Whatever Happened to My Revolution offers a French feminist perspective on the impact today of the uprising by the left in Paris in May 1968. The continuing appeal of the events of ‘68 are considered to be in decline, yet the film suggests that the energy of 50 years ago continues to mobilize cultural politics through cinematic appeals that amount to the radical recuperation of some of the ambitions of the day, a continuation of the past in the present. Whatever Happened to My Revolution is explored with reference to Guy Debord's concept of psychogeography, which suggested new phases of discovery in social life for remaking urban life, cross-referencing aspects of Jacques Lacan's psychoanalytical approach that appear in the film, especially the concept of desire, informing its feminist psychogeography. The challenges facing the current generation can be described as a desire by the French left, in this film defined and described by women, for the realization of May ‘68s cultural transformations in public and private culture.

The COVID-19 pandemic emptied universities, colleges, and schools across the United States in March 2020, forcing instructors into an unavoidable culture in which a networked commercial technology mediated teaching and learning. In the tradition of critical pedagogy, this article argues that students and instructors alike engaged through the artificial lenses and screens of Zoom. The “pinhole intimacy” of the Zoomscape is assessed using conscientization, the concept offered by the Brazilian educator Paulo Freire, to describe most pedagogy as an oppressive apparatus that can be overcome with direct engagement between students and instructors. In such an opticentric context, the Zoomosphere’s intimacy is used to explore how the emancipation proposed by conscientization might be applied to the culture of pedagogy in a college with a diverse student population, including pedagogical interventions to address the challenges associated with teaching Division I athletes. The context of a large communication department at Boston College provides the empirical foundation for the exploration of coronavirus pedagogy.

Urban life in the US was defined by the Open Internet, offering citizens networked communications regulated by the Federal Communication Commission (FCC). A political struggle ensued over how the internet would be regulated, which was only heightened following the 1996 Telecommunication Act. Several years of intense public policy debate about regulating the internet ensued, focusing on evidence that the private firms that provided services would "throttle" the flow of information and unfairly manipulate prices of the Open Internet. In December 2017, this openness, known as Network Neutrality, was removed by the FCC in favor of competitive innovation by private telecommunication providers. Aspects of this debate are explored by deploying an assemblage methodology to draw attention to the ways the interests and forces of private concerns have directed resources to profit centers and away from regulated public universal openness. The assemblage addresses the complexity of actors engaged in the struggle over information resources for US citizens. Consequently, the decision to end Network Neutrality provoked a struggle by advocates arguing for a system of public regulation. The battle for a solution to universal openness has recently been extended by public information advocates such as media and community groups that have operationalized state and local government regulation. Various assemblages have emerged, evolved, faded and been revivified in the struggle over Network Neutrality. Given the dependence on networked internet technologies in US cities, the removal of Network Neutrality leaves large sections of the population without connection to high-speed broadband and information resources for living.

How did the 2018 URPE at 50 conference appear to a “lurker,” someone interested, even enthusiastic, about radical political economy but not directly involved in the organization? Based on observations at the conference, the author ponders the absence of research and activist connections between media, communication, and cultural studies and radical political economics. Exploring the rise of intersectionality that has emerged due to digital communication and social media platforms, the author appeals for collaborative efforts to expand the range of interactions to benefit radical political economy as well as the fields of media, communication, and cultural studies. Jel Classifications: Z18, 033, 035

Melinda Cooper's Family Values could be a wakeup call to Cultural Studies as it has been practiced in the United States since the mid-1990s. In this book Cooper offers a descriptive critique of how...

Few academics who become public intellectuals have the opportunity to use their research findings to influence and direct public opinion. Sherry Turkle is a public intellectual whose work as a Massachusetts Institute of Technology (MIT) professor of the social studies of science and technology is critically considered in this exploration of a single public presentation based on her 2015 book Reclaiming Conversation: The Power of Talk in the Digital Age. Drawing deeply on subjective observations, Turkle performs public ethnography, using her knowledge and practice as a psychologist to create what she has called “computer psychotherapy.” This type of ethnographic practice operates within an agent-egoist model of performativity, which Turkle uses to establish her opposition to student use of laptops and social media in classrooms. Arguing in favor of and thereby privileging classroom conversation, Turkle misses the challenge of rendering creative pedagogical options for millennials in the context of their enriched, always-on digital lives. As a public intellectual, she fails to assist the public and educators explore collective and progressive options to technology within emerging forms of pedagogy.

"Yodelling Boundary Riders: Country Music in Australia since the 1920s." Australian Historical Studies, 48(2), pp. 315–316

An exhibition at RMIT University in 2013–2014, ‘Music, Melbourne and Me: 40 Years of Mushroom and Melbourne’s Popular Music Culture’, suggested that art museums can offer new ways of engaging with the complex world of popular creativity and commerce in its urban location. In an effort to move beyond established tropes of popular music representations featuring static displays of posters, album covers, costumes and photography, an audio-visual invention designed and built at RMIT called Morphos combined music video and design to noisy combinatory effect. As such, Morphos suggested that the exhibition connected with the rise of an ideologically-informed museum studies that foregrounds the way knowledge is assembled and that museum innovations have a critical role to play against popular music’s consumerist excesses, identifying as ‘bullshit’ popular music that is uninformed by the history and political economy of the place in which it is located. Furthermore, as popular music history becomes a regular part of museum exhibitions, the article argues that academics have a unique opportunity to critically inform the relationship between popular music and urban life, to generate a praxis that delivers the truth of lived experience in the urban sonic landscape.

If Australian music industry studies were to be considered as those produced locally within the academic domain, then we could count them on the fingers of one hand. This short review of literature in the field of Australian music and record industry studies highlights the paucity of local! y published material and seeks to establish directions in which a music industry study can proceed.