{'fraction_non_alphanumeric': 0.023641851106639838, 'fraction_numerical': 0.005030181086519115, 'mean_word_length': 4.962518740629685, 'pattern_counts': {'":': 0, '<': 0, '<?xml version=': 0, '>': 0, 'https://': 0, 'lorem ipsum': 0, 'www.': 0, 'xml': 0}, 'pii_count': 0, 'substrings_counts': 0, 'word_list_counts': {'cursed_substrings.json': 0, 'profanity_word_list.json': 0, 'sexual_word_list.json': 0, 'zh_pornsignals.json': 0}}
Aby Warburg and the Image in Motion (review)

In “The Rhythms of the Reception Area: Crisis, Capitalism, and the Waiting Room TV,” Anna McCarthy discusses how the market of closed-circuit television programs both manifests and perpetuates certain social and economic strata in relation to the measurement of time in public waiting areas. Spigel’s own contribution to this collection, “Television, the Housewife, and the Museum of Modern Art,” chronicles a lesser-known and otherwise shortlived era in the early days of television when the Museum of Modern Art experimented with the potential gains offered by the new, avant-garde medium. In this essay, Spigel weaves an interesting narrative around leisure time, niche marketing and the clash between “high” and “low” culture in post-war America. An image of Barbara Streisand posing while singing in the museum gallery, wearing a designer gown similar to the modernist paintings on the wall next to her, illustrates this essay quite well. In the attempt to position so many ideas in one conversation, however, inevitably some parts of the discussion get left out. In this case, it seems that while much thought is developed around the industry of commercial television and the social consequences of the medium in the age of the Internet, the roles of journalists and media activists—those individuals who negotiate and shape the media landscape on a daily basis—were overlooked altogether. The few times the news media is given attention in this collection is only in terms of its absence. Anna Everett’s essay “Double Click: The Million Woman March on Television and the Internet,” describes how the organizers of the Million Woman March utilized the resources of the Internet to fill in the gaps that were left in coverage of this event by mainstream media. Similarly, in “Pocho.com: Reimagining Television on the Internet,” Priscilla Pena Ovalle discusses the lack of media attention directed toward the Hispanic community and how one web site in particular succeeds in shaping an alternative community by subverting mainstream media. The discussion of television in the age of the Internet would greatly benefit from a focused look at independent media organizations such as the Independent Media Center, Democracy Now! and MoveOn.org, which are forced to find their way through and around the tightly regulated confines of broadcast works of the 1990s and the multiuser virtual environments that contemporary Brazilian artists are building. Gilbertto Prado is a professor in the department of Fine Arts at ECA/USP (University of São Paulo) and has been the curator of the Welcomet Mr. Halley exhibition and the 12th Brazilian Symposium of Graphic Computing and Image Processing. He has participated in numerous shows in Brazil and abroad, including Paris, Athens, Milan and Barcelona. As such, he certainly is in the right position to present a welldocumented overview of what Brazilian artists have been producing over the past 40 years. He does so in four chapters. In the first, which is devoted to artistic experiments with telecommunication networks, he analyzes networks of artists, collaboration and complementarity, technical opportunities and limitations and the role of exchange and participation. Chapter 2 presents a chronology of the pre-web years 1977–1994. Chapter 3 is about the Internet years and work on and with the Web. In the final chapter, multiuser virtual environments are discussed. The book includes a CD-ROM with the full text, about 20 video clips and a large number of images related to the works described in the book. Even though this book is in Portuguese, it will prove an invaluable source of information and reference for anyone who is interested in the history and practice of new media art. With some background knowledge of Spanish (or Latin), the gist of the text will be clear enough; or one may run it through some free on-line translator and simply browse the CD-ROM and enjoy.