ORCID Profile
0000-0001-5940-9191
Current Organisation
University of Leeds
Does something not look right? The information on this page has been harvested from data sources that may not be up to date. We continue to work with information providers to improve coverage and quality. To report an issue, use the Feedback Form.
Publisher: Routledge
Date: 21-05-2008
Publisher: AIP Publishing
Date: 10-2014
DOI: 10.1063/1.4898769
Abstract: Within the framework of Connes’ noncommutative geometry, we define and study globally non-trivial (or topologically non-trivial) almost-commutative manifolds. In particular, we focus on those almost-commutative manifolds that lead to a description of a (classical) gauge theory on the underlying base manifold. Such an almost-commutative manifold is described in terms of a “principal module,” which we build from a principal fibre bundle and a finite spectral triple. We also define the purely algebraic notion of “gauge modules,” and show that this yields a proper subclass of the principal modules. We describe how a principal module leads to the description of a gauge theory, and we provide two basic yet illustrative ex les.
Publisher: SAGE Publications
Date: 20-08-2019
Abstract: A key element of the infrastructure of television now consists of various Internet-connected devices, which play an increasingly important role in the distribution, selection and recommendation of content to users. The aim of this article is to locate the emergence of streaming devices within a longer timeframe of television hardware devices and infrastructures, by focusing on the evolution of one crucial category of such devices, television set-top boxes (STBs). STBs are a taken-for-granted part of many people’s homes across the world, and their global presence and importance are still growing. However, they (and television hardware devices more generally) have been very rarely analysed in television and media studies. To address this lacuna, we trace the development of STBs, delineate changing patterns of ownership and control in STB markets and outline the erse forms and functions of STBs. We then show how analysis of STBs enriches understanding of two key recent developments in television: increasing battles over prominence and discoverability in a newly abundant video landscape and the collection, analysis and exchange of viewer data by businesses. In doing so, the article shows the importance of television hardware in shaping television as a social and cultural institution.
Publisher: SAGE Publications Ltd
Date: 2008
Publisher: SAGE Publications
Date: 05-2015
Abstract: This chapter addresses work ‘segregation’ by sex in the cultural industries. We outline some of the main forms this takes, according to our observations: the high presence of women in marketing and public relations roles the high numbers of women in production co-ordination and similar roles the domination of men of more prestigious creative roles and the domination by men of technical jobs. We then turn to explanation: what gender dynamics drive such patterns of work segregation according to sex? Drawing on interviews, we claim that the following stereotypes or prevailing discourses, concerning the distinctive attributes of women and men, may influence such segregation: that women are more caring, supportive and nurturing that women are better communicators that women are ‘better organized’ and that men are more creative because they are less bound by rules.
Publisher: Elsevier BV
Date: 02-2010
Publisher: SAGE Publications
Date: 12-2008
Abstract: In keeping with the focus of this special section, we concentrate initially on some of the problems of autonomist Marxist concepts such as `immaterial labour', `affective labour' and `precarity' for understanding work in the cultural industries. We then briefly review some relevant media theory (John Thompson's notion of mediated quasi-interaction) and some key recent sociological research on cultural labour (especially work by Andrew Ross and Laura Grindstaff, the latter drawing on Hochschild's concept of emotional labour), which we believe may be more useful than autonomist concepts in developing empirically informed critique. The main body of the article then consists of an ethnographic account of working on one particular television programme, an account that aims to build on these theoretical debates. We analyse how the power to provide exposure or not to in iduals in the talent show genre in contemporary television (a feature that derives from the symbolic power of producers to make texts that are then circulated to massive numbers of people) and disputes between commissioners and independent producers about how best to go about doing so (an organizational issue) are registered in the form of stress, anxiety and sometimes poor working relations among project teams of young television researchers (a matter of working conditions and experiences). We especially focus on how additional pressures are borne by these workers because of the requirements to undertake emotional labour, involving the handling of strong emotions on the part of talent show contributors, and to maintain good working relations in short-term project work, requirements generated by the need to ensure future employment. Ultimately, then, we support the view that creative work is `precarious' — but we go beyond the generalizations involved in concepts such as immaterial labour and affective labour to show the specific ways in which precariousness is registered and negotiated in the lives of young workers in one industry.
Publisher: Wiley
Date: 15-04-2011
Location: United Kingdom of Great Britain and Northern Ireland
Location: United Kingdom of Great Britain and Northern Ireland
No related grants have been discovered for David Hesmondhalgh.