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Power to the people: The graphic design of the radical press and the rise of the counterculture, 1964–1974

affective links among stakeholders, whether researchers and technicians, or users and the researched. As the authors rightly suggest, ‘multimedia and sensory ethnography acknowledges that ethnography is both process and product’ (10). It demands a different attentiveness, across and beyond disciplines, from researchers who want to tune into a ‘live’ world (Back 2012). Despite such generous efforts, the book maintains, in my view, too prudent a tone. This may hinder the opportunities offered by digital media, by confining them within yet another ‘subfield’ of a ‘subdiscipline’.