TY  - GEN
A1  - Eckstein, Lars
T1  - Sound matters
BT  - postcolonial critique for a viral age
T2  - Postprints der Universität Potsdam : Philosophische Reihe
N2  - This essay proposes a reorientation in postcolonial studies that takes account of the transcultural realities of the viral twenty-first century. This reorientation entails close attention to actual performances, their specific medial embeddedness, and their entanglement in concrete formal or informal material conditions. It suggests that rather than a focus on print and writing favoured by theories in the wake of the linguistic turn, performed lyrics and sounds may be better suited to guide the conceptual work. Accordingly, the essay chooses a classic of early twentieth-century digital music – M.I.A.’s 2003/2005 single “Galang” – as its guiding example. It ultimately leads up to a reflection on what Ravi Sundaram coined as “pirate modernity,” which challenges us to rethink notions of artistic authorship and authority, hegemony and subversion, culture and theory in the postcolonial world of today.
T3  - Zweitveröffentlichungen der Universität Potsdam : Philosophische Reihe - 119 
KW  - Sound
KW  - M.I.A
KW  - Galang
KW  - music
KW  - postcolonial critique
KW  - transculturality
KW  - pirate modernity
KW  - Great Britain
KW  - South asian diaspora
Y1  - 2016
U6  - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:kobv:517-opus4-98393
SN  - 1866-8380
IS  - 119
ER  - 
TY  - GEN
A1  - Eckstein, Lars
A1  - Reinfandt, Christoph
T1  - Luhmann in the Contact Zone
BT  - zur Theorie einer transkulturellen Moderne
T3  - Zweitveröffentlichungen der Universität Potsdam : Philosophische Reihe - 90 
Y1  - 2014
U6  - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:kobv:517-opus4-85488
SP  - 107
EP  - 124
ER  - 
TY  - GEN
A1  - Eckstein, Lars
A1  - Schwarz, Anja
T1  - Postcolonial piracy
BT  - Media distribution and cultural production in the global south
T2  - Theory for a global age
N2  - Across the global South, new media technologies have brought about new forms of cultural production, distribution and reception. The spread of cassette recorders in the 1970s; the introduction of analogue and digital video formats in the 80s and 90s; the pervasive availability of recycled computer hardware; the global dissemination of the internet and mobile phones in the new millennium: all these have revolutionised the access of previously marginalised populations to the cultural flows of global modernity.

Yet this access also engenders a pirate occupation of the modern: it ducks and deranges the globalised designs of property, capitalism and personhood set by the North. Positioning itself against Eurocentric critiques by corporate lobbies, libertarian readings or classical Marxist interventions, this volume offers a profound postcolonial revaluation of the social, epistemic and aesthetic workings of piracy. It projects how postcolonial piracy persistently negotiates different trajectories of property and self at the crossroads of the global and the local.
T3  - Zweitveröffentlichungen der Universität Potsdam : Philosophische Reihe - 89 
Y1  - 2014
U6  - http://nbn-resolving.de/urn/resolver.pl?urn:nbn:de:kobv:517-opus4-72189
ER  -