what success in the digital age really takes. --(Michelle Phan) I grew up in Cuba without access to the Internet. When I finally came to the United States, YouTube became my window to the world. Streampunks is an amazing description of experiences similar to mine. --(Camilla Cabello) About the AuthorRobert Kynclis the Chief Business Officer at YouTube where he oversees all commercial and creative relationships for the platform. Previously, Robert was Vice President of Content at Netflix, where he spearheaded the companys content acquisition for streaming TV shows and movies over the Internet. Robert has been listed in Varietys Dealmakers Impact Report as one of their disruptors, Vanity Fairs New Establishment List, Billboards Power 100 List and AdWeeks 50 List of Vital Leaders in Tech, Media and Marketing. Robert holds a Masters of Business Administration from Pepperdine University and a B.S. in International Relations from SUNY New Paltz. He resides in Los Angeles with his wife and two daughters.hr Maany Peyvanis a lead writer at Google where he writes editorial and social content, advises on executive communications strategy and leads speechwriting for YouTube. He was previously an appointee in the Obama Administration, serving as Chief Speechwriter at the US Agency for International Development. He holds two degrees from Johns Hopkins, a BA in Behavioral Biology and a Masters in International Relations. An entertainment and tech insiderYouTubes chief business officerdelivers the first detailed account of the rise of YouTube, the creative minds who have capitalized on it to become pop culture stars, and how streaming video is revolutionizing the media world.In the past ten years, the internet video platform YouTube has changed media and entertainment as profoundly as the invention of film, radio, and television did, more than six decades earlier. Streampunks is a firsthand account of this upstart company, examining how it evolved and where it will take us next.Sharing behind-the-scenes stories of YouTubes most influential starsStreampunks like Tyler Oakley, Lilly Singh, and Casey Neistatand the dealmakers brokering the future of entertainment like Scooter Braun and Shane Smith, Robert Kyncl uses his experiences at three of the most innovative media companies, HBO, Netflix, and YouTube, to tell the story of streaming video and this modern pop culture juggernaut. Collaborating with Google speechwriter Maany Peyvan, Kyncl explains how the new rules of entertainment are being written and how and why the media landscape is radically changing, while giving aspiring Streampunks some necessary advice to launch their own new media careers.Kyncl persuasively argues that, despite concerns about technology impoverishing artists or undermining artistic quality, the new media revolution is actually fueling a creative boom and leading to more compelling, diverse, and immersive content. Enlightening, surprising, and thoroughly entertaining, Streampunks is a revelatory ride through the new media rebellion that is reshaping our world.

Author: Georgina Kleege File Type: pdf In More Than Meets the Eye, Georgina Kleege explores the ways that ideas about visual art and blindness are linked in many facets of the culture. While it may seem paradoxical to link blindness to visual art, western theories about art have always been haunted by the specter of blindness. The ideal art viewer is typically represented as possessing perfect vision, an encyclopedic knowledge of art, and a photographic memory of images, all which allow for an unmediated wordless communion with the work of art. This ideal viewer is defined in polar opposition to a blind person, presumed to be oblivious to the power of art, and without the cognitive capacity to draw on analogous experience. Kleege begins her study with four chapters about traditional representations of blindness, arguing that traditional theories of blindness fail to take into account the presence of other senses, or the ability of blind people to draw analogies from non-visual experience to develop concepts about visual phenomena. She then shifts focus from the tactile to the verbal, beginning with Denis Diderots remarkable range of techniques to describe art works for readers who were not present to view them for themselves, and how his criticism offers a powerful warrant for bringing the specter of blindness out of the shadows and into the foreground of visual experience. Through both personal experience and scholarly treatment, Kleege dismantles the traditional denigration of blindness, contesting the notion that viewing art involves sight alone and challenging traditional understandings of blindness through close reading of scientific case studies and literary depictions. More Than Meets the Eye introduces blind and visually impaired artists whose work has shattered stereotypes and opened up new aesthetic possibilities for everyone. **

Author: Barry Bergdoll File Type: pdf

Author: Daniel Lord Smail File Type: pdf How did medieval society deal with private justice, with grudges, and with violent emotions? This ground-breaking reader collects for the first time a number of unpublished or difficult-to-find texts that address violence and emotion in the Middle Ages. The sources collected here illustrate the power and reach of the language of vengeance in medieval European society. They span the early, high, and later middle ages, and capture a range of perspectives including legal sources, learned commentaries, narratives, and documents of practice. Though social elites necessarily figure prominently in all medieval sources, sources concerning relatively low-status individuals and sources pertaining to women are included. The sources range from saints lives that illustrate the idea of vengeance to later medieval court records concerning vengeful practices. A secondary goal of the collection is to illustrate the prominence of mechanisms for peacemaking in medieval European society. The introduction traces recent scholarly developments in the study of vengeance and discusses the significance of these concepts for medieval political and social history. **