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Consuming Technologies opens for analysis some crucial but rarely examined areas of social, cultural and economic life. At its core is a concern with the complex set of relationships that mark and define the place of the domestic in the modern world, and an explanation of the relationship between the domestic and public spheres as they are mediated by consumption and technology.

The circuit of technology Gender identity and power. The desire for the new Its nature and social location as presented in theories of fashion and modern consumerism. The shape of things to consume. Explaining ICT consumption The case of the home computer. Personal computers gender and an institutional model of the household.

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The meaning of domestic technologies A personal construct analysis of familial gender relations. Livingroom wars New technologies audience measurement and the tactics of television consumption.

Filmmaker, photographer, archival artist, curator and co-founder of the Arab Image Foundation. Anthony Downey. Olga Demetriou.

Consuming Technologies - Media and Information in Domestic Spaces (Paperback, New edition)

As drones fly over our heads surveying our movements, it becomes evident that the fast evolving technologies of capturing images of war and violence have resulted, among other things, in an unprecedented extent of spectacles of conflict. Anaesthetized and disconcerted because of our repeated encounter with the visual representation of the ever increasing instances of strife, the potential democratic role of photographic images in addressing how we understand notions of pluralism, control, manipulation, terror and erasure gains precedence as we realize our numbness due to over-exposure.


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Propaganda, resistance and activism are re-narrated through a post- and yet neo-colonial frame of political intervention, control and detention by world powers, while the presence of photographic images of conflict has become firmly relocated, placed within contemporary art practice and the museum space. The advancements of technologies enable the gathering, collecting and storing of more and more images, allowing us to explore the conflictual dynamics of collections and of the ways in which archives are shaped. Far from being interpreted merely as places of collection and order, archives have emphatically emerged as sites of social, historical, theoretical, artistic and political debate.

Attempts to unravel the regenerative — sometimes even radical — potentials of state-ordained and institutional archiving practices reveal the disputed narratives of photographic archives and their role in chronicling conflict, materiality and dissonance.