Oliver Zöllner

This article seeks to analyse the images that accompany the hybrid musical genre of the 1960s and 1970s called Anatolian Pop in Turkey. Anatolian pop music developed in a globalising-localising context, a ‘liminal’ place and space of both domestic and international cross-cultural communication. It is equally located at the intersection of rural and urban environments and thinking, a space the autors call 'rurban'. The rurban character of Anatolian Pop is for one part present within the music, but also in its materiality, e.g., in the images produced alongside this music: for record covers, magazines and films that show musicians, fashion garments, accessories, and instruments. These images can be read as documents of particular social, temporal and/or spatial relationships, and can thus be analysed in the context of the sociology of knowledge. Mainly based on a sample of a 1970s Turkish weekly pop-culture magazine, the article examines how the interplay of rurban fashion and music works, and how these discourses were framed in the photographic images. The authors also investigate the visual and discursive links between Turkish "kostüme avantür" (costumed adventure) films of the period and Anatolian pop music. Thus, the objective of this analysis is to uncover the incorporated habitus of the period, i.e., the sometimes unconscious and unreflected patterns of behaviour and valuation in a society, of which 1960s/70s Turkey is a very telling example.

In his article "Political Landscape (with Castle Ruins): A Pictorial Document of Identity Discourses in East Belgium", Oliver Zöllner uses Ralf Bohnsack's (2013) "documentary method" to analyze a PR picture taken from a brochure of a regional authority as a pictorial document that encapsulates underlying discourses of identity, or rather identities in the plural, within the German-speaking Community of eastern Belgium, one of the three linguistic Communities of the federally organized kingdom. The analyzed image of a young woman in front of a castle ruin captures the "habitus" of the relatively small population group, the article argues. This habitus draws on partly conflictual and unclear interpretations of the past and future of the German-speaking population on the one hand, and on the debate about 'belonging' and 'demarcation' in a borderland (where the Netherlands, Germany, Luxembourg, and France are in proximity), on the other. To paraphrase art historian Martin Warnke (1992), the analyzed photograph is an example of a political image that sets a stage, or landscape, for further scrutiny. The darkness of the past, which is embodied by the dark castle ruin in the background of the picture, is in stark contrast to the shiningly bright figure of the young woman in the foreground whose features of fertility symbolize a future for the German-speaking minority. The picture's combined narratives, complex as they are, may represent inroads for progressive perspectives of ethnic or regional identity committed to the "emancipatory principle of intercultural tolerance and cosmopolitan openness", which can be seen as the essence of 'Belgitude' (Sepp 2010: 22).

This article analyzes how pop music has dealt with visions and impacts of digiti­zation and cybernation, looking at selected key works from the late 1960s throughout the 1990s. Taking its perspective from the sociology of knowledge, it identifies pop music’s trajectory of imaginations in the context of techno­logical change processes. The article concludes that the artistic treatment of these processes remains largely vague and ambiguous, its habitus for the most part dystopian. In fact, rarely did pop music cover digitization and cybernation at all in the period under scrutiny. This relative lack of coverage due to oversight or denial may be attributed to a stance based on nihilistic avoidance unconsciously incorporated in the historical situation.

Digitality requires new ethical approaches in the context of an all-encompassing mediatization. At the same time, the advance of artificial intelligence (AI) brings forth additional new challenges, as do questions about the ecological responsibility of digital technologies. This edited volume presents a broad range of topics and case studies linked to the sub-discipline of digital ethics. What all contributions in this book have in common, regardless of the their academic or philosophical perspective, is a focus on the question whether human beings are taken into account appropriately when new technologies are developed and applied.

In this essay written for a general audience, the idea and concept of the metaverse is introduced and analyzed with particular emphasis on future forms of human interaction and sociality. The current state of exploitative data capitalism is criticized and used as a reference for questioning the dehumanizing view of people as mere data points in a possible "Metaverse" as envisaged by the likes of Meta, Inc., and other companies. The essay concludes by asking what could be a good life in virtual environments.

This research article introduces the concept of public diplomacy within the framework of international relations and transnational communication. It looks at how Germany, by way of her international broadcaster Deutsche Welle, addresses Arabic-speaking target groups in post-9/11 public diplomacy, and how "dialogic" such mediatized endeavors can be. For this end, the article presents a critical analysis of the requirements of dialogue drawing on Habermas’s (1984) Theory of Communicative Action. What transpires is a determination of Deutsche Welle as an organization to at least present a quest for dialogue as a projection of Germany’s national values, policies, and self-image. The invocation of "dialogue" via Deutsche Welle's Arabic-language radio, television and online channels may reflect a reassertion of the very self-image Germany feels most comfortable with: that of the Open-minded Society of Consensus as one of the country’s grand narratives.

From an ethical and sociological perspective this article analyzes what it means when users upload pictures of children on social media forums. The paper argues that, under the conditions of Big Data and related surveillance practices, and following up on categories introduced by Hannah Arendt in "The Human Condition" (1958), what was once private has become part of the public sphere: people would increasingly become "publicly private," and act accordingly. The categorical blurring of what can be shown publicly and what should remain hidden in the private realm, and the consequences this has for digital practices such as exposing children by way of online pictures, may be a consequence of a new "relational", hive-orientated understanding of the self in online contexts which is a departure from a classically individual, autonomous understanding of the individual self. This poses an ethical problem inherent in many other practices of digitality as well.

Digitalization has set in motion social processes that are having an impact on our democratic fabric. These include phenomena that affect the media system itself, such as a weakening of quality journalism, a strengthening of disinformation and populist media, and an increasing power of opinion of intermediaries (such as Google, Meta, et al.). As a result, processes can be observed that directly affect our understanding of democracy: these are, in particular, tendencies that lead to the destabilization of democratic opinion- and will-forming and thus call democratic negotiation and decision-making processes into question. Surveillance technologies that encroach on our fundamental values of privacy and autonomy can be just as dangerous to democracy. The authors reflect from ethical, media studies, philosophical and legal perspectives on the significance of current developments for our democracy in a digital world, and what normative requirements and options for action exist.

This chapter analyzes a pivotal music production – British band Radiohead's seminal album "OK Computer" (1997) – as a document of its time and contemporaneity, focusing on its modes of reflection of attitude and practice from a philosophical perspective. After scrutinizing the details of the album's production values, music, lyrics, and artwork, the article distils the 'habitus' of the work and compares it with related musical documents. These findings of reconstructive social research are subsequently deepened with insights from reconstructive ethics, the similarities and overlaps of which are pointed out. It is argued that the Radiohead album retrospectively appears as a clairvoyant document of anger and despair voiced in an evolving setting of the dehumanization, exploitation, and subjugation of human beings in a world increasingly dominated by corporate and technological power, formulated at a time when large-scale digitalization was still in its infancy. The frequent vagueness of the songs and their lyrics, their ambiguity and indecision, reveal their inherent nihilistic tendencies. Radiohead's "OK Computer" summarizes what 1997 felt like and reflects a transformation process towards digitalized practices that is by no means complete even 20 or 25 years later.

By way of an introduction, this chapter analyzes social networking sites on three levels: the micro level of individuals, the meso level of corporations and the macro level of social processes and effects. At the first level, it is above all the 'affordances' of social media, i.e. their functions shaping and emphasizing their uses, that is problematic and can invoke a loss of autonomy. At the meso level, corporate business models give rise to problems of data protection and surveillance. Using social media may seem free, but users pay with their data and are thus transformed from customers to products - a dehumanizing process. On the societal level, processes of disinformation become prominent in an overarching system of 'surveillance capitalism' (Zuboff 2019), and the increasing heteronomy of users can impair democratic decision-making. The article concludes by outlining ethically based approaches to how digital technologies could be shaped in the future.

In this volume, "Brave New World of Communication or the End of Privacy?," communication and media scholars, industry representatives and data protectionists reflect on the urge to present one's self online on social media and other popular media formats, and the ensuing weakened sense of what is private. In the context of empirical findings, aspects of an ethics of privacy as well as concepts of privacy and its economization and possible regulation will be discussed. The focus is on the understanding of privacy that underlies the use of social networks: are there different notions of privacy online and offline? How should individuals and society deal with the challenges of social networking sites? How can users be empowered to engage in self-determined privacy management?

Our thinking about existence in the space between man and machine has basically only just begun. But what was science fiction just a few years ago has long since entered our everyday lives: Care robots, war robots, sex robots, and similar entities. Will machines develop into ethical actors with consciousness in the future? Will they be able to morally guide their own behavior? This also touches on broader questions of responsibility: Who will make decisions in the future? There have long been dystopian visions of a threat to the world from vastly superior artificial intelligences as well as utopian hopes for a new digital world in which the human spirit makes itself immortal. In this volume, ethicists, literary scholars, sociologists, and futurists set out in search of relevant questions and conceivable answers. It is about the human-machine relationship, possibilities of acting wisely in the machine age, autonomous and connected driving and its dilemmas, and work and working in the future. At the end, there is a plea for a new way of thinking about education in the digital age.

This article, an introduction to the edited volume "Mensch - Maschine" ("Man - Machine"), looks at the relationship between humans and machines from a pop cultural angle. Taking its cue from, and analyzing, Kraftwerk's seminal electropop album "Man - Machine" (1978) from the perspective of the sociology of knowledge, the article identifies key topical areas that are inherent in Kraftwerk's work (and not just in the lyrics). These provide critical questions that are relevant for inquiries into the nature of man/machine relationships even today (and even without caring about Kraftwerk or electropop at all).

The media are not only an arena for creating and sustaining gender identites and related norms of behavior, they also formulate value judgments and generate notions of masculinity and femininity, i.e., they help define what 'women' and 'men' should be like and what counts as deviation. For young people in particular, role models portrayed in the media are identification material for their own gender identity formation. This volume explores, from a perspective of media ethics, mediated representations of genders, how they are generated, and what the role of justice may be in such contexts.

What functions can rituals fulfill in the context of media and specifically in relation to young people? What ethical implications are associated with the issues of "media - rituals - youth"? These questions were the focus of the ninth symposium on media ethics at Stuttgart Media University where three types of "media rituals" emerged: On the one hand, there are rituals mediated by the media, through which societies can reassure themselves of their values. The second is rituality in the act of communication itself, i.e., the meaning-generating reception, production, and interaction of and with media. The third characteristic refers to the rituality evoked by media. Here, the meaning of the depicted actions or events is first generated by the media's staging or structuring.

How WhatsApp Rules the Everyday: An Empirical Study on the Ambivalent Use of Messenger Services. Based on qualitative interview fieldwork, this study analyzes the partly paradoxical perception of WhatsApp as a technology that both facilitates and complicates the everyday life of people, and that is seen as an instrument that allows for dominating others as well as being dominated by others. The widely used messenger service thus can make people happy as well as unhappy, depending on context, situation and degree of reflection. The authors use the collected interview data to develop a heuristic model that is suitable for initiating further research and reflection on the role of digital media in everyday life.

In the context of digitalization and artificial intelligence (AI), data protection and digital ethics are trending topics. However, they are rarely considered in conjunction even though they are inextricably linked. This volume sets out to close this gap. Informational self-determination is an expression of a European understanding of values, particularly with regard to smart technologies and AI applications. In addition to socially relevant dimensions of data protection and digital ethics, the authors of this edited collection point out and analyze the influences of networked technologies on the experience and manipulation of modern reality and its rootedness in the everyday.

This monographic study examines general listening patterns with regard to the music/audio streaming service Spotify and in particular the perceived personal autonomy of the platform's users when making listening decisions on the platform. Drawing on theories from media and communication studies, psychology, philosophy and ethics, and employing in-depth interviews as its data-collection method, the study formulates three guiding questions. These relate to the importance of Spotify in the lives of users as well as the awareness of personal autonomy while using the application, and how this is evaluated. It can be concluded that Spotify plays a significant role in the lives of its users. In terms of usage itself, most respondents are aware that Spotify uses algorithms that suggest audio content to them. These are accepted and used by all respondents, which tentatively indicates a limited autonomy of the users. At the same time, users feel like being in a position of control over their decisions and choices, as they feel they can act autonomously by clicking and downloading audio content. Even the problem that Spotify collects vast amounts of user and behavior data and exploits it, inter alia, for advertising purposes, triggers little skepticism among the respondents. All in all, Spotify manages to gain the trust of users with regard to its data handling as well as it creates or reinforces users' confidence in their own perceived autonomy.

In the context of digitalization, the analogue vinyl record has gained new popularity in a robust niche market since around the mid-2000s. This book chapter analyzes this commodity object from a critical capitalist perspective and classifies it into four commodity forms of the post-industrial economy. Based on this, the logic of particularity inherent in the vinyl record and related practices of singularization are demonstrated. With a view to changes in technical playback equipment and related changing reception dispositives in dealing with music, the authors conclude that the current vinyl culture reflects a division of society. The culturality of the vinyl record points to specific interweavings with its users, which is expressed in multilayered practices, narratives, and myths. The article concludes by arguing that the vinyl record is a crystallization point for a comprehensive, partly paradoxical social discourse on modernization processes, especially on the metaprocess of digitalization.

This article analyzes a photographic PR handout that was widely circulated in media the world all over in 2013, depicting the future heir to the British throne, Prince William, and his wife, Catherine, presenting their new-born baby to the world. This photograph is scrutinized in great detail employing Bohnsack's documentary method, a strain of reconstructive social research, alongside analytical methods that have their origin in art history. In particular, the article analyzes the iconicity of the seemingly 'private' snapshot, and reconstructs what constructs of dominion are at play in the picture and its inherent social contexts. This royal picture, the article argues, displays forms of the sacred. In turn, it also profanates what is sacred about it by reverting to modes of bourgeois self-representation that panders to the general public and tries to win it over, or back, to the idea of monarchic rule, however symbolic the latter may be. In the analyzed picture, power is manifested by way of a specific habitus of the iconic protagonists that glosses over and negates crises and rifts in British society.

The Digital Ethics handbook (Nomos Handbuch series) provides an overview of the challenges and specifics of ethics in the context of digitality. Renowned experts contribute chapters on I) Philosophical perspectives and theoretical approaches to digital ethics, II) Values of digital ethics, III) Discourses of digital ethics on related phenomena, IV) Systems and technologies of digital ethics, V) Fields of practice of digital ethics. With contributions by: Regina Ammicht Quinn | Ben Bachmair | Klaus Beck | Kathi Beier | Dieter Birnbacher | Dagmar Borchers | Stefan Brink | Peter Bröckerhoff | Rafael Capurro | Hans-Henrik Dassow | Jan Doria | Nicola Döring | Alexander Filipović | Christian Fuchs | Rüdiger Funiok | Maike Gossen | Petra Grimm | Armin Grunwald | Björn Haferkamp | Martin Hähnel | Jessica Heesen | Martin Hennig | Clarissa Henning | Michel Hohendanner | Dietmar Kammerer | Matthias Karmasin | Antonia Kempkens | Nina Köberer | Vanessa Kokoschka | Hans Krah | Larissa Krainer | Susanne Kuhnert | Jan Mehlich | Catrin Misselhorn | Julia Maria Mönig | Regina Müller | Sebastian Müller | Horst Niesyto | Claudia Paganini | Matthias Pfeffer | Marlis Prinzing | Lars Rademacher | Tilman Santarius | Christian Schicha | Marcel Schlegel | Stefan Selke | Ingrid Stapf | Kai Erik Trost | Nicole van Geel | Frederike van Oorschot | Eduardo Villanueva-Mansilla | Eva Weber-Guskar | Verena Weigand | Micha H. Werner | Klaus Wiegerling | Christiane Woopen | Oliver Zöllner