Podcasts about comparative media studies

Worries about the so-called “pussification of Silicon Valley” are not at all new.  Becca Lewis' work reaches far back in American history to trace the nexus of gender, technology, and entrepreneurship, such that what we find today seems a foregone conclusion. In today's wide-ranging discussion we talk about the central figure in this history—George Gilder, whose first book, Sexual Suicide, and subsequent forays into technology, conservative politics, and capitalism included much of what we see today in things like the echo chambers of misinformation of Fox News and the alienated “freedom” of Elon Musk's SpaceX City. Who are these men, who Becca says, “leave behind the messy physical flows of women's bodies in favor of the streamlined capitalism of male genius”?Becca Lewis is a postdoctoral fellow at the Stanford University Department of Communication and an incoming assistant professor of Comparative Media Studies at MIT. Her work examines the rise of reactionary politics in Silicon Valley and online. In September 2024, she received her PhD in Communication from Stanford University. She previously worked as a researcher at the Data & Society Research Institute, where she published flagship reports on far-right online broadcasting, media manipulation, and disinformation. Her work has been published in academic journals including New Media & Society, Social Media + Society, and American Behavioral Scientist, and in news outlets such as The Guardian and Business Insider. In 2022, she served as an expert witness in the defamation lawsuit brought against Alex Jones by the parents of a Sandy Hook shooting victim.

Send us a Text Message.Throughout the 21st century, mistrust in our societal institutions has become commonplace. Regardless of your political leanings, we've become skeptical and suspicious of the governmental, educational, and religious institutions meant to support and protect us. How did this happen? What should we do about it? Perhaps, this mistrust is the very catalyst for reform? In today's episode, Prof. Ethan Zuckerman dissects this phenomena. Topics:The rise of institutional mistrustIs influencer culture a response to mistrusting institutions?How to transform institutionsSocial media and worldview differences"What books have had an impact on you?""What advice do you have for teenagers?"Bio:Prof. Ethan Zuckerman is an associate professor of public policy, communication and information at the University of Massachusetts at Amherst. He is the founder of the Institute for Digital Public Infrastructure, a research group that is studying and building alternatives to the existing commercial internet. Prof. Zuckerman is the author of two books: Mistrust: Why Losing Faith in Institutions Provides the Tools to Transform Them and Rewire: Digital Cosmopolitans in the Age of Connection, both published through W.W. Norton. He is also the co-founder of global blogging community Global Voices and works with social change nonprofit organizations around the world. He is an alumnus of the Berkman Klein Center at Harvard, the MIT Media Lab and Comparative Media Studies at MIT, Geekcorps, and Tripod.Socials! -Lessons from Interesting People substack: https://taylorbledsoe.substack.com/Website: https://www.aimingforthemoon.com/Instagram: https://www.instagram.com/aiming4moon/Twitter: https://twitter.com/Aiming4MoonFacebook: https://www.facebook.com/aiming4moonTaylor's Blog: https://www.taylorgbledsoe.com/

In this episode, Michael speaks with Eric Klopfer, the chair of the department of Comparative Media Studies and Writing at the Massachusetts Institute of Technology, or MIT. At MIT Eric is also the director of the Scheller Teacher Education program as well as the Education Arcade. Eric is a leader in the space of game design for education. He recently co-authored a book on the subject: Resonant Games, Design Principles for Learning Games that Connect Hearts, Minds and the Everyday. During the conversation, Eric discusses games as an example of experiential learning and emphasizes the importance of combining a game exercise with reflection, which is where the real learning happens through what Eric calls an action-reflection cycle. Eric and Michael also discuss the game that originally led Michael to speak to Eric: a simulation of the tragedy of the commons in a fishery, which Eric led the development of. In addition to this episode, Michael discusses his implementations of this game in a recent blog post on the In Common website. You can find more about this game and Eric's work at this web address: https://education.mit.edu/project-type/games/

Hello Avatar Or, {llSay(0, Hello, Avatar ); is a tiny piece of user-friendly code that allows us to program our virtual selves. In Hello Avatar, B. Coleman examines a crucial aspect of our cultural shift from analog to digital: the continuum between online and off-, what she calls the "x-reality" that crosses between the virtual and the real. She looks at the emergence of a world that is neither virtual nor real but encompasses a multiplicity of network combinations. And she argues that it is the role of the avatar to help us express our new agency--our new power to customize our networked life. By avatar, Coleman means not just the animated figures that populate our screens but the gestalt of images, text, and multimedia that make up our online identities--in virtual worlds like Second Life and in the form of email, video chat, and other digital artifacts. Exploring such network activities as embodiment, extreme (virtual) violence, and the work in virtual reality labs, and offering sidebar interviews with designers and practitioners, she argues that what is new is real-time collaboration and copresence, the way we make connections using networked media and the cultures we have created around this. The star of this drama of expanded horizons is the networked subject--all of us who represent aspects of ourselves and our work across the mediascape. B. Coleman is Assistant Professor of Writing and New Media in MIT's Program in Writing and Humanistic Studies and Comparative Media Studies. She is Faculty Director of the C3 Game Culture and Mobile Media initiative. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/science-technology-and-society

Hello Avatar Or, {llSay(0, Hello, Avatar ); is a tiny piece of user-friendly code that allows us to program our virtual selves. In Hello Avatar, B. Coleman examines a crucial aspect of our cultural shift from analog to digital: the continuum between online and off-, what she calls the "x-reality" that crosses between the virtual and the real. She looks at the emergence of a world that is neither virtual nor real but encompasses a multiplicity of network combinations. And she argues that it is the role of the avatar to help us express our new agency--our new power to customize our networked life. By avatar, Coleman means not just the animated figures that populate our screens but the gestalt of images, text, and multimedia that make up our online identities--in virtual worlds like Second Life and in the form of email, video chat, and other digital artifacts. Exploring such network activities as embodiment, extreme (virtual) violence, and the work in virtual reality labs, and offering sidebar interviews with designers and practitioners, she argues that what is new is real-time collaboration and copresence, the way we make connections using networked media and the cultures we have created around this. The star of this drama of expanded horizons is the networked subject--all of us who represent aspects of ourselves and our work across the mediascape. B. Coleman is Assistant Professor of Writing and New Media in MIT's Program in Writing and Humanistic Studies and Comparative Media Studies. She is Faculty Director of the C3 Game Culture and Mobile Media initiative. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/sociology

Hello Avatar Or, {llSay(0, Hello, Avatar ); is a tiny piece of user-friendly code that allows us to program our virtual selves. In Hello Avatar, B. Coleman examines a crucial aspect of our cultural shift from analog to digital: the continuum between online and off-, what she calls the "x-reality" that crosses between the virtual and the real. She looks at the emergence of a world that is neither virtual nor real but encompasses a multiplicity of network combinations. And she argues that it is the role of the avatar to help us express our new agency--our new power to customize our networked life. By avatar, Coleman means not just the animated figures that populate our screens but the gestalt of images, text, and multimedia that make up our online identities--in virtual worlds like Second Life and in the form of email, video chat, and other digital artifacts. Exploring such network activities as embodiment, extreme (virtual) violence, and the work in virtual reality labs, and offering sidebar interviews with designers and practitioners, she argues that what is new is real-time collaboration and copresence, the way we make connections using networked media and the cultures we have created around this. The star of this drama of expanded horizons is the networked subject--all of us who represent aspects of ourselves and our work across the mediascape. B. Coleman is Assistant Professor of Writing and New Media in MIT's Program in Writing and Humanistic Studies and Comparative Media Studies. She is Faculty Director of the C3 Game Culture and Mobile Media initiative. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

Hello Avatar Or, {llSay(0, Hello, Avatar ); is a tiny piece of user-friendly code that allows us to program our virtual selves. In Hello Avatar, B. Coleman examines a crucial aspect of our cultural shift from analog to digital: the continuum between online and off-, what she calls the "x-reality" that crosses between the virtual and the real. She looks at the emergence of a world that is neither virtual nor real but encompasses a multiplicity of network combinations. And she argues that it is the role of the avatar to help us express our new agency--our new power to customize our networked life. By avatar, Coleman means not just the animated figures that populate our screens but the gestalt of images, text, and multimedia that make up our online identities--in virtual worlds like Second Life and in the form of email, video chat, and other digital artifacts. Exploring such network activities as embodiment, extreme (virtual) violence, and the work in virtual reality labs, and offering sidebar interviews with designers and practitioners, she argues that what is new is real-time collaboration and copresence, the way we make connections using networked media and the cultures we have created around this. The star of this drama of expanded horizons is the networked subject--all of us who represent aspects of ourselves and our work across the mediascape. B. Coleman is Assistant Professor of Writing and New Media in MIT's Program in Writing and Humanistic Studies and Comparative Media Studies. She is Faculty Director of the C3 Game Culture and Mobile Media initiative. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/technology

How do teachers learn how to teach? They go through a whole process of licensing, and academic theory, but where do teachers practice teaching? Justin Reich is an Associate Professor of Comparative Media Studies at MIT, as well as the Director for the MIT Teaching Systems Lab, a space where teachers can practice how to teach. He's compiled nearly two decades of experience into a book, Failure to Disrupt: Why Technology Alone Can't Transform Education, and hosts a podcast called TeachLab. As a veteran of the education space, Justin feels that there's no tech based magic bullet that somehow can improve the country's gigantic education system: it's going to come down to having the best teachers. And you get the best teachers, just like how coaches get the best athletes, by creating a safe space where people can experiment, fail, reflect, try again, and practice, practice, practice. With a new year just around the corner, it's the perfect time to think about turning over a new leaf when it comes to teaching, so with that…let's bring it in!

We begin to talk about the story between MIT's Open Doc Lab and our guests' book Collective Wisdom with Kat's experiences working for the National Film Board of Canada and how this provided a precious chance for her to dig into collective wisdom. William Uricchio brings in the Comparative Media Studies program at MIT and two major characteristics of its cross-media study: remarkable community and applying humanity to work. Then we talk about the diversity of co-creation, and our guests' definitions of some key terms, including the difference between co-creation and collaboration. Looking at the deep roots of these practices from long before the modern notion of single-authorship, Kat & William's book lifts up alternatives for dealing with today's “wicked problems.” It also dispels the concept of a fixed narrative for an open one, making way for participatory culture. Through examples like MIT Co-Creation Studio's Worlding initiative, AI, and Art/Science experimentation, we talk about decentralized decision-making, the ownership/authorship of co-creation, and re-think existing models of co-creation between arts and science. Finally, our guests are careful not to present co-creation as a panacea, and that accompanying strategies are necessary to make it productive.Katerina Cizek is an Emmy-winning documentary director working across many media platforms: digital media, broadcasting (radio and television), print, and live presentations/installations. Her work has documented the Digital Revolution and has itself become part of the movement. As a filmmaker-in-residence, she has helped redefine the National Film Board of Canada as one of the world's leading digital content hubs for a community-based and globally recognized documentary.William Uricchio revisits the histories of old media when they were new; explores interactive and participatory documentary; writes about the past and future of television; thinks about algorithms and archives; and researches narrative in immersive and interactive settings. He is Professor of Comparative Media Studies, founder and Principal Investigator of the MIT Open Documentary Lab, and Principal Investigator of the Co-Creation Studio. He was also Professor of Comparative Media History at Utrecht University in the Netherlands and has held visiting professorships at the Freie Universität Berlin, Stockholm University, the Georg-August-Universität Göttingen (Lichtenberg-Kolleg), China University of Science and Technology, and in Denmark where he was DREAM professor. He has received Guggenheim, Humboldt, and Fulbright fellowships, the Berlin Prize, and the Mercator Prize. His publications include Reframing Culture; We Europeans? Media, Representations, Identities; Die Anfänge des deutschen Fernsehens; Media Cultures; Many More Lives of the Batman; Collective Wisdom: Co-Creating Media Within Communities, across Disciplines and with Algorithms, and hundreds of essays and book chapters, including a visual "white paper" on the documentary impulse (momentsofinnovation.mit.edu). He is currently leading a two-year research initiative on augmentation and public spaces with partners in Montreal and Amsterdam.A full transcript of this episode will be available soon!Here are some of the references from this episode, for those who want to dig a little deeper:Collective WisdomNational Film Board of Canada - HighriseGeorge StoneyColin mentioned “Bear 42,” but meant Bear 71 (and apologizes for failing memory). Here's a short article on that film and the newer VR version of the original screen-based film.Henry on Archive of Our OwnJ.R.R. Tolkien on SubcreationWaves of Buffalo and other MIT Co-Creation Studio Worlding projectsISeeChange collective climate change studyStephanie Dinkins, AI artistGina Czarnicki Artwork - HeirloomGoogle Smart City Experiment in TorontoGoncharov: The Fake Martin Scorsese Film the Internet Brought to LifeCheck out our previous episode with Mike MonelloShare your thoughts via Twitter with Henry, Colin and the How Do You Like It So Far? account! You can also email us at howdoyoulikeitsofarpodcast@gmail.com.Music:“In Time” by Dylan Emmett and “Spaceship” by Lesion X.––––––––––––––––––––––––––––––In Time (Instrumental) by Dylan Emmet  https://soundcloud.com/dylanemmetSpaceship by Lesion X https://soundcloud.com/lesionxbeatsCreative Commons — Attribution 3.0 Unported — CC BY 3.0Free Download / Stream: https://bit.ly/in-time-instrumentalFree Download / Stream: https://bit.ly/lesion-x-spaceshipMusic promoted by Audio Library https://youtu.be/AzYoVrMLa1Q––––––––––––––––––––––––––––––

Professor Heather Hendershot's opening plenary from the "Bearing Witness, Seeking Justice" conference, with initial remarks by Dean Agustín Rayo and Tracie Jones, Assistant Dean for Diversity, Equity, and Inclusion. Hendershot is Professor of Comparative Media Studies at MIT. She studies television news, conservative media, political movements, and American film and television history. Her 2022 book is "When the News Broke: Chicago 1968 and the Polarizing of America", available from the University of Chicago Press: https://press.uchicago.edu/ucp/books/book/chicago/W/bo183630531.html

William Uricchio is Professor of Comparative Media Studies at the Massachusetts Institute of Technology and founder of the MIT Open Documentary Lab, which brings together storytellers, technologists, and scholars to experiment with new documentary.

We all do things with other people. We design things, we write things, we create things. Despite the fact that co-creation is all around us it can be easy to miss because creation gets assigned to individuals all too often. We're quick to assume that one person should get credit thereby erasing the contributions of others.The two of us have a distinct interest in co-creation because we co-create everything we do. We co-created Sonder Studio, our speaking engagements, our workshops, our design projects, and our soon-to-be-published book, Make Better Decisions. We're also interested in how humans can co-create with technology, specifically artificial intelligence, and when that is a good thing and when that might be something to avoid.To dig into these interests and questions we talked with Kat Cizek and William Uricchio whose upcoming book Collective Wisdom offers the first guide to co-creation as a concept and as a practice. Kat, William, and a lengthy list of co-authors have presented a wonderful tracing of the history of co-creation across many disciplines and societies. The book is based in interviews with 166 people and includes nearly 200 photographs that should not be missed. We hope that you all have a chance to experience their collective work.Kat is an Emmy and Peabody-winning documentarian who is the Artistic Director and Cofounder of the Co-Creation Studio at MIT Open Documentary Lab. William is Professor of Comparative Media Studies at MIT, where he is also Founder and Principal Investigator of the MIT Open Documentary Lab and Principal Investigator of the Co-Creation Studio. Their book is scheduled to be published by MIT Press on November 1st.If you enjoy our podcasts, please subscribe and leave a positive rating or comment. Sharing your positive feedback helps us reach more people and connect them with the world's great minds.Subscribe to get Artificiality delivered to your emailLearn more about Sonder StudioThanks to Jonathan Coulton for our music This is a public episode. If you would like to discuss this with other subscribers or get access to bonus episodes, visit artificiality.substack.com

"How do we create a better free speech culture? How do students learn things like the first amendment in school and in their peer groups? What if at sports events before we sing the National Anthem we recite the first amendment?" First amendment specialist Stuart Brotman joins the podcast, new book in hand. The book, called The First Amendment Lives On: Conversations Commemorating Hugh M. Hefner's Legacy of Enduring Free Speech and Free Press Values, is a series of interviews between Brotman and some of the leading free speech figures of the past half century. From Geoffrey R. Stone to Floyd Abrams to Nadine Strossen and others, Brotman paints a picture of some of the free speech pioneers of recent history. What is the state of free speech today? What is the difference between free speech in a legal sense and a culture of free speech? What are universities doing -- or not doing -- to protect that which we hold sacred? And what does the future hold, as we look to exercise the freedoms of the first amendment in new and robust ways? If you like what we do, please support the show. By making a one-time or recurring donation, you will contribute to us being able to present the highest quality substantive, long-form interviews with the world's most compelling people. Stuart N. Brotman is the inaugural Howard Distinguished Endowed Professor of Media Management and Law and Beaman Professor of Journalism and Electronic Media at the University of Tennessee, Knoxville. Brotman is an honorary adjunct professor at the Jindal Global Law School in India and an affiliated researcher at the Media Management Transformation Centre of the Jönköping International Business School in Sweden. He serves as an appointed arbitrator and mediator at the World Intellectual Property Organization in Geneva, Switzerland, and as a Fellow of the Salzburg Global Seminar, where he was a Visiting Scholar in its Academy on Media and Global Change. He also is an Eisenhower Fellow. He currently serves on the editorial boards of the Federal Communications Law Journal, Journal of Information Policy and the Journal of Media Law and Ethics, as a director of the Telecommunications Policy Research Institute, and on the Future of Privacy Forum Advisory Board. He is the first Distinguished Fellow at The Media Institute, where he also serves on its First Amendment Council. At Harvard Law School, he was the first person ever appointed to teach telecommunications law and policy and its first Visiting Professor of Law and Research Fellow in Entertainment and Media Law. He also served as a faculty member at Harvard Law School's Institute for Global Law and Policy and the Harvard Business School Executive Education Program. He served as the first concurrent fellow in digital media at Harvard and MIT, at the Berkman Klein Center for Internet and Society and the Program on Comparative Media Studies, respectively. He held a professorial-level faculty appointment in international telecommunications law and policy at Tufts University's Fletcher School of Law and Diplomacy. He also chaired both the International Communications Committee and the International Legal Education Committee of the American Bar Association's Section of International Law and Practice.

In her 2021 book Saving the News: Why the Constitution Calls for Government Action to Preserve Freedom of Speech, our guest Martha Minow “outlines an array of reforms, including a new fairness doctrine, regulating digital platforms as public utilities, using antitrust authority to regulate the media, policing fraud, and more robust funding of public media. As she stresses, such reforms are not merely plausible ideas; they are the kinds of initiatives needed if the First Amendment guarantee of freedom of the press continues to hold meaning in the twenty-first century.” Martha Minow has taught at Harvard Law School, where she also served as Dean, since 1981. In addition to Saving the News, she is author of When Should Law Forgive? (2019), In Brown's Wake: Legacies of America's Constitutional Landmark (2010), among many other books and articles. She is an expert in human rights and advocacy for members of racial and religious minorities and for women, children, and persons with disabilities, she also writes and teaches about digital communications, democracy, privatization, military justice, and ethnic and religious conflict. Heather Hendershot is Professor of Comparative Media Studies at MIT and studies TV news, conservative media, political movements, and American film and television history. She is author of the forthcoming book When the News Broke: Chicago 1968 and the Polarizing of America, which follows her 2016 title Open to Debate: How William F. Buckley Put Liberal America on the Firing Line. She has held fellowships at Vassar College, New York University, Princeton, Harvard, Radcliffe, and Stanford, and she has also been a Guggenheim fellow. Her courses emphasize the interplay between creative, political, and regulatory concerns and how those concerns affect what we see on the screen.

Ethan Zuckerman is a Professor at the University of Massachusetts at Amherst (my alma mater), where he teaches Public Policy, Communication, and Information. His work focuses on designing and advocating for versions of social media that have positive social and civic impacts. Which means moving beyond existing models of funding and governance. On the show, Ethan talks about the Metaverse, trust, Facebook vs Apple, making the Metaverse a safe space, governance of online spaces, data ownership, what the biggest piece missing from the Metaverse conversation is, Omar Wasow and Black Planet, and technical barriers when it comes to storytelling access on various platforms. Ethan founded the Institute for Digital Public Infrastructure to explore the ideas previously mentioned. It's a research group studying and building alternatives to the existing commercial internet. Previously Ethan was at the MIT Media Lab working at the Center for Civic Media, researching the relationship between media and social change, and building tools to study how ideas spread in the media, and how citizens can better participate in their civic lives. He is also the inventor of pop-up windows. Ethan has many hats but the one that he wears the most is that of a blogger/writer. His work has appeared in The Atlantic, CNN, Wired and others. He also has a Ted Talk about listening to global voices. Over the years, he's been a tech startup guy (with Tripod.com), a non-profit founder (Geekcorps.org) a peace Corp for geeks, transferring tech skills from geeks in developed nations to geeks in emerging nations, especially entrepreneurial geeks who are building small businesses. He is also the Co-founder of Globalvoices.org which is a global blogging community. He's has written two books: Mistrust: Why Losing Faith in Institutions Provides the Tools to Transform Them and Rewire: Digital Cosmopolitans in the Age of Connection, both published through W.W. Norton. And is an alumnus of the Berkman Klein Center at Harvard, the MIT Media Lab and Comparative Media Studies at MIT, Geekcorps, and Tripod. --- Support this podcast: https://anchor.fm/DreamNation/support

Prof. Mack Hagood, author of Hush: Media and Sonic Self Control and producer of Phantom Power, joins Dario to discuss sound studies and scholarly podcasting. Phantom Power is a benchmark academic podcast in terms of acoustic form and scholarly depth. Its focus is on the sonic arts and humanities and the show utilises all the myriad affordances of sound to explore scholarship and sound art. Mack and Dario unpack the joys and labors of academic podcasting, discussing the production process and the relationship between theory and practice which leads to discussion of Mack's chapter "The Scholarly Podcast: Form and Function in Audio Academia" recently published in Saving New Sounds: Podcast Preservation and Historiography edited by Jeremy Wade Morris and Eric Hoyt. A transcript of this episode is available here. Mack Hagood is an Associate Professor of Comparative Media Studies at Miami University, Ohio, where he studies digital media, sound technologies, disability, and popular music. Mack has published work on tinnitus, the use of noise-canceling headphones in air travel, the noise of fans in NFL football stadiums, indie rock in Taiwan, the ontology of Foley and digital film sound, and the forms and functions of scholarly podcasts. Show Notes: Lori and Dario discuss Professor Steffan Garrero's 'experiment' in gaming the Apple Podcast Charts. These episodes of Phantom Power are mentioned in particular: Test Subjects with Mara Mills For Some Odd Reason with Kate Carr R. Murray Schafer: Part 1 and Part 2 Emotional Rescue Mack mentions David Hendy's radio series Noise: A Human History which he uses as a text in his sound studies class. Mack also mentions Jennifer Stoever's book The Sonic Color Line: Race and the Cultural Politics of Listening. Contact Us: Email: podcaststudiespodcast@gmail.com Twitter: @podstudiespod Send us a voice message: anchor.fm/podcaststudiespodcast/message --- Send in a voice message: https://anchor.fm/podcaststudiespodcast/message

Video and transcript available at https://cms.mit.edu/video-memorial-colloquium-in-honor-of-jing-wang ====== Professor Jing Wang — a beloved longtime colleague, vocal supporter of Comparative Media Studies/Writing, and mentor to countless students and fellow faculty — passed away at age 71 this past July. At this Colloquium, we publicly honor her life and work, featuring brief talks by some of those who knew her best. They include: Emma J. Teng, T.T. and Wei Fong Chao Professor of Asian Civilizations in MIT History and the Director of Global Languages. She teaches classes in Chinese culture, Chinese migration history, Asian American history, East Asian culture, and women's and gender studies. Teng was Wang's close colleague in Chinese studies for two decades. T.L. Taylor, Professor of Comparative Media Studies at MIT and co-founder of AnyKey, an organization dedicated to diversity and inclusion in gaming. She is a qualitative sociologist whose research explores the interrelations between culture and technology in online environments. She was a colleague to Wang, working with her on various department-related issues, but mostly counted her as a dear friend. Han Su, S.M. CMS, '20, is Founder & CEO of Privoce, which builds tools to help netizens take better control of their data. Jing Wang served as advisor on his thesis Theory and Practice Towards a Decentralized Internet. Tani Barlow, George and Nancy Rupp Professor of Humanities at Rice University, who met Wang in 1986 at Duke University, where Barlow came to her first academic conference. Over the next 45 years, Wang and Barlow were close friends, sisters, comrades. “We saw each other through joy, success, battles, losses, tragedies and the tedium and labor of writing,” Barlow writes. She is the author of The Question of Women in Chinese Feminism (2004) and In the Event of Women (2021), as well as many edited volumes. She is the founding senior academic editor of positions: asia critique. Jing Wang was a founding member of the journal.

In this episode: Iago Bojczuk, current research affiliate with the Global Media Technologies and Cultures Lab at the University of California, in Santa Barbara, and former Lemann Fellow in Comparative Media Studies at the Massachusetts Institute of Technology (MIT), talks about the power of language and culture, the impact of WhatsApp in Brazilian politics and society, and the policies to be considered in this disruptive digital world. Feedback regarding this episode? Please do it to info@tiagocosta.media. Support the work that I'm doing by sending some love through PayPal.me/tiagorodriguesdcosta. Follow the podcast's page on Instagram @analyzepodcast.

Now that Kamala Harris is the Vice President Elect, there is a lot to celebrate with this triumphant accomplishment.  In this Radiant Mix episode, I have a special guest host, my dear friend Rekha Malhotra, otherwise known as DJ Rekha. We talk about Kamala Harris, multiracial identity, politics, anti-blackness & the caste system within the Indian community & America, the importance of social activism and the effects of one shattered glass ceiling for women of color. Rekha is a DJ, producer, curator, and educator. They have been credited with pioneering Bhangra music in North America via Basement Bhangra club night - the party lasted 20 years! Rekha has done remixes for countless artists and has performed at the Obama White House and throughout the world. Rekha has a Masters in Comparative Media Studies from MIT and produces the weekly podcast Bhangra and Beyond. SHOW HIGHLIGHTS: Celebrating the rise of Kamala Harris and real talk on the mixed perspective from the biracial and South Asian prospective. Anti-blackness in the South Asian community and throughout America The role of privilege, mixed race identity, caste systems, class, professional accomplishments on how Kamala Harris and Barack Obama rose to the highest political offices in America. Colorism & subconscious authenticity tests for multiracial individuals and immigrants. Power and racism in America How can we all get involved to continue to fight for our rights and democracy.   LINKS: DJ Rekha on Instagram FairFight.com - Help take back the Senate in Georgia through Stacey Abram’s organization Fair Fight Action.  @RadiantMix @Hope.McGrath HopeMcGrath.com  

Lana Swartz, ’09, is joined by Aswin Punathambekar, ’03, to discuss Swartz’s new book New Money: How Payment Became Social Media (Yale University Press). New Money frames money as a media technology, one in major transition, and interrogates the consequences of those changes. Lana Swartz is an Assistant Professor in Department of Media Studies at the University of Virginia and a 2009 graduate of MIT’s Comparative Media Studies master’s program. Prior to New Money, she published Paid: Tales of Dongles, Checks, and Other Money Stuff (MIT Press). Aswin Punathambekar is Swartz’s colleague at UVa’s Department of Media Studies, where he is an Associate Professor. He graduated from the Comparative Media Studies program in 2003 and is co-author of the upcoming (provisionally-titled) The Digital Popular: Media, Culture, and Politics in Networked India. Video and transcript also available: https://cms.mit.edu/video-lana-swartz-new-money-how-payment-became-social-media/

How have we used twentieth- and twenty-first-century sound technologies to carve out sonic space out of the hustle and bustle of contemporary life? In search for an answer, in this episode I speak with Mack Hagood, Blayney Associate Professor of Comparative Media Studies at Miami University, writer, and podcaster about his book, Hush: Media and Sonic Self-Control (Duke University Press, 2011). In Hush, Hagood examines a variety of twentieth- and twenty-first-century technologies of sonic self-control that includes nature recordings, clinical audiometric tools, and “sound conditioners” through to top-selling white noise apps and the noise-canceling headphones offered under the commercially succesfull Bose and Beats brands. What this assortment of tools and technologies have in common, Hagood argues, is that they are all “orphic media”: kinds of media that carry or generate content that is designed to efface itself as such. Orphic media can be understood as tactics and technologies that offer us respite from postmodern conditions of excess and distraction, even if that promise is not always fulfilled. Hagood draws on a variety of sources, including the results of his own ethnographic work, patent documents, and archival material, to develop a critical account of these media that—ironically—fight sound with yet more sound, one that is both grounded in the technical detail of how specific devices do this work and is sensitive to their various use-contexts, both actual and intended. Mack Hagood produces and hosts the Phantom Power podcast, an aural exploration of the sonic arts and humanities that launched in 2018 with the support of the Miami University Humanities Center and The National Endowment for the Humanities, and can be subscribed to wherever you get your podcasts. Eamonn Bell (@_eamonnbell) is a postdoctoral Research Fellow at Trinity College Dublin in the Department of Music. His current research project examines the story of the compact disc from a viewpoint between musicology and media studies. Learn more about your ad choices. Visit megaphone.fm/adchoices

How have we used twentieth- and twenty-first-century sound technologies to carve out sonic space out of the hustle and bustle of contemporary life? In search for an answer, in this episode I speak with Mack Hagood, Blayney Associate Professor of Comparative Media Studies at Miami University, writer, and podcaster about his book, Hush: Media and Sonic Self-Control (Duke University Press, 2011). In Hush, Hagood examines a variety of twentieth- and twenty-first-century technologies of sonic self-control that includes nature recordings, clinical audiometric tools, and “sound conditioners” through to top-selling white noise apps and the noise-canceling headphones offered under the commercially succesfull Bose and Beats brands. What this assortment of tools and technologies have in common, Hagood argues, is that they are all “orphic media”: kinds of media that carry or generate content that is designed to efface itself as such. Orphic media can be understood as tactics and technologies that offer us respite from postmodern conditions of excess and distraction, even if that promise is not always fulfilled. Hagood draws on a variety of sources, including the results of his own ethnographic work, patent documents, and archival material, to develop a critical account of these media that—ironically—fight sound with yet more sound, one that is both grounded in the technical detail of how specific devices do this work and is sensitive to their various use-contexts, both actual and intended. Mack Hagood produces and hosts the Phantom Power podcast, an aural exploration of the sonic arts and humanities that launched in 2018 with the support of the Miami University Humanities Center and The National Endowment for the Humanities, and can be subscribed to wherever you get your podcasts. Eamonn Bell (@_eamonnbell) is a postdoctoral Research Fellow at Trinity College Dublin in the Department of Music. His current research project examines the story of the compact disc from a viewpoint between musicology and media studies. Learn more about your ad choices. Visit megaphone.fm/adchoices

How have we used twentieth- and twenty-first-century sound technologies to carve out sonic space out of the hustle and bustle of contemporary life? In search for an answer, in this episode I speak with Mack Hagood, Blayney Associate Professor of Comparative Media Studies at Miami University, writer, and podcaster about his book, Hush: Media and Sonic Self-Control (Duke University Press, 2011). In Hush, Hagood examines a variety of twentieth- and twenty-first-century technologies of sonic self-control that includes nature recordings, clinical audiometric tools, and “sound conditioners” through to top-selling white noise apps and the noise-canceling headphones offered under the commercially succesfull Bose and Beats brands. What this assortment of tools and technologies have in common, Hagood argues, is that they are all “orphic media”: kinds of media that carry or generate content that is designed to efface itself as such. Orphic media can be understood as tactics and technologies that offer us respite from postmodern conditions of excess and distraction, even if that promise is not always fulfilled. Hagood draws on a variety of sources, including the results of his own ethnographic work, patent documents, and archival material, to develop a critical account of these media that—ironically—fight sound with yet more sound, one that is both grounded in the technical detail of how specific devices do this work and is sensitive to their various use-contexts, both actual and intended. Mack Hagood produces and hosts the Phantom Power podcast, an aural exploration of the sonic arts and humanities that launched in 2018 with the support of the Miami University Humanities Center and The National Endowment for the Humanities, and can be subscribed to wherever you get your podcasts. Eamonn Bell (@_eamonnbell) is a postdoctoral Research Fellow at Trinity College Dublin in the Department of Music. His current research project examines the story of the compact disc from a viewpoint between musicology and media studies. Learn more about your ad choices. Visit megaphone.fm/adchoices

How have we used twentieth- and twenty-first-century sound technologies to carve out sonic space out of the hustle and bustle of contemporary life? In search for an answer, in this episode I speak with Mack Hagood, Blayney Associate Professor of Comparative Media Studies at Miami University, writer, and podcaster about his book, Hush: Media and Sonic Self-Control (Duke University Press, 2011). In Hush, Hagood examines a variety of twentieth- and twenty-first-century technologies of sonic self-control that includes nature recordings, clinical audiometric tools, and “sound conditioners” through to top-selling white noise apps and the noise-canceling headphones offered under the commercially succesfull Bose and Beats brands. What this assortment of tools and technologies have in common, Hagood argues, is that they are all “orphic media”: kinds of media that carry or generate content that is designed to efface itself as such. Orphic media can be understood as tactics and technologies that offer us respite from postmodern conditions of excess and distraction, even if that promise is not always fulfilled. Hagood draws on a variety of sources, including the results of his own ethnographic work, patent documents, and archival material, to develop a critical account of these media that—ironically—fight sound with yet more sound, one that is both grounded in the technical detail of how specific devices do this work and is sensitive to their various use-contexts, both actual and intended. Mack Hagood produces and hosts the Phantom Power podcast, an aural exploration of the sonic arts and humanities that launched in 2018 with the support of the Miami University Humanities Center and The National Endowment for the Humanities, and can be subscribed to wherever you get your podcasts. Eamonn Bell (@_eamonnbell) is a postdoctoral Research Fellow at Trinity College Dublin in the Department of Music. His current research project examines the story of the compact disc from a viewpoint between musicology and media studies. Learn more about your ad choices. Visit megaphone.fm/adchoices

How have we used twentieth- and twenty-first-century sound technologies to carve out sonic space out of the hustle and bustle of contemporary life? In search for an answer, in this episode I speak with Mack Hagood, Blayney Associate Professor of Comparative Media Studies at Miami University, writer, and podcaster about his book, Hush: Media and Sonic Self-Control (Duke University Press, 2011). In Hush, Hagood examines a variety of twentieth- and twenty-first-century technologies of sonic self-control that includes nature recordings, clinical audiometric tools, and “sound conditioners” through to top-selling white noise apps and the noise-canceling headphones offered under the commercially succesfull Bose and Beats brands. What this assortment of tools and technologies have in common, Hagood argues, is that they are all “orphic media”: kinds of media that carry or generate content that is designed to efface itself as such. Orphic media can be understood as tactics and technologies that offer us respite from postmodern conditions of excess and distraction, even if that promise is not always fulfilled. Hagood draws on a variety of sources, including the results of his own ethnographic work, patent documents, and archival material, to develop a critical account of these media that—ironically—fight sound with yet more sound, one that is both grounded in the technical detail of how specific devices do this work and is sensitive to their various use-contexts, both actual and intended. Mack Hagood produces and hosts the Phantom Power podcast, an aural exploration of the sonic arts and humanities that launched in 2018 with the support of the Miami University Humanities Center and The National Endowment for the Humanities, and can be subscribed to wherever you get your podcasts. Eamonn Bell (@_eamonnbell) is a postdoctoral Research Fellow at Trinity College Dublin in the Department of Music. His current research project examines the story of the compact disc from a viewpoint between musicology and media studies. Learn more about your ad choices. Visit megaphone.fm/adchoices

Pushers are back with a special episode. Today we are having an open forum discussion regarding race with our two guests Amy Carleton and Tien Sydnor-Campbell. Amy teaches Comparative Media Studies at MIT and is an advocate for knowledge equity. Tien is a medically retired body-centered psychotherapist who specializes in PTSD, she has been in the profession for twenty-plus years and is currently writing a book. This is a very special episode and we hope you enjoy. Don't forget to subscribe and follow the social media.

Frank Bentley and Edward Barrett wrote Building Mobile Experiences, a book recently published by the MIT Press that describes the qualitative and quantitative research process his teams at MIT and Motorola use to create unique and successful mobile products. Frank’s research centers on building new mobile experiences to strengthen strong tie social relationships and to bring joy and delight to consumers. The techniques outlined in the book have evolved over the past 10 years and draw from anthropology, Human-Computer Interaction, design, computer science, and business. Frank is a Principal Staff Research Scientist in the Core Research Group at Motorola Mobility and teaches within MIT’s Department of Comparative Media Studies. He is interviewed by QRCA VIEWS Managing Editor, Kay Corry Aubrey.

In this episode, Sean Latham, the Director for the Oklahoma Center for the Humanities, sits down with Mack Hagood, the Blayney Associate Professor of Comparative Media Studies at Miami University, in Ohio, and the author of Hush: Media and Sonic Self-Control. Together they discuss what sound means for us, how it's social effects have transformed over time, and just why we seem to like playing with it so much.

Co-Creation is picking up steam as a claim, aspiration, and buzz-word du jour. But what is and why does it matter? Drawing on a just-released field study, Collective Wisdom, this session addresses those questions and explore the method’s implications for just and equitable creation. It considers co-creation in the arts with communities, across disciplines and organizations, and with non-humans (both biological and AI systems), calling out precedents and best practices in a broad array of communities, including historically marginalized groups. What are the trends, opportunities, and challenges bound up in co-creation and its various deployments, and why it is increasingly urgent in our time? William Uricchio is Professor of Comparative Media Studies at MIT, where he is also founder and Principal Investigator of the MIT Open Documentary Lab and Principal Investigator of the Co-Creation Studio. He, together with Katerina Cizek, authored Collective Wisdom — a field study on co-creation. His current research considers co-creation, documentary, and the epistemological crisis that characterizes our time.

Vivek Bald, Associate Professor of Writing and Digital Media, reads from a new essay that uses a teenage encounter with police and the justice system to explore questions of immigrant acceptability, racialization, and the South Asians American embrace of model minority status. He also provides an update on his documentary film, In Search of Bengali Harlem, recently funded by the PBS-affiliated Center for Asian American Media, and currently being edited by Comparative Media Studies master’s alum, Beyza Boyacioglu. Between the essay and film, Bald reflects on South Asian American experiences of multi-racial identity and histories of cross-racial community-making. Bald is a scholar, writer, and documentary filmmaker whose work focuses on histories of migration and diaspora, particularly from the South Asian subcontinent. He is the author of Bengali Harlem and the Lost Histories of South Asian America (Harvard University Press, 2013), and co-editor, with Miabi Chatterji, Sujani Reddy, and Manu Vimalassery of The Sun Never Sets: South Asian Migrants in an Age of U.S. Power (NYU Press, 2013).

In 1998, MIT’s Comparative Media Studies program held the first Media in Transition (MiT) conference and inaugurated a related book series. Research from that first MiT conference appeared in Democracy and New Media, Jenkins & Thorburn, eds., (MIT Press, 2003). Now, twenty years later, we are organizing the 10th iteration of the event. Much has changed over these two decades, but the theme “democracy and digital media” is as urgent as ever. Twenty years ago there was no Facebook, Twitter, or Netflix. iPhones and Samsung Galaxies had not yet hit the shelves. And Siri and Alexa were still in development. Since 1998, media have undergone major transition. We have witnessed a shift from Napster to Spotify, from Web 1.0 to 2.0, from CU-SeeMe to Twitch TV, and beyond. We have experienced the rise of social media, civic media, algorithmic cultures, and have seen ever greater concentration of media ownership. The events of 9/11 catalyzed intensified state surveillance and privatized security using various media technologies. Undergirding these shifts have been major transformations in global media infrastructure, the platformization of the Internet, and the ubiquity of the mobile phone. In the US, we also have seen changes in the news ecosystem with the likes of ProPublica and community engagement journalism. At the same time, public trust in media has dropped from 55% in 1998 to 32% in 2016, according to a Pew report. For better and worse, a growth of interest in media ritual and a decline in the more familiar transmission paradigm is underway. Given such changes, concepts of participation, trust, and democracy are increasingly fraught and have been powerfully repositioned. How will our news media look and sound in the next decade? What can we learn from news media of the past? What can international perspectives reveal about the variability and plasticity of media landscapes? How are non-traditional sources of learning, knowledge production, and participation reshaping civic spheres? We are interested in how these issues play out across media, whether as represented in television series and films, or enacted in rule set and player interactions in games, or enabled in community media, music, social media, and talk radio. We welcome research that considers these issues in public media and commercial media, with individual users and collective stakeholders, across media infrastructures and media texts, and embedded in various historical eras or cultural settings.

In 1998, MIT’s Comparative Media Studies program held the first Media in Transition (MiT) conference and inaugurated a related book series. Research from that first MiT conference appeared in Democracy and New Media, Jenkins & Thorburn, eds., (MIT Press, 2003). Now, twenty years later, we are organizing the 10th iteration of the event. Much has changed over these two decades, but the theme “democracy and digital media” is as urgent as ever. Twenty years ago there was no Facebook, Twitter, or Netflix. iPhones and Samsung Galaxies had not yet hit the shelves. And Siri and Alexa were still in development. Since 1998, media have undergone major transition. We have witnessed a shift from Napster to Spotify, from Web 1.0 to 2.0, from CU-SeeMe to Twitch TV, and beyond. We have experienced the rise of social media, civic media, algorithmic cultures, and have seen ever greater concentration of media ownership. The events of 9/11 catalyzed intensified state surveillance and privatized security using various media technologies. Undergirding these shifts have been major transformations in global media infrastructure, the platformization of the Internet, and the ubiquity of the mobile phone. In the US, we also have seen changes in the news ecosystem with the likes of ProPublica and community engagement journalism. At the same time, public trust in media has dropped from 55% in 1998 to 32% in 2016, according to a Pew report. For better and worse, a growth of interest in media ritual and a decline in the more familiar transmission paradigm is underway. Given such changes, concepts of participation, trust, and democracy are increasingly fraught and have been powerfully repositioned. How will our news media look and sound in the next decade? What can we learn from news media of the past? What can international perspectives reveal about the variability and plasticity of media landscapes? How are non-traditional sources of learning, knowledge production, and participation reshaping civic spheres? We are interested in how these issues play out across media, whether as represented in television series and films, or enacted in rule set and player interactions in games, or enabled in community media, music, social media, and talk radio. We welcome research that considers these issues in public media and commercial media, with individual users and collective stakeholders, across media infrastructures and media texts, and embedded in various historical eras or cultural settings.

Myron Dewey is an indigenous journalist, educator, documentary filmmaker and the developer of Digital Smoke Signals, a social networking and filmmaking initiative, emerging out of the Standing Rock Sioux Reservation protests against the Dakota Access Pipeline project of 2016-17. Using a full range of contemporary media, including drone technologies, Dewey has pioneered the blending of citizen monitoring, documentary filmmaking, and social networking in the cause of environment, social justice and indigenous people’s rights; he co-directed the 2017 award-winning documentary, Awake: A Dream from Standing Rock. Introduction by Lisa Parks, Professor, Comparative Media Studies; Director, Global Media Technologies & Cultures Lab and recently awarded MacArthur Fellow.

On the heels of the day’s graduate program information session, join us for our annual colloquium featuring alumni of CMS, discussing their lives from MIT to their careers today. Nick Seaver, Assistant Professor of Anthropology at Tufts University and a 2010 graduate of Comparative Media Studies, is an anthropologist of technology, whose research focuses on the circulation, reproduction, and interpretation of sound. He holds a Ph.D. from the University of California, Irvine. His dissertation research examined the development of algorithmic music recommendation, and at CMS, he wrote a thesis on the history of the player piano. Colleen Kaman is a user experience strategist at IBM Interactive Experience, skilled in storytelling, user research, learning design, and persuasive technologies. Her expertise is in developing products, services, and campaigns that help users make better decisions and accomplish tasks more effectively and efficiently. Sean Flynn is the Program Director for the Points North Institute, a Maine-based organization supporting nonfiction storytellers through artist development initiatives and, most prominently, the Camden International Film Festival and Points North Forum. He received his master’s degree in Comparative Media Studies in 2015 and worked as a researcher at the MIT Open Documentary Lab. Sean began his filmmaking career as a producer and cinematographer working on two feature-length documentaries, both of which had their premiere at the Tribeca Film Festival and aired on national television.

Everyone is familiar with MIT and the university's reputation as a serious force in the world of science, tech, and research, but how many are aware of MIT's legacy in the arts? Did you know that MIT's founder had envisioned incorporating the arts from the very beginning?In this episode we speak with Leila Kinney and Evan Ziporyn of MIT's Center for Art, Science, and Technology (CAST) about MIT's culture of creativity and exploration, the institution's mission to humanize science and tech, and the exciting projects that have emerged from CAST, like Tomás Saraceno's Arachnid Orchestra.-About Leila Kinney-Leila W. Kinney is the Executive Director of Arts Initiatives and of the MIT Center for Art, Science & Technology (CAST), working with Associate Provost Philip S. Khoury, the School of Architecture and Planning (SA+P), the School of Humanities, Arts, and Social Sciences (SHASS), the Creative Arts Council, the Council for the Arts at MIT, the MIT List Visual Arts Center, and the MIT Museum, to advance the arts at MIT in the areas of strategic planning, cross-school collaborations, communications and resource development.Kinney is an art historian with experience in both SA+P, where she was on the faculty in the History, Theory and Criticism section of the Department of Architecture (HTC) and SHASS, where she taught in the Program in Women’s Studies and in Comparative Media Studies. She specializes in modern art, with an emphasis on media in transition, arts institutions and artists’ engagement with mass culture. She is a member of the Executive Committee of a2ru (Alliance for the Arts in Research Universities) and of the Advisory Committees of the Catalyst Collaborative at MIT, the MIT List Visual Arts Center and the MIT Museum.-About Evan Ziporyn-Evan Ziporyn makes music at the crossroads between genres and cultures, and between East and West. He studied at the Eastman School of Music, Yale University, and UC Berkeley with Joseph Schwantner, Martin Bresnick, and Gerard Grisey. He first traveled to Bali in 1981, studying with Madé Lebah, Colin McPhee’s 1930s musical informant. He returned on a Fulbright in 1987.Earlier that year, he performed a clarinet solo at the First Bang on a Can Marathon in New York. His involvement with Bang on a Can continued for twenty five years. In 1992, he co-founded the Bang on a Can All-stars (Musical America’s 2005 Ensemble of the Year), with whom he toured the globe and premiered over one hundred commissioned works, collaborating with Nik Bartsch, Iva Bittova, Don Byron, Ornette Coleman, Brian Eno, Philip Glass, Meredith Monk, Thurston Moore, Terry Riley, and Tan Dun. He co-produced their seminal 1996 recording of Brian Eno’s “Music for Airports,” as well as their most recent CD, “Big Beautiful Dark & Scary” (2012).Ziporyn joined the MIT faculty in 1990, founding Gamelan Galak Tika in 1993, and beginning a series of groundbreaking compositions for gamelan & Western instruments. These include three evening-length works, 2001’s “ShadowBang,” 2004’s “Oedipus Rex” (Robert Woodruff, director), and 2009’s “A House in Bali,” an opera which joins Western singers with Balinese traditional performers, and the Bang on a Can All-stars with a full gamelan. It received its world premiere in Bali that summer and its New York premiere at BAM Next Wave in October 2010.As a clarinetist, Ziporyn recorded the definitive version of Steve Reich’s multi-clarinet “New York Counterpoint” in 1996, sharing in that ensemble’s Grammy in 1998. In 2001, his solo clarinet CD, “This is Not A Clarinet,” made Top Ten lists across the country. His compositions have been commissioned by Yo-Yo Ma’s Silk Road, Kronos Quartet, American Composers Orchestra, Maya Beiser, So Percussion, Wu Man, and the Boston Modern Orchestra Project, with whom he recorded his most recent CD, “Big Grenadilla/Mumbai” (2012). His honors include awards from the Massachusetts Cultural Council (2011); The Herb Alpert Foundation (2011); USA Artists Walker Fellowship (2007); MIT’s Gyorgy Kepes Prize (2006); the American Academy of Arts and Letters Goddard Lieberson Fellowship (2004); as well as commissions from Meet the Composer/Commissioning Music USA and the Rockefeller MAP Fund. Recordings of his works have been been released on Cantaloupe, Sony Classical, New Albion, New World, Koch, Naxos, Innova, and CRI.He is Kenan Sahin Distinguished Professor of Music at MIT. He also serves as Head of Music and Theater Arts, and in 2012 was appointed inaugural Director of MIT’s Center for Art Science & Technology. He lives in Lexington, Massachusetts, with Christine Southworth, and has two children, Leonardo (19) and Ava (12).-About MIT CAST-The MIT Center for Art, Science & Technology (CAST) creates new opportunities for art, science and technology to thrive as interrelated, mutually informing modes of exploration, knowledge and discovery. CAST’s multidisciplinary platform presents performing and visual arts programs, supports research projects for artists working with science and engineering labs, and sponsors symposia, classes, workshops, design studios, lectures and publications. The Center is funded in part by a generous grant from the Andrew W. Mellon Foundation.

Hear from four alums of the graduate program in Comparative Media Studies as they discuss their experience at MIT and what their careers have looked like in the fields a CMS degree prepared them for. Panelists include: Matthew Weise, ’04, a game designer and educator whose work spans industry and academia. He is the CEO of Empathy Box, a company that specializes in narrative design for games and across media. He was the Narrative Designer at Harmonix Music Systems on Fantasia: Music Evolved, the Game Design Director of the GAMBIT Game Lab at MIT, and a consultant for Warner Bros., Microsoft, PBS, The National Ballet of Spain, and others on storytelling and game design. His work, both creatively and critically, focuses on transmedia adaptation with an emphasis on the challenges of adapting cinema into video games. Matt has given lectures and workshops on film-to-game adaptation all over the world, and has published work on how franchises like Alien, James Bond, and horror cinema in general are adapted into games. Links to his writing and game design work, including his IGF nominated The Snowfield, can be found at www.matthewweise.com. Karen Schrier, ’05, an educator, innovator, and creative researcher who is always looking for collaborators and new connections. She is an Associate Professor at Marist College and Director of the Games and Emerging Media program. She also runs the Play Innovation Lab, where she researches and creates games that support learning, ethical reflection, and compassion. Her recent book, Knowledge Games, was published last year (Johns Hopkins University Press), and was covered by Forbes, New Scientist, Times Higher Education, and SiriusXM. Dr. Schrier also edits the book series, Learning, Education & Games, which is published by ETC Press (Carnegie Mellon), and she is the president of the Learning, Education & Games group of the IGDA (International Game Developers Association). She holds a doctorate from Columbia University, master’s from MIT, and a bachelor’s from Amherst College. In addition, Karen and her family (husband, cats, 5 year old and 2 year old) currently live in the Hudson Valley but are hoping to move to Pound Ridge, NY in the winter. Ainsley Sutherland, ’15, a media technologist and researcher working in immersive computing and human-computer interaction design. Her project Voxhop, a tool for voice collaboration in virtual reality, is a 2017 j360 Challenge winner funded by the Knight Foundation and Google News Lab. She was a 2016 fellow at the BuzzFeed Open Lab, as well as a researcher in the Imagination, Computation, and Expression Lab at MIT. She has cofounded Mediate, an MIT DesignX-backed company that enables collaboration in and analysis of 3D environments. She has an M.S. from MIT in Comparative Media Studies, and a B.A. from the University of Chicago, in Economics. Beyza Boyacioglu, ’17, an award-winning documentary filmmaker and artist. Her work has been presented at MoMA Doc Fortnight, IDFA DocLab, Morelia International Film Festival, RIDM, Anthology Film Archives amongst other venues and festivals. She has received grants and fellowships from LEF Foundation, MIT Council for the Arts, Flaherty Seminar, SALT Research and Greenhouse Seminar. She was an artist in residence at UnionDocs in 2012 where she co-directed “Toñita’s” — a documentary portrait of the last Puerto Rican social club in Williamsburg. She is currently producing a cross-platform documentary about Turkey’s gender-bending pop legend Zeki Müren. The project is comprised of a feature film “A Prince from Outer Space: Zeki Müren”, a hotline and a web experience. Currently, Boyacioglu works as a Producer at the MIT Open Documentary Lab.

If you’ve heard of BuzzFeed, you probably think about our famous articles and quizzes, such as The Dress and Which State Are You Actually From?, as well as our video escapades, such as The Try Guys Try Sexy Halloween Costumes and our famous Watermelon Explosion experiment on Facebook Live. The success of our content might seem accidental, but as a result of BuzzFeed’s experimental approach to producing content, the virality of these posts is actually a very scientific and calculated effort. This talk details how BuzzFeed thinks about and creates content, highlighting our paradigms for the function and role of our content. Menendez also discusses the software stack that supports this experimental loop, as BuzzFeed also employs a variety of technologies to build an analytics layer. Included in that tech discussion is also an overview of the metrics and signals BuzzFeed is interested in once content is live. Along the way, Walter highlights some of the Comparative Media Studies learnings he employs on a daily basis to thrive in the BuzzFeed content ecosystem. Walter Menendez is a Senior Data Infrastructure Engineer at BuzzFeed, based in New York. He is an MIT alum of the class of 2015, having majored in Computer Science and Engineering (Course 6-3). While at MIT, he concentrated in Comparative Media Studies, as well as having done undergraduate research in various Media Lab groups (Fluid Interfaces, Laboratory for Social Machines). At BuzzFeed, he is responsible for the development and maintanence of all of BuzzFeed’s data collection, from on-site impression collection to data warehousing solutions, empowering the analytical approach that BuzzFeed uses for the content creation cycle.

B. Coleman is Assistant Professor of Writing and New Media in MIT's Program in Writing and Humanistic Studies and Comparative Media Studies. She is Faculty Director of the C3 Game Culture and Mobile Media initiative.

"MIT’s Jeopardy champ talks strategy, memes -- and becoming strangers’ media object." In early 2017, Lilly Chin won the Jeopardy College Championship. The MIT senior and Comparative Media Studies minor took home a check for $100,000, but with her Final Jeopardy response “Who is the spiciest memelord?”, she also earned a spot in the same internet lore she studied. We talked to Lilly about that Jeopardy experience and discovered that sudden fame, in a digital world where anyone can reach you on forums or Facebook, isn’t always pretty. But Lilly showed us that the right education, whether the enlightening kind you get as a CMS student or the self-guided (or self-inflicted) type you get through years of trawling the darker corners of the internet, can help anyone prepare for their 15 minutes of uninvited fame: or as she put it, for the surreality of becoming other people’s media object. Image credit: Jeopardy Productions

Hear from four alums of the graduate program in Comparative Media Studies as they discuss their experience at MIT and what their careers have looked like in the fields a CMS degree prepared them for. Panelists include: Andres Lombana-Bermudez, ’08, a researcher and designer working at the intersection of digital technology, youth, and learning. Andres holds a Ph.D. in Media Studies from UT-Austin, an M.Sc. in Comparative Media Studies, and bachelor’s degrees in Political Science and Literature from Universidad de los Andes in Bogota, Colombia. He is a postdoctoral fellow at Harvard University’s Berkman Klein Center for Internet and Society and a Research Associate with the Connected Learning Research Network. Colleen Kaman, ’10, is a user experience/experience design strategist and designer working at the intersection of digital technology, persuasive design, and content. Colleen holds an M.Sc. in Comparative Media Studies, and bachelor’s degrees in Anthropology from Bates College. She is a senior managing consultant at IBMiX, where she focuses on user-centric healthcare solutions and designing for aging users and helps lead the IBMiX department’s Accessibility practice area. Abe Stein, ’13, Director of Strategic Partnerships at Kill Screen Media Lily Bui, ’16, is currently a PhD student at MIT’s School of Architecture & Planning in the Department of Urban Studies & Planning. Her masters research focused on using sensors to support environmental monitoring, and communicating sensor-based data to different stakeholders.

On the heels of the day’s graduate program information session, we hosted five alums of our master's degree program in Comparative Media Studies. They discussed their lives from MIT to their careers today. Here's who we featured: Margaret Weigel, ’02, who works in digital education: https://www.linkedin.com/profile/view?id=3427777 Dan Roy, ’07, widely known for his games for learning projects: https://www.linkedin.com/profile/view?id=2512953 Ilya Vedrashko, ’06, who does big data-driven consumer research: https://www.linkedin.com/profile/view?id=3838774 Erik Stayton, ’15, now a Ph.D. student at MIT’s program in History, Anthropology, Science, Technology and Society: http://web.mit.edu/hasts/graduate/stayton.html Chelsea Barabas, ’15, the newly minted advisor to the Media Lab’s Digital Currency Initiative: https://www.linkedin.com/profile/view?id=75805502

Unlike lizards, humans can’t regrow limbs. But we can kinda-sorta regenerate our livers. Ceri, an undergrad in Biology and Comparative Media Studies at MIT, explains how and why. ---------- Find us online! Facebook: http://www.facebook.com/MITK12 Twitter: http://www.twitter.com/MITK12Videos http://k12videos.mit.edu ---------- made with love at MIT Creative Commons: CC BY-NC-SA, MIT http://k12videos.mit.edu/terms-and-conditions Hosted by: Ceri Riley Written by: Elizabeth Choe & Ceri Riley Additional Scripting by: George Zaidan Content Reviewer: Dr. Heather Fleming, Prof. Sangeeta Bhatia Executive Producer & Doodles: Elizabeth Choe Director: George Zaidan Camera: Adam Morrell Editor & Motion Graphics: Per Hoel Theme song: Anthony Thomas & Neil Aggarwal Music: “Reverie (small theme)” by _ghost (http://ccmixter.org/files/_ghost/25389) Liver cell images courtesy of MIT’s Laboratory for Microscale Regenerative Technologies (http://lmrt.mit.edu/) Special thanks: Stephen Ayer & Jabberwock Reptiles (http://jabberwockreptiles.com/) Dr. Shannon Hughes Dr. Connor Johnson Dr. Heather Fleming & Prof. Sangeeta Bhatia of MIT’s Laboratory for Microscale Regenerative Technologies (http://lmrt.mit.edu/)

(Co-sponsored with both MIT Global Studies and Languages and Women’s and Gender Studies.) 21st century popular culture, circulated by media, enables unusual affiliations of bodies in motion. When black social dances are practiced by American political leaders, as when First Lady Michelle Obama demonstrates “the Dougie” in her “Let’s Move” anti-obesity campaign, or when Secretary of State Hillary Rodham Clinton dances alongside others during her 2012 tour of Africa, black social dance moves toward a center of considerations of embodied knowledge. This talk wonders at the intertwining of African American social dances and political leadership, conceived as the bodies of elected officials. In addition we will consider the commercial and socially-inscribed leaders of popular cultural, including Beyonce and Brittany Spears, as arbiters of African American social dance. Ultimately, the talk suggests a haunting presence of queers-of-color aesthetic imperatives within political mobilizations of black social dance, continually – and ironically – conceived as part and parcel of rhetorics of liberation and freedom of movement. As queer dances emerge in marginalized relationship to mainstream concerns of identity and gesture, and then migrate toward shifting centers of popular culture, they shimmer and switch, bringing to light – perhaps – possibilities of creative aesthetic social dissent. Thomas F. DeFrantz is Chair of African and African American Studies at Duke University, and director of SLIPPAGE: Performance, Culture, Technology, a research group that explores emerging technology in live performance applications. His books include the edited volume Dancing Revelations Alvin Ailey’s Embodiment of African American Culture (de la Torre Bueno Prize, Oxford University Press, 2004), and Black Performance Theory, co-edited with Anita Gonzalez (Duke University Press, 2014). In 2013, working with Takiyah Nur Amin and an outstanding group of artists and researchers, he founded the Collegium for African Diaspora Dance. A director and writer, he is the outgoing President of the Society of Dance History Scholars. He taught at MIT for many years, in Music and Theater Arts and Comparative Media Studies.

For fifteen years before the graphical Web, thousands of personal computer owners encountered the pleasures, promises, and challenges of online community through networks of dial-up bulletin-board systems (BBS). While prevailing histories of the early internet tend to focus on state-sponsored experiments such as ARPANET, the history of bulletin-board systems reveals the popular origins of computer-mediated social life. From chatting and flirting to shopping and multiplayer games, it was on these locally-run systems that early modem users grappled with questions of trust, identity, anonymity, and sexuality. In this talk, Kevin Driscoll will map out the generative conditions that gave rise to amateur computer networking at the end of the 1970s and trace the diffusion of BBSing across diverse cultural and geographic terrain during the 1980s. This history provides lived examples of systems operated under vastly different social, technical, and political-economic conditions than the centralized platforms we inhabit today. Indeed, remembering the grassroots past of today’s internet creates new opportunities to imagine a more just, democratic tomorrow. Kevin Driscoll (Ph.D., University of Southern California) is a postdoctoral researcher at Microsoft Research. His research concerns the popular and political cultures of networked personal computing with special attention to myths about internet history. Previously, he earned an M.S. in Comparative Media Studies at the Massachusetts Institute of Technology and taught mathematics and computer science at Prospect Hill Academy.

Legendary former MIT professor and housemaster Henry Jenkins, now the Provost’s Professor of Communications, Journalism, Cinematic Arts and Education at the University of Southern California, returns to the Forum for a conversation about his time at the Institute and the founding of CMS as well as his path-breaking scholarship on contemporary media. Forum Director David Thorburn, Jenkins’ longtime friend and colleague, will moderate the discussion. Henry Jenkins is Provost’s Professor of Communication, Journalism, Cinematic Arts and Education at the University of Southern California. He taught at MIT from 1990-2009 and was the founding director of the Comparative Media Studies program at the Institute. He has written many books on film, popular culture and media, including Convergence Culture: Where Old and New Media Collide (2008). David Thorburn is a professor of Literature and Director of the MIT Communications Forum. He is the author of a critical study of the novelist Joseph Conrad and many essays on literature and media. Among his publications: Rethinking Media Change (2007), co-edited with Henry Jenkins.

MIT Students: Are you curious about how to get a job in the game industry as an MIT graduate? What kind of jobs can MIT prepare you for? What should you expect from your first job? The MIT Game Lab has invited a number of local MIT alumni in the game industry to talk about their experiences entering the industry. Panelists include: Ethan Fenn Fire Hose Games Ethan graduated in 2004 with a double major in Courses 18 and 21M. Soon after graduating he joined the team at Harmonix, where he worked as a programmer with an audio focus on several titles, including Karaoke Revolution Party, Guitar Hero, Guitar Hero II, and Rock Band. After a few years at Harmonix, he met Eitan Glinert, who had recently finished his graduate work at GAMBIT and was working on starting up a new game studio, Fire Hose Games. Naomi Hinchen Flash Programmer, Learning Games Network Naomi Hinchen graduated Course 6-3 in 2011 and finished her MEng in 2012. While at MIT, she was on the teams for Poikilia and The Snowfield at GAMBIT (now the MIT Game Lab). Until recently, she worked at Learning Games Network, primarily on the language learning game Xenos. Damián Isla President, co-founder, Moonshot Games Damián has been working on and writing about game technology for over a decade. He is president and co-founder of Moonshot Games, purveyors of fun and innovative mobile gaming fare. Before Moonshot, Damián was AI and Gameplay engineering lead at Bungie Studios, where he was responsible for the AI for the mega-hit first-person shooters Halo 2 and Halo 3. A leading expert in the field of Artificial Intelligence for Games, Damián has spoken on games, AI and character technology at the International Joint Conference on Artificial Intelligence (IJCAI), at the AI and Interactive Digital Entertainment Conference (AIIDE), and at Siggraph, and is a frequent speaker at the Game Developers Conference (GDC). Before joining the industry, Damián earned a Masters Degree with the Synthetic Characters group at the M.I.T. Media Lab. He holds a B.S. in Computer Science, also from M.I.T. Patrick Rodriguez Game Designer, Muzzy Lane Software Patrick Rodriguez graduated from MIT in 2012 with a degree in Comparative Media Studies. He now works for Muzzy Lane Software in Newburyport, MA, making educational/serious games. His most recent project is a corporate training game for a retail chain in mexico that trains employees how to talk with customers to recommend the best product for them. Rob Stokes Senior Level Designer, Harmonix Music Systems Rob grew up in Marshfield, MA, before heading off to MIT for undergrad. While there, Rob earned a B.S. in Aerospace Engineering, which has proven largely useless in his career, except when doing back-of-the-envelope terminal velocity calculations for space stations falling into the gravity wells of gas giants. After MIT, Rob attended the American Film Institute in LA, while he earned his MFA in writing. He next worked at Bungie for five years, working as a mission designer on Halo 2 and one of the design leads on Halo 3. He also led up the story development process for Halo 3 and got to do most of the early writing for missions and cinema tics. After Bungie, Rob co-founded a small startup called Moonshot Games, where he served as Creative Director. He currently works at Harmonix Music Systems in Cambridge, despite not being able to carry a tune, bust a move, or play chopsticks. Mark Sullivan Harmonix Music Systems Mark Sullivan has been working in the games industry for just over two years, during which time he’s been working as a gameplay programmer at Harmonix Music Systems on the 2014 title Fantasia: Music Evolved. Prior to that, he completed his undergrad in course 6 at MIT in 2010, and then his MEng in 2011. He worked as a UROP and eventually a research assistant at the Singapore-MIT GAMBIT Game Lab for most of his time at MIT, from Summer 2007 to Summer 2011.

Social media-fueled protests in many countries have surprised observers with their seemingly spontaneous, combustible power. Yet, many have fizzled out without having a strong impact on policy at the electoral and legislative levels. In this talk, Tufekci will discuss some features of such protests that may be leading to this boom and bust cycle drawing upon primary research in Gezi protests in Turkey as well as “Arab Spring”, Occupy and M15 movements. Zeynep Tufekci is an assistant professor at the University of North Carolina, Chapel Hill. Moderated by Professor of Comparative Media Studies and Head of MIT Foreign Languages and Literatures Ian Condry and Ethan Zuckerman, Director of the MIT Center for Civic Media.

We often talk of video games as being "fun," but this is a mistake. When we play video games, our facial expressions are only occasionally those of of happiness, instead we frown and grimace when fail to achieve our goals. This is the paradox of failure: why do we play video games even though they make us unhappy? In video games, as in tragic works of art, literature, theater, and cinema, it seems that we want to experience unpleasantness even if we also dislike it. Yet failure in a game is unique in that when we fail in a game, it means that we (not a character) are in some way inadequate, and games then motivate us to play more, in order to escape that inadequacy. In this talk, based on his new book The Art of Failure, Jesper Juul will argue that the paradox of failure pervades games on many levels: in game design, in sports coaching, in strategy guides, in taunting, in the prejudices against sore losers. The issue of failure is also central to recurring controversies of what games can, or should be about: what does it mean to cause terrible events to happen in a fictional game world? Games, then are the Art of Failure: the singular art form that sets us up for failure and allows us to experience it and experiment with it. Jesper Juul is an assistant professor at the New York University Game Center and a visiting assistant professor at Comparative Media Studies. He has been working with the development of video game theory since the late 1990's. His publications include Half-Real on video game theory, and A Casual Revolution on how puzzle games, music games, and the Nintendo Wii brought video games to a new audience. He maintains the blog The Ludologist on "game research and other important things".

Young people born in 1980's and 1990's China are the focus of a great deal of scholarly attention as they are the country's first generation of only children. They are also the first generation to come of age with the Internet, and, for many, playing Internet games forms an integral part of the youth experience. This presentation will explore the affective dimensions of digital games from the perspective of urban Chinese youth. What is the significance of an e-sports event that attracts tens of thousands of twenty-somethings, many of whom experience it as a teary-eyed "farewell to their youth"? Or a viral video created by World of Warcraft gamers that urges millions of viewers to "raise their fists in solidarity" to show support for their "spiritual homeland"? What should we make of these phenomena that demonstrate, ever more clearly, the ways in which games are intertwined with people's spiritual and emotional lives? Are games the imagined utopia they are made out to be in these nostalgic accounts or might these affective attachments prove to be a form of what Lauren Berlant (2011) has called "cruel optimism," a relationship in which the very thing that is desired becomes an obstacle to flourishing? Marcella Szablewicz is a Mellon Postdoctoral Fellow in Comparative Media Studies at MIT. She received her Ph.D. from the Department of Communication and Media at Rensselaer Polytechnic Institute and an M.A. in East Asian Studies from Duke University. Her research focuses on youth and digital media in urban China. She is currently working on a book based on her dissertation, provisionally entitled From Addicts to Athletes: Youth Mobilities and the Politics of Digital Gaming in Urban China. Based on ethnographic fieldwork supported by the Fulbright and National Science Foundations, the book will examine the precarious socio-economic futures of urban Chinese youth through the lens of digital gaming culture, while also considering how dominant discourse about digital leisure practice is shaped by larger cultural debates about patriotism and productivity, class and the crafting of the "ideal citizen". Her work can also be found in the Routledge volume Online Society in China and in the Chinese Journal of Communication. Co-sponsored by the Cool Japan Project.

The so-called “yellow journalism” of the New York Journal and the New York World in the 1890s has been discredited by scholars and journalists for privileging sensational and biased stories. In its day, however, many within the news industry considered this experimental form of journalism to be a promising new direction for news writing. Both newspapers explored a reform-oriented form of news that some commentators and reformers believed could play a vital new role in advocating for the public interest. Revisiting the activist impulse behind yellow journalism provides a window on a changing media ecology in which the future of news was under debate. This moment of transition within nineteenth-century media also provides insight into the promise and potential dangers of activist media for today’s civically minded experiments with news. Kelley Kreitz is a Visiting Scholar in Comparative Media Studies at MIT. Her research brings together media studies, the history of journalism, cultural studies, and U.S. and Latin American literary studies. She is completing a book called Electrifying News: A Hemispheric History of Newspapers, Novels, and Media Change. Kelley has also served as a radio journalist and as the director of the Idea Lab at Root Cause, a nonprofit dedicated to advancing new solutions to social problems. She received her Ph.D. in Comparative Literature from Brown University.

Television news provides a window into the cognitive processes commonly deployed to frame, explain, and reason about events. What Hart & Honore (1959/1985) show for courtrooms also holds for newsrooms: they rely on commonsense notions of causation to reconstruct events, assemble narratives, and determine responsibility. The media provide a vehicle for a finer-grained ethical process than is captured by the legal system, often holding people accountable to a higher standard than the law. These standards emerge out of the different voices that appear in the media, creating either a more narrowly elitist or a more broadly-based and inclusive social dialogue. The implied goal of this dialogue is to help move society towards a better and more skillful level of functioning; the media firmly holds that free will is real and that human intentions and actions are potent forces of history that cause social change. To achieve the intended results, however, journalists and others whose voices appear in the media must reconstruct events carefully, identifying possible windows of missed interventions and specific causal forks realistically. Illustrating the social debate in this Comparative Media Studies colloquium, Steen will examine the global media coverage of the July 22, 2011, attack in Norway, demonstrating that the news is not primarily about reporting what happened but about constructing narratives, performing event surgery, and assigning responsibility. Cultural values strongly influence the process of causal reasoning, subtly shaping the future direction of society. Francis Steen is Associate Professor of Communication Studies at UCLA and Director of the UCLA Library Communication Studies Archive, a multimodal research corpus of some 200,000 television news programs automatically annotated by two billion words from closed captioning and transcripts. He will demonstrate some of the tools developed for the project, along with results from the ongoing NSF/CDI collaboration with computer vision and text mining teams. He and Mark Turner jointly direct the Red Hen Lab, a globally distributed laboratory for research on multimodal communication.

Huan Sun, Massachussetts Institute of Technology Huan Sun is a graduate student at Comparative Media Studies and research assistant at Center for Civic Media at Massachusetts Institute of Technology. Her research interest lies in the rise of digital media and its socio-political implications on China. She also involves with the NGO2.0 Project which helps enhance the digital media literacy of grassroots NGOs in China.

Huan Sun, Massachussetts Institute of Technology Huan Sun is a graduate student at Comparative Media Studies and research assistant at Center for Civic Media at Massachusetts Institute of Technology. Her research interest lies in the rise of digital media and its socio-political implications on China. She also involves with the NGO2.0 Project which helps enhance the digital media literacy of grassroots NGOs in China.

Marcella Szablewicz, Rensselaer Polytechnic Institute Marcella Szablewicz is a Ph.D. candidate in the Department of Communication & Media at Rensselaer Polytechnic Institute, and she holds an MA in East Asian Studies from Duke University. Marcella's research focuses on the politics of digital gaming in urban China. In July, she will join MIT's Department of Comparative Media Studies as a Mellon Postdoctoral Fellow.

Marcella Szablewicz, Rensselaer Polytechnic Institute Marcella Szablewicz is a Ph.D. candidate in the Department of Communication & Media at Rensselaer Polytechnic Institute, and she holds an MA in East Asian Studies from Duke University. Marcella's research focuses on the politics of digital gaming in urban China. In July, she will join MIT's Department of Comparative Media Studies as a Mellon Postdoctoral Fellow.

Participants: N. Katherine Hayles (Duke University), Rita Raley (University of California Santa Barbara), Nick Montfort (Comparative Media Studies and Program in Writing and Humanistic Studies, MIT) Moderator: David Thorburn (MIT Literature and Comparative Media Studies)

Participants: Christian Bök (University of Calgary), Bob Stein (SocialBook), Gita Manaktala (MIT Press) Moderator: Amaranth Borsuk (MIT Writing and Humanistic Studies and Comparative Media Studies)

New communications technologies are revolutionizing our experience of news and information. The avalanche of news, gossip, and citizen reporting available on the web is immensely valuable but also often deeply unreliable. How can professional reporters and editors help to assure that quality journalism will be recognized and valued in our brave new digital world? Jay Rosen is director of NYU's Studio 20, a master's level journalism program which uses projects to teach innovation in journalism. He is the author of the blog PressThink, and of the book What are Journalists For? Ethan Zuckerman is director of the Center for Civic Media at MIT, and a principal research scientist at the Media Lab. He blogs at ethanzuckerman.com/blog. A Knight Science Journalism event. Co-sponsored by the Center for Civic Media; Comparative Media Studies; Science, Technology, and Society; and the Program in Writing and Humanistic Studies.

The American postal service has an impressive history, but an uncertain future. Older than the Constitution, it was a wellspring of American democracy and a catalyst for the creation of a nationwide market for information and goods. Today, however, its once indispensable role in fostering civic discourse and facilitating personal communications has been challenged by the Internet and mobile telephony. How is the post office coping? What are its prospects in the digital age? Richard R. John is a professor in the Columbia University Journalism School who specializes in the political economy of communications in the United States. His many publications include two monographs: Spreading the News: The American Postal System from Franklin to Morse (1995) and Network Nation: Inventing American Telecommunications (2010). Kent B. Smith is the manager of strategic business planning for the US Postal Service and is involved in developing perspectives of the future of the postal service and the mailing industry with such groups as the Institute for the Future, the Universal Postal Union, and the International Postal Corporation. David C. Williams is the Inspector General (IG) of the US Postal Service. The IG’s office conducts independent audits and investigations of postal service operations. Previously, he served as IG for the Nuclear Regulatory Commission, Social Security Administration, Department of the Treasury and Housing and Urban Development. Moderator: V.A. Shiva Ayyadurai is a lecturer at MIT in both the Department of Biological Engineering and Comparative Media Studies. He directs the EMAIL Lab and works with the US Postal Service Office of Inspector General exploring ways to retain postal workers’ jobs through the provisioning of email services. His book The EMAIL Revolution is forthcoming this fall.

Scholars and activists have hotly debated the relationship between social media and social movement activity during the current global cycle of protest. This talk investigates media practices in the Occupy movement and develops an analytical framework of social movement media culture: the set of tools, skills, social practices, and norms that movement participants deploy to create, circulate, curate, and amplify movement media across all available platforms. Movement media cultures are shaped by their location within a broader media ecology, and can be said to lean towards open or closed based on the diversity of spokespeople, the role of media specialists, formal and informal inclusion mechanisms, messaging and framing norms, and levels of transparency. The social movement media culture of the Occupy movement leans strongly towards open, distributed, and participatory processes; at the same time, highly skilled individuals and dedicated small groups play key roles in creating, curating, and circulating movement media. Insight into the media culture of the Occupy movement is based on mixed qualitative and quantitative methods. Qualitative insights come from semi-structured interviews with members of Media Teams and Press Working Groups, participant observation and visual research in multiple Occupy sites, and participation in Occupy Hackathons. Quantitative insights are drawn from a survey of over 5,000 Occupy participants, a crowdsourced database of the characteristics of approximately 1200 local Occupy sites, and a dataset of more than 13 million tweets with Occupy related hashtags. Sasha Costanza-Chock is Assistant Professor of Civic Media in the Comparative Media Studies program at MIT. He is a Fellow at the Berkman Center for Internet & Society at Harvard University, co-PI of the MIT Center for Civic Media, and cofounder of the Occupy Research Network.

Videogames are performance activities, like theatre, sports, rituals or dance. The presentation will draw comparisons and contrasts with theatre to understand how videogames can incorporate narratives as part of the performance: games give cues to the player, who has to figure out the script of the story. How can these cues contribute to the narrative of the game? Focusing on the design of the space, and how it provides opportunities for action, provides some of the answers. The novel concept of indexical storytelling describes a series of strategies that use environmental design to help the player form the narrative script of a game. The game gives indications to the player to interpret, carry out, or even react against. These strategies help understand how videogames tell stories, create narrative opportunities, and open up new avenues for innovation. Clara Fernández-Vara is a Postdoctoral Researcher at the Singapore-MIT GAMBIT Game Lab. She is particularly interested in applying methods from textual analysis and performance studies to the study of video games and cross-media artifacts. Her work concentrates on adventure games, as well as the integration of stories in simulated environments through game play. Her goal as a researcher is to bridge disciplines – humanities and sciences, theory and practice – in order to find ways to innovate and open new ground in video games studies and design. Clara holds a Ph.D. in Digital Media from the Georgia Institute of Technology. She earned a BA in English Studies by the Universidad Autónoma de Madrid, and was awarded a fellowship from La Caixa Foundation to pursue a Masters in Comparative Media Studies at MIT. Clara has presented her work at various international academic conferences, such as DiGRA (Digital Games Research Association), Foundations of Digital Games and Future Play. She has also been a speaker at the Game Developer’s Conference, one of the main video game industry gatherings worldwide. She teaches courses on videogame theory and game writing at MIT, and has worked on two experimental adventure games as part of her research, Rosemary (2009), Symon (2010) and Stranded in Singapore (2011).

In the last few years a new trend of designing video games intended to fulfill a serious purpose through impacting the players in real life contexts has emerged. These games claim to raise awareness about social and political issues such as inequity, injustice, poverty, racism, sexism, exploitation, and oppression. Their intent is to reach a specific purpose beyond pure entertainment. But what are the specific attributes of purposeful games and how can they be researched? Which game design challenges arise and how are they addressed? How do players make meaning of their game play experiences in general? And what is the future of purposeful games research? In this talk three perspectives of Mitgutsch’s recent research on purposeful games are outlined: To begin, insights from a recent study on meaningful experiences in players’ lives are examined and the research method of playographies is discussed. In the second part, a research-based game design project on subversive game design and recursive learning is presented and the background of the game Afterland is highlighted. Finally, the narrative of serious games and the design of purposeful games are discussed. On this basis, recent research results will be explored and future challenges for game design and purposeful games research will be outlined. Dr. Konstantin Mitgutsch is a post-doctoral researcher at the Singapore-MIT GAMBIT Game Lab and a Visiting Professor at the University of Vienna. In 2010 he was a Max Kade Fellow at the Education Arcade at the Program of Comparative Media Studies at MIT. He worked at the University of Vienna for several years and published books in the field of game studies and education. Since 2007 he organizes and chairs the annual Vienna Games Conference FROG and is on the expert council of the Pan European Game Information (PEGI).

Amaranth Borsuk discusses her poetic practice as a multi-media writer and artist, reading selections from recent work and showing images and performance footage from current projects. What is a poetics of materiality and how does it play out across print and digital media? What does a focus on the material of language do to our constructions of authorship? Borsuk will read from Between Page and Screen, a digital pop-up book of poems, Tonal Saw, a chapbook constructed from a religious tract, and Excess Exhibit, a flip-book of conjoined poems that mutate from constraint into rapturous abundance. She will also show digital work in progress and read selections from her recently completed manuscript Handiwork, whose poems explore the relationship between torture and writing, trauma and creativity through a combination of Oulipo constraint and surreal lyricism. A poet and scholar, Amaranth Borsuk’s work focuses on textual materiality–from the surface of the page to the surface of language. She is currently a Mellon Postdoctoral Fellow in Comparative Media Studies and Writing and Humanistic Studies at Massachusetts Institute of Technology where she works on and teaches digital poetry. She has a Ph.D. in Literature and Creative Writing from the University of Southern California, where she co-founded The Loudest Voice cross-genre reading series and the Gold Line Press chapbook series. Her essays and book reviews have appeared in print and online. Poems have recently appeared in Colorado Review, Columbia Poetry Review, FIELD, Eleven Eleven, and Denver Quarterly, among other journals. She is the author of a chapbook-length poem, Tonal Saw (The Song Cave, 2010), and Excess Exhibit (ZG Press, forthcoming), a book of conjoined poems written collaboratively with poet and performance artist Kate Durbin, which includes drawings by Zach Kleyn. She has also collaboratively translated and transverted the work of Oulipo poet Paul Braffort together with Gabriela Jauregui and crafted an augmented-reality chapbook, Between Page and Screen, together with Brad Bouse. Recent collaborative work can be found in Black Warrior Review, Caketrain, New American Writing, and Action, Yes!. In addition to writing and studying poetry, Amaranth is also a letterpress printer and book artist whose fascination with printed matter informs her work on digital media.

What do Shakespeare and videogames have in common? Clara Fernández-Vara, a Comparative Media Studies alumna, explains her journey from researching Shakespeare in performance to studying and developing videogames. Applying concepts from theatre in performance illuminates the relationship between the player and the game, as well as between game and narrative. Videogames are not theatre, but the comparison gives way to productive questions: What is the dramatic text of the game? How does this text shape the actions of the player? Who are the performers? Who is the audience? These questions will be addressed in the context of adventure games, a story-driven genre where the player solves puzzles that are integrated in the fictional world of the game. Clara Fernández-Vara is a post-doctoral researcher at the Singapore-MIT GAMBIT Game Lab, where she teaches courses on videogame theory and game writing, as well as develop games with teams of students. Clara is a graduate from the Comparative Media Studies program, and holds a PhD in Digital Media from the Georgia Institute of Technology. Her research concentrates on adventure games, game playing as a performance activity, and the integration of stories in simulated environments. She has released two experimental adventure games, Rosemary (2009) and Symon (2010).

Professor Fox Harrell’s research group — the Imagination, Computation, and Expression (ICE) Lab — builds computational systems for expressing imaginative stories and concepts — “phantasmal media” systems. In particular, his research uses artificial intelligence/cognitive science-based techniques to understanding the human imagination to invent and better understand new forms of computational narrative, identity, games, and related types of expressive digital media. In this talk, he will discuss his recent works and collaborations including the “Living Liberia Fabric,” an AI-based interactive video documentary produced in affiliation with the Truth and Reconciliation Commission of Liberia to memorialize 14 years of civil war, “Generative Visual Renku,” an AI-based form of generative animation, and several other projects. Harrell received the National Science Foundation (NSF) CAREER Award for his project “Computing for Advanced Identity Representation.” He is currently completing a book, Phantasmal Media: An Approach to Imagination, Computation, and Expression, for the MIT Press. Harrell is Associate Professor of Digital Media at MIT in the Program in Writing and Humanistic Studies, Comparative Media Studies, and Computer Science and Artificial Intelligence Lab (CSAIL).

Beth Coleman is Assistant Professor of Writing and New Media in the Program in Writing and Humanistic Studies and Comparative Media Studies. Her fields of research interest include new media, contemporary aesthetics, electronic music, critical theory and literature, and race theory. Philip Tan is a CMS grad who now directs the Singapore-MIT GAMBIT Game Lab, a partnership between MIT/CMS and the government of Singapore to explore new directions for the development of games as a medium. Ivan Askwith is a CMS grad working in New York City as Director of Strategy at Big Spaceship, a digital creative agency. Clara Fernandez-Vara is a Postdoctoral Researcher at the Singapore-MIT GAMBIT Game Lab and a graduate of the CMS master’s program.

Henry Jenkins’ 20-year presence at MIT was formative for him and profoundly valuable for MIT. A year after his departure for USC, Jenkins returns to talk with long-time colleagues about his pioneering scholarship on digital culture, his work as the founding director of Comparative Media Studies, and his experiences as a teacher and housemaster at MIT.

From Nintendo’s first Famicom system, Japanese consoles and videogames have played a central role in the development and expansion of the digital game industry. Players globally have consumed and enjoyed Japanese games for many reasons, and in a variety of contexts. This study examines one particular subset of videogame players, for whom the consumption of Japanese videogames in particular is of great value, in addition to their related activities consuming anime and manga from Japan. Through in-depth interviews with such players, this study investigates how transnational fandom operates in the realm of videogame culture, and how a particular group of videogame players interprets their gameplay experience in terms of a global, if hybrid, industry. Mia Consalvo is visiting associate professor in the Comparative Media Studies program at MIT. She is the author of Cheating: Gaining Advantage in Videogames and is co-editor of the forthcoming Blackwell Handbook of Internet Studies.

Henry Jenkins is the founder of the Comparative Media Studies at MIT and the author of Convergence Culture. Agree, disagree, like, don't like...? Feel free to leave a comment at http://mediasnackers.com/2006/11/mediasnackers-podcast54/

The first in a series of six podcasts, recorded during the first Futures of Entertainment Conference hosted by the Convergence Culture Consortium and Comparative Media Studies at MIT.

This is the second in a series of six podcasts, recorded during the Futures of Entertainment Conference hosted by the Convergence Culture Consortium and Comparative Media Studies at MIT. Television Futures was the first session of the conference. The panelists featured in this recording are Andy Hunter, a Planning Director at GSD&M; Mark Warshaw, founder of FlatWorld Intertainment, Inc; and Josh Bernoff, a vice president at Forrester. The moderator was Henry Jenkins.

Featured speakers included Lauren Cornell, director of Rhizome.org; Jon Ippolito, media artist, curator, author; and our own Beth Coleman, Assistant Professor of Comparative Media Studies and of Writing and Humanistic Studies, co-founder of the SoundLab Cultural Alchemy project.