Podcast appearances and mentions of Henry Jenkins

The 60s produced a Baby Boom generation that catalyzed the dawn of a new era—the space age, the age of television, the global age, and the beginnings of civil rights. At the same time, a new paradigm for parenting was unfolding that put emphasis on permissiveness, defined by what it permitted – the free and unfettered impulses of children. Others worried that the wildness of children, personified by the characters in Maurice Sendak's 1963 classic children's book, Where the Wild Things Are, was destructive, disruptive and disrespectful. Where the Wild Things Were: Boyhood and Permissive Parenting in Postwar America (NYU Press, 2025) centers on the exploding, contentious national conversation about the nature of childhood and parenting in the postwar US emblematized by Dr. Spock's Baby and Child Care. Renowned scholar Henry Jenkins demonstrates that the language that shaped a growing field of advice literature for parents also informed the period's fictions—in film, television, comics, children's books, and elsewhere—produced for and consumed by children. In particular, Jenkins demonstrates, the era's emblematic child was the boy in the striped shirt: white, male, suburban, middle class, Christian, and above all, American. Weaving together intellectual histories and popular texts, Jenkins shows how boy protagonists became embodiments of permissive child rearing, as well as the social ideals and contradictions that permissiveness entailed. From Peanuts comic strips and TV specials to The Cat in the Hat, Dennis the Menace, and Jonny Quest, the book reveals how childhood and the stories about it became central to Cold War concerns with democracy, citizenship, globalization, the space race, science, race relations, gender, and sexuality. Written by a former boy in a striped shirt, Where the Wild Things Were explores iconic works, from Mary Poppins to Lost in Space, contextualizing them through a critical but respectful engagement with the core animating ideas of the permissive imagination. Peter C. Kunze is an assistant professor of communication at Tulane University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/american-studies

The 60s produced a Baby Boom generation that catalyzed the dawn of a new era—the space age, the age of television, the global age, and the beginnings of civil rights. At the same time, a new paradigm for parenting was unfolding that put emphasis on permissiveness, defined by what it permitted – the free and unfettered impulses of children. Others worried that the wildness of children, personified by the characters in Maurice Sendak's 1963 classic children's book, Where the Wild Things Are, was destructive, disruptive and disrespectful. Where the Wild Things Were: Boyhood and Permissive Parenting in Postwar America (NYU Press, 2025) centers on the exploding, contentious national conversation about the nature of childhood and parenting in the postwar US emblematized by Dr. Spock's Baby and Child Care. Renowned scholar Henry Jenkins demonstrates that the language that shaped a growing field of advice literature for parents also informed the period's fictions—in film, television, comics, children's books, and elsewhere—produced for and consumed by children. In particular, Jenkins demonstrates, the era's emblematic child was the boy in the striped shirt: white, male, suburban, middle class, Christian, and above all, American. Weaving together intellectual histories and popular texts, Jenkins shows how boy protagonists became embodiments of permissive child rearing, as well as the social ideals and contradictions that permissiveness entailed. From Peanuts comic strips and TV specials to The Cat in the Hat, Dennis the Menace, and Jonny Quest, the book reveals how childhood and the stories about it became central to Cold War concerns with democracy, citizenship, globalization, the space race, science, race relations, gender, and sexuality. Written by a former boy in a striped shirt, Where the Wild Things Were explores iconic works, from Mary Poppins to Lost in Space, contextualizing them through a critical but respectful engagement with the core animating ideas of the permissive imagination. Peter C. Kunze is an assistant professor of communication at Tulane University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

The 60s produced a Baby Boom generation that catalyzed the dawn of a new era—the space age, the age of television, the global age, and the beginnings of civil rights. At the same time, a new paradigm for parenting was unfolding that put emphasis on permissiveness, defined by what it permitted – the free and unfettered impulses of children. Others worried that the wildness of children, personified by the characters in Maurice Sendak's 1963 classic children's book, Where the Wild Things Are, was destructive, disruptive and disrespectful. Where the Wild Things Were: Boyhood and Permissive Parenting in Postwar America (NYU Press, 2025) centers on the exploding, contentious national conversation about the nature of childhood and parenting in the postwar US emblematized by Dr. Spock's Baby and Child Care. Renowned scholar Henry Jenkins demonstrates that the language that shaped a growing field of advice literature for parents also informed the period's fictions—in film, television, comics, children's books, and elsewhere—produced for and consumed by children. In particular, Jenkins demonstrates, the era's emblematic child was the boy in the striped shirt: white, male, suburban, middle class, Christian, and above all, American. Weaving together intellectual histories and popular texts, Jenkins shows how boy protagonists became embodiments of permissive child rearing, as well as the social ideals and contradictions that permissiveness entailed. From Peanuts comic strips and TV specials to The Cat in the Hat, Dennis the Menace, and Jonny Quest, the book reveals how childhood and the stories about it became central to Cold War concerns with democracy, citizenship, globalization, the space race, science, race relations, gender, and sexuality. Written by a former boy in a striped shirt, Where the Wild Things Were explores iconic works, from Mary Poppins to Lost in Space, contextualizing them through a critical but respectful engagement with the core animating ideas of the permissive imagination. Peter C. Kunze is an assistant professor of communication at Tulane University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/intellectual-history

The 60s produced a Baby Boom generation that catalyzed the dawn of a new era—the space age, the age of television, the global age, and the beginnings of civil rights. At the same time, a new paradigm for parenting was unfolding that put emphasis on permissiveness, defined by what it permitted – the free and unfettered impulses of children. Others worried that the wildness of children, personified by the characters in Maurice Sendak's 1963 classic children's book, Where the Wild Things Are, was destructive, disruptive and disrespectful. Where the Wild Things Were: Boyhood and Permissive Parenting in Postwar America (NYU Press, 2025) centers on the exploding, contentious national conversation about the nature of childhood and parenting in the postwar US emblematized by Dr. Spock's Baby and Child Care. Renowned scholar Henry Jenkins demonstrates that the language that shaped a growing field of advice literature for parents also informed the period's fictions—in film, television, comics, children's books, and elsewhere—produced for and consumed by children. In particular, Jenkins demonstrates, the era's emblematic child was the boy in the striped shirt: white, male, suburban, middle class, Christian, and above all, American. Weaving together intellectual histories and popular texts, Jenkins shows how boy protagonists became embodiments of permissive child rearing, as well as the social ideals and contradictions that permissiveness entailed. From Peanuts comic strips and TV specials to The Cat in the Hat, Dennis the Menace, and Jonny Quest, the book reveals how childhood and the stories about it became central to Cold War concerns with democracy, citizenship, globalization, the space race, science, race relations, gender, and sexuality. Written by a former boy in a striped shirt, Where the Wild Things Were explores iconic works, from Mary Poppins to Lost in Space, contextualizing them through a critical but respectful engagement with the core animating ideas of the permissive imagination. Peter C. Kunze is an assistant professor of communication at Tulane University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

The 60s produced a Baby Boom generation that catalyzed the dawn of a new era—the space age, the age of television, the global age, and the beginnings of civil rights. At the same time, a new paradigm for parenting was unfolding that put emphasis on permissiveness, defined by what it permitted – the free and unfettered impulses of children. Others worried that the wildness of children, personified by the characters in Maurice Sendak's 1963 classic children's book, Where the Wild Things Are, was destructive, disruptive and disrespectful. Where the Wild Things Were: Boyhood and Permissive Parenting in Postwar America (NYU Press, 2025) centers on the exploding, contentious national conversation about the nature of childhood and parenting in the postwar US emblematized by Dr. Spock's Baby and Child Care. Renowned scholar Henry Jenkins demonstrates that the language that shaped a growing field of advice literature for parents also informed the period's fictions—in film, television, comics, children's books, and elsewhere—produced for and consumed by children. In particular, Jenkins demonstrates, the era's emblematic child was the boy in the striped shirt: white, male, suburban, middle class, Christian, and above all, American. Weaving together intellectual histories and popular texts, Jenkins shows how boy protagonists became embodiments of permissive child rearing, as well as the social ideals and contradictions that permissiveness entailed. From Peanuts comic strips and TV specials to The Cat in the Hat, Dennis the Menace, and Jonny Quest, the book reveals how childhood and the stories about it became central to Cold War concerns with democracy, citizenship, globalization, the space race, science, race relations, gender, and sexuality. Written by a former boy in a striped shirt, Where the Wild Things Were explores iconic works, from Mary Poppins to Lost in Space, contextualizing them through a critical but respectful engagement with the core animating ideas of the permissive imagination. Peter C. Kunze is an assistant professor of communication at Tulane University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/communications

The 60s produced a Baby Boom generation that catalyzed the dawn of a new era—the space age, the age of television, the global age, and the beginnings of civil rights. At the same time, a new paradigm for parenting was unfolding that put emphasis on permissiveness, defined by what it permitted – the free and unfettered impulses of children. Others worried that the wildness of children, personified by the characters in Maurice Sendak's 1963 classic children's book, Where the Wild Things Are, was destructive, disruptive and disrespectful. Where the Wild Things Were: Boyhood and Permissive Parenting in Postwar America (NYU Press, 2025) centers on the exploding, contentious national conversation about the nature of childhood and parenting in the postwar US emblematized by Dr. Spock's Baby and Child Care. Renowned scholar Henry Jenkins demonstrates that the language that shaped a growing field of advice literature for parents also informed the period's fictions—in film, television, comics, children's books, and elsewhere—produced for and consumed by children. In particular, Jenkins demonstrates, the era's emblematic child was the boy in the striped shirt: white, male, suburban, middle class, Christian, and above all, American. Weaving together intellectual histories and popular texts, Jenkins shows how boy protagonists became embodiments of permissive child rearing, as well as the social ideals and contradictions that permissiveness entailed. From Peanuts comic strips and TV specials to The Cat in the Hat, Dennis the Menace, and Jonny Quest, the book reveals how childhood and the stories about it became central to Cold War concerns with democracy, citizenship, globalization, the space race, science, race relations, gender, and sexuality. Written by a former boy in a striped shirt, Where the Wild Things Were explores iconic works, from Mary Poppins to Lost in Space, contextualizing them through a critical but respectful engagement with the core animating ideas of the permissive imagination. Peter C. Kunze is an assistant professor of communication at Tulane University. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/popular-culture

Épisode 1284 : Un bâton c'est universel, c'est palpable, ça nous rattache tous à l'Enfance, à la nature et même rien qu'e. Le regardant, en le touchant, il peut faire travailler notre imagination. Quand j'étais gosse, un bâton devenait une épée, un fusil, un club de golf, ça c'était mon histoire perso, mais qu'en est-il de tous les autres, tous ceux qui ont une affinité pour les bâtons au travers du monde ? Et bien quelque part sur Instagram, une communauté les réunit tous: La Stick NationUne communauté née dans la forêt… et sur InternetTout a commencé avec un seul bâton trouvé sur le bord d'un sentier de l'Utah en 2023. Boone Hogg et Logan Jugler trouve le bâton parfait. « un excellent grain dessus » et une « bonne adhérence ». Il décide de créer un compte pour les collectionneurs de bâtons. En quelques jours, d'autres collectionneurs sortent de l'ombre. Ils exposent leurs plus belles trouvailles.Aujourd'hui « Stick Nation » c'est un mouvement mondial rassemblant plusieurs millions de personnes. Sur Instagram le compte @officialstickreview publie les vidéos de ses membres et de leurs bâtons.—Langage commun et folklore partagéComme toute vraie communauté, la Stick Nation a ses codes, son vocabulaire, ses running jokes.On ne parle pas de “branches”, mais de “sticks”. On ne jette pas un stick, on le “libère dans la nature”. Il existe des catégories : le “Wizard Stick” (long et tordu, parfait pour un cosplay de Gandalf), le “Stubby Stick” (petit mais costaud), ou encore le “Sentinel Stick” (garde la maison).—StickNation c'est une vraie communauté au sens anthropologiqueUne communauté, c'est plus que des gens qui aiment la même chose. C'est un groupe structuré autour d'une culture partagée.Les anthropologues comme Howard Rheingold ou Henry Jenkins parlent de “communautés intentionnelles” : elles se forment autour d'un intérêt commun, mais se développent grâce à des rituels, un langage, une mythologie.—Pourquoi ça marche ? Parce que c'est absurde ET communautaireLe succès de la Stick Nation repose sur un équilibre savoureux entre ironie et sincérité.D'un côté, on est dans le second degré. Oui, c'est “juste” des bouts de bois. Mais en faire un objet de culte, c'est drôle. C'est l'anti-bling, l'anti-contenu parfait.Mais de l'autre, on sent aussi une vraie envie de partage. Un besoin de connexion simple et tangible. Le bâton devient un prétexte à la rencontre, au récit, à la créativité.C'est une forme de slow content. On prend le temps de chercher, de regarder, de raconter.—La preuve que même les idées les plus WTF peuvent fédérerLa Stick Nation, c'est aussi une leçon pour les marques et les créateurs de contenu. Il ne faut jamais sous-estimer la puissance du collectif.À l'heure où les algorithmes poussent à l'uniformisation, ces micro-communautés sont des bulles d'authenticité. Et elles peuvent avoir une influence immense.Retrouvez toutes les notes de l'épisode sur www.lesuperdaily.com ! . . . Le Super Daily est le podcast quotidien sur les réseaux sociaux. Il est fabriqué avec une pluie d'amour par les équipes de Supernatifs. Nous sommes une agence social media basée à Lyon : https://supernatifs.com. Ensemble, nous aidons les entreprises à créer des relations durables et rentables avec leurs audiences. Ensemble, nous inventons, produisons et diffusons des contenus qui engagent vos collaborateurs, vos prospects et vos consommateurs. Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

Episode: 3302 Imitation, Originality, and the Creativity of Fan Culture.  Today, when imitation is a good thing.

Last year's strikes by both the Screen Actors Guild and the Writer's Guild, new technology such as generative AI, and a global pandemic have all drastically changed film production in Hollywood. Adding to the issues facing the big screen is the continuing trend of moviegoers bypassing theatrical releases in favor of watching films on the small screen. Is Hollywood ready for a reboot? Henry Jenkins, Professor at the University of Southern California, joins The Excerpt to talk about the current state of moviemaking here in America.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Des Swifties aux supporter.ices du PSG en passant par les inconditionnel.les de Harry Potter, des fans, on en connaît tous·te·s, parfois à commencer par soi-même. Il n'est pas rare qu'à 14 ou 15 ans on ait tapissé les murs de sa chambre, parfois celui de son blog, d'images et d'hommages à son idole. Parfois, cette obsession nous poursuit bien au-delà de l'adolescence et façonne durablement notre identité.Dans cet épisode, la journaliste Antonella Francini nous fait entendre son père qui raconte son obsession de longue date pour Romain Gary. Pour Mélanie Bourdaa, professeure en sciences de l'Information et de la communication être fan est d'abord et avant tout source de joie mais permet aussi la construction d'un safe place dans un monde hostile.Antonella Francini a tourné et écrit cet épisode. La réalisation sonore est signée Renaud Watine. Le générique est réalisé par Clémence Reliat, à partir d'un extrait d'En Sommeil de Jaune. Lena Coutrot est la productrice d'Émotions.Suivez Louie Media sur Instagram, Facebook, Twitter. Si vous aussi vous voulez nous raconter votre histoire, écrivez-nous en remplissant ce formulaire. Et si vous souhaitez soutenir Louie, n'hésitez pas à vous abonner au Club.Pour aller plus loin : Les Fans: Publics actifs et engagés de Mélanie Bourdaa aux Éditions C&FL'épisode d'Émotions de Louie Media “Pourquoi est-il si mal vu d'être fan ?” de la journaliste Cyrielle BeduLa distinction, de Pierre bourdieu aux Éditions de Minuit La saison 8 Queer Eye, une série Netflix originaleLe podcast anglophone de la National Public Radio La última copa/The Last Cup sur ce que signifie être fan en argentine Textual Poachers: Television Fans & Participatory Culture de Henry Jenkins publié chez Routledge Hébergé par Acast. Visitez acast.com/privacy pour plus d'informations.

O segredo de Hollywood para contar grandes histórias não é genialidade ou uma rica cultura. É tudo uma questão de método e processo. Esta é a visão do convidado desta semana, Maurício Mota, brasileiro que hoje vive como produtor na capital mundial do entretenimento tentando seguir o conceito do transmedia storytelling proposto por Henry Jenkins em seu livro Cultura da Convergência — que na nova edição tem introdução do Maurício e uma frase minha bem na capa. É o que Maurício fez, por exemplo, na série East Los High: No Ritmo de L.A., disponível no Brasil no Globoplay.Na conversa, falamos do que significa ser produtor, qual a contribuição o Brasil tem a dar ao entretenimento mundial e o que fazer para curar nosso complexo de vira-lata, expressão que tem uma origem que se mistura com a história do nosso convidado.Links do episódio:Livro Homens difíceis: Os bastidores do processo criativo de Breaking BadLivro Cultura da ConvergênciaSérie East Los High: No Ritmo de L.A.Curso de Storytelling na Alura, com 15% de desconto por tempo limitado.

Hollywood and Wall Street have obvious reasons to be obsessed with I.P. (Intellectual Property) because its consistently proven moneymaking abilities. But, how does it actually enrich the storytelling experience? In 2008, Henry Jenkins was asking these questions in his book, Convergence Culture: Where Old and New Media Collide. I'm joined on this episode by Rehman Nizar Ali, as we discuss:- The Matrix (a trilogy at the point of the book's publication) as the ideal model of transmedia;- how the “mothership” transmedia model has dominated;- what the abandonment of Star Wars canon means for — up to this point — the most sophisticated canon.Also:- There are still more James Bond movies than MCU movies;- the super-hero genre, fatigued or not, as one of empowerment;- what video game to film adaptation has the best potential to work;- and Fredric Wertham's resurgent reputation.Henry Jenkins is a professor at the University of Southern California; previously, he was the director of the MIT Comparative Media Studies Program. He is the author and/or editor of twenty books on various aspects of media and popular culture, including Textual Poachers: Television Fans and Participatory Culture, Hop on Pop: The Politics and Pleasures of Popular Culture, From Barbie to Mortal Kombat: Gender and Computer Games, Spreadable Media: Creating Meaning and Value in a Networked Culture, and By Any Media Necessary: The New Youth Activism. He also co-hosts How Do You Like It So Far?, a podcast about popular culture in a changing world. More can be found on his blog.Rehman Nizar Ali is co-editor of recent films for Terrence Malick including A Hidden Life, Song to Song, and Voyage of Time. Other works include commercials for Facebook, Google, Guerlain, and most recently the museum video installation Dioses y Maquinas! You can also find him at his website.Convergence Culture: Where Old and New Media Collide is published by NYU Press, and is available online or brick and mortar bookstores.

For our final regular episode, we decided to revisit Fan Studies! We begin with a review of our episodes on Foucault and authorship, Michel de Certeau and the tactics of the disempowered, Jane Tompkins and circulation and Michael Warner's idea of discourse publics. Even though it's our last regular Witch, Please episode, don't be fooled, our Transfiguration segment is a HEADY one and Hannah leads us through mind-bending theory about affective economies and affective economics (two different things!!). If you like feminist theory, you'll love the discussion of Sara Ahmed's 2004 article “Affective Economies," and if you're a media theory nerd (which we suspect you may be...), you'll appreciate when Hannah brings Henry Jenkins into the mix to think about the relationship between media industries and fandoms.Ultimately, the conversation, inevitably, gets a bit meta and we apply our newly discovered/uncovered/learned theory to the test with a discussion about the changing face of the Harry Potter fandom, the fandom around Witch, Please the podcast and the radical possibilities AND limits of both.For this episode, we invited our Faculty Club to join in for OWLS so if you hear some unfamiliar voices and brains at work, that's why! Big shoutout to our Faculty Club (a high Patreon tier) for helping us with this last episode and for the financial support. You're why Coach has the hours to add so many sound effects. Hoot, hoot. ***Hey you! We're launching a new show called MATERIAL GIRLS! We've shared our first two episodes on Patreon to get the input of all our Patreon supporters as we develop the series which will launch this summer after we wrap up the Appendix Season. Join our Patreon today to listen to the first episode of our new show and to get access to a ton of audio perks like unedited audio, bloopers, comics, Q&As, and so much more! Become a supporter at patreon.com/ohwitchplease. If becoming a paying subscriber isn't in the cards right now, no stress! Please leave us a review instead — it truly helps sustain the show. Of course, you can always follow us on Instagram or Twitter @ohwitchplease to stay connected. We need your help to start this next chapter of Witch, Please Productions! Hosted on Acast. See acast.com/privacy for more information.

For our final regular episode, we decided to revisit Fan Studies! We begin with a review of our episodes on Foucault and authorship, Michel de Certeau and the tactics of the disempowered, Jane Tompkins and circulation and Michael Warner's idea of discourse publics. Even though it's our last regular Witch, Please episode, don't be fooled, our Transfiguration segment is a HEADY one and Hannah leads us through mind-bending theory about affective economies and affective economics (two different things!!). If you like feminist theory, you'll love the discussion of Sara Ahmed's 2004 article “Affective Economies," and if you're a media theory nerd (which we suspect you may be...), you'll appreciate when Hannah brings Henry Jenkins into the mix to think about the relationship between media industries and fandoms.Ultimately, the conversation, inevitably, gets a bit meta and we apply our newly discovered/uncovered/learned theory to the test with a discussion about the changing face of the Harry Potter fandom, the fandom around Witch, Please the podcast and the radical possibilities AND limits of both.For this episode, we invited our Faculty Club to join in for OWLS so if you hear some unfamiliar voices and brains at work, that's why! Big shoutout to our Faculty Club (a high Patreon tier) for helping us with this last episode and for the financial support. You're why Coach has the hours to add so many sound effects. Hoot, hoot. ***Hey you! We're launching a new show called MATERIAL GIRLS! We've shared our first two episodes on Patreon to get the input of all our Patreon supporters as we develop the series which will launch this summer after we wrap up the Appendix Season. Join our Patreon today to listen to the first episode of our new show and to get access to a ton of audio perks like unedited audio, bloopers, comics, Q&As, and so much more! Become a supporter at patreon.com/ohwitchplease. If becoming a paying subscriber isn't in the cards right now, no stress! Please leave us a review instead — it truly helps sustain the show. Of course, you can always follow us on Instagram or Twitter @ohwitchplease to stay connected. We need your help to start this next chapter of Witch, Please Productions! Hosted on Acast. See acast.com/privacy for more information.

Today on a Super Special Pride Edition Crossover Episode, noted Virgo  Karen Tongson of the Gaymazing Race & Waiting to X-hale joins me to talk about THE ULTIMATUM- QUEER LOVE. Stay tuned.  Karen Tongson is the author of Normporn: Television and the Spectacle of Normalcy (forthcoming 2023), Why Karen Carpenter Matters (2019), and Relocations: Queer Suburban Imaginaries (2011). Her current book-in-progress is titled, Empty Orchestra: Karaoke, Queer Performance, Queer Theory (Duke University Press). She received Lambda Literary's Jeanne Córdova Award for Lesbian/Queer Nonfiction for her body of writing in 2019. Tongson currently chairs the department of gender and sexuality studies at USC, where she's Professor of GSS, English and American studies & ethnicity. Her writing and cultural commentary have recently appeared in Slate, NPR, The Los Angeles Review of Books, PBS NewsHour, The Los Angeles Times, The AV Club, Entertainment Weekly, and KCRW's Good Food among other venues. Tongson is co-editor of the award-winning book series, Postmillennial Pop with Henry Jenkins at NYU Press, and co-hosts two podcasts: the GenX-themed Waiting to X-Hale with Wynter Mitchell-Rohrbaugh, and The Gaymazing Race (a queer podcast about The Amazing Race) with Nicole J. Georges. Today's episode brought to you by  Jaime Raybin, Khale McHurst, and Zella Minor-House ! If you would like to support sagittarian matters, especially producer Chris sutton, please send $5 $40000 via paypal to hornetleg@gmail.com or Hellbooks on Venmo.  Thank you for your support and we look forward to saying your name on the podcast. Producer Ponyo looks forward to it too. 

REUNITED AND IT FEELS SO GOOD!!!! Quanice sits down with her podcast bestie Joshua Henry Jenkins @joshjenks (formerly of the Art Accordingly Podcast) for a convo to discuss underpaid nonprofit employees, creating an arts administration greenbook, and rest.Links: The Smithsonian's National Museum of African Art is looking for a new director - again: https://www.theartnewspaper.com/2023/05/09/smithsonian-national-museum-african-art-ngaire-blankenberg-resignedBehind the Red Tape: Struggles are Real for Nonprofit Workers: https://www.cbsnews.com/newyork/news/behind-the-red-tape-struggles-are-real-for-underpaid-nonprofit-workers/?fbclid=IwAR1A6OdTKLVSojK8rwk99SWbxYAdt5DTskCIoYEDNzvOC9fJc_gkkykoEEASupport the show

Henry Jenkins III is an American media scholar and Provost Professor of Communication, Journalism, and Cinematic Arts, a joint professorship at the University of Southern California Annenberg School for Communication and Journalism and the USC School of Cinematic Arts. He leads the Civic Paths research group (funded by the MacArthur Foundation) which experiments with new ways of enhancing civic engagement and fostering the civic imagination. Jenkins also writes extensively about cinema, television, comics, computer games, online communities, popular theater, and other forms of popular media, primarily in the American context. --- Support this podcast: https://podcasters.spotify.com/pod/show/out-of-the-blank/support

Drawing on the seminal work of scholar Henry Jenkins, this latest Footnote episode engages the question of transmedia storytelling, industrial organisation, cultures of appreciation, and the consumption of media in an era of convergence. Alex takes the lead in discussing how contemporary entertainment experiences involve the dispersal of content across interacting, co-ordinated, and co-dependent media platforms. From medium specificity to the Marvel Cinematic Universe, the idea of ‘transmedia' is understood in this instalment through the creation of unified stories and narratives that no longer belong to one singular media channel, as well as in relation to the role played by fan practices and the post-classical horizontal integration and media synergy of the Hollywood film industry. **Fantasy/Animation theme tune composed by Francisca Araujo**

Somos el objetivo de los anuncios, de las marcas, de nosotros mismos. En nuestra memoria emocional conviven las frases que nos dijeron nuestros seres más queridos con los eslóganes y las músicas de la publicidad y las series. Un episodio sobre la polifonía de la ciudad contemporánea y sobre cómo el capital se nos mete auditivamente en el subconsciente. Con la canción “The Target” de Bruno Galindo y Babasónicos, citas de Henry Jenkins y Walther Ruttmann, la voz y las ideas de Jorge Carrión, la batería de Andreu Quesada y un poema del escritor español Manuel Vilas leído por él mismo. ¡Madre mía! 

In this episode, I have the pleasure of meeting and talking with Yonty Friesem. Yonty is an Associate Professor of communication and founding director of the MA in civic media at Columbia College Chicago. He was born in Israel and moved to the states as his career and vistas expanded.   You get to hear his own life story, but even more important, he will describe the concepts of Civic Media as well as what digital empathy is all about. He will tell us about his long run as a teacher and will tell us how he has worked and continues to work to break down the communication barriers. I hope you enjoy our conversation.   Also, have you yet noticed that we are now releasing two episodes of Unstoppable Mindset each week? Yonty's episode is the second one in our second week of two episodes a week. Now twice as much Unstoppable Mindset as before. You also can now find Unstoppable Mindset on Youtube. I hope you like the additions. Please let me know your thoughts, comments, and suggestions.     About the Guest: Yonty Friesem is an Associate Professor of communication and founding director of the MA in civic media at Columbia College Chicago. Yonty provides professional development for media educators in their role as the Associate Director of the Media Education Lab. Their publications in academic and professional journals include the theory of empathic dialogs via media Yonty calls digital empathy, evaluation of various civic media programs, and explorations of implementing digital and media literacy in schools.       About the Host: Michael Hingson is a New York Times best-selling author, international lecturer, and Chief Vision Officer for accessiBe. Michael, blind since birth, survived the 9/11 attacks with the help of his guide dog Roselle. This story is the subject of his best-selling book, Thunder Dog.   Michael gives over 100 presentations around the world each year speaking to influential groups such as Exxon Mobile, AT&T, Federal Express, Scripps College, Rutgers University, Children's Hospital, and the American Red Cross just to name a few. He is an Ambassador for the National Braille Literacy Campaign for the National Federation of the Blind and also serves as Ambassador for the American Humane Association's 2012 Hero Dog Awards.   https://michaelhingson.com https://www.facebook.com/michael.hingson.author.speaker/ https://twitter.com/mhingson https://www.youtube.com/user/mhingson https://www.linkedin.com/in/michaelhingson/   accessiBe Links https://accessibe.com/ https://www.youtube.com/c/accessiBe https://www.linkedin.com/company/accessibe/mycompany/ https://www.facebook.com/accessibe/       Thanks for listening! Thanks so much for listening to our podcast! If you enjoyed this episode and think that others could benefit from listening, please share it using the social media buttons on this page. Do you have some feedback or questions about this episode? Leave a comment in the section below!   Subscribe to the podcast If you would like to get automatic updates of new podcast episodes, you can subscribe to the podcast on Apple Podcasts or Stitcher. You can also subscribe in your favorite podcast app.   Leave us an Apple Podcasts review Ratings and reviews from our listeners are extremely valuable to us and greatly appreciated. They help our podcast rank higher on Apple Podcasts, which exposes our show to more awesome listeners like you. If you have a minute, please leave an honest review on Apple Podcasts.     Transcription Notes UM Intro/Outro  00:00 Access Cast and accessiBe Initiative presents Unstoppable Mindset. The podcast where inclusion, diversity and the unexpected meet. Hi, I'm Michael Hingson, Chief Vision Officer for accessiBe and the author of the number one New York Times bestselling book, Thunder dog, the story of a blind man, his guide dog and the triumph of trust. Thanks for joining me on my podcast as we explore our own blinding fears of inclusion unacceptance and our resistance to change. We will discover the idea that no matter the situation, or the people we encounter, our own fears, and prejudices often are our strongest barriers to moving forward. The unstoppable mindset podcast is sponsored by accessiBe, that's a c c e s s i  capital B e. Visit www.accessibe.com to learn how you can make your website accessible for persons with disabilities. And to help make the internet fully inclusive by the year 2025. Glad you dropped by we're happy to meet you and to have you here with us.     Michael Hingson  01:20 You are listening to another episode of unstoppable mindset. Welcome on board. Glad you're here with us. Today we are having the opportunity to chat with Yonty Friesem and Yonty is a very knowledgeable person on inclusion and equity and diversity. He understands a lot about accessibility, and we're going to get into why and what that's all about as well as a lot of other things about him as we go forward. So Yonty welcome aboard unstoppable mindset.   Yonty Friesem  01:51 Thank you. My pleasure.   Michael Hingson  01:53 So why don't you start a little bit by telling us just about yourself. Oh, wow. I know it started at a log cabin in Illinois, right?   Yonty Friesem  02:03 Yeah. So from an accent you can see that, you know, I'm not local, to say the least I grew up in Israel. Until my 30s, when I looked to have a PhD, to support media educators after being an educator myself and feeling that there's not enough support. And then I came to Temple University, then moved to University of Rhode Island, I followed my advisor, Dr. Renee hops, to learn about media education and media literacy. And from there, I got, you know, different jobs. And now I met Columbia College, Chicago, just got tenure and promoted to associate professor, and very happy to be able to found the MA in civic media, the MA in strategic communication, and the bachelor in communication, as I'm working with other educators and supporting in different initiatives. So that's basically my background.   Michael Hingson  03:03 Ma is Master of Arts. Yes. Uh huh. So, you, you have been doing this a little bit and certainly gotten a little bit of expertise and knowledge about the whole process. How did you get into dealing at all with the whole concept of universal design when it comes to media and dealing with accessibility and some of the issues surrounding that?   Yonty Friesem  03:30 So during my PhD program, I was working in Rhode Island, and I met a dear friend called Janine Chartier, who is the CEO of art equity now, but it was VSA arts, Rhode Island, the Rhode Island branch from the Kennedy sponsored by the Kennedy Center. And as we work together on having students who have a variety of disability, getting art education, and from my, you know, expertise, media education, she introduced me to Universal Design for Learning as part of the work and also since we were asked to provide professional development for educators. And so that goes back to like, almost 10 years ago, when we did that, and start to work together to figure it out, how to help students but also how to help educators to understand how to implement it.   Michael Hingson  04:36 So can you tell us a little bit about a little bit more about what Universal Design means or, or dealing with accessibility when it comes to filming and fine arts and so on?   Yonty Friesem  04:50 Sure. So, Universal Design for Learning is the equivalent of universal design meaning you design for accessible ability, but then it's really to apply for a variety of needs. And to accommodate that. So when it comes to learning, the idea is to look at the way that the mind is a little bit, you know, different in each one of us and our wiring is different. So we might have a disability, like I have ADHD. And so my mind look and learn differently than somebody else. And also ADHD, there's such a variety of it. So the idea of universal design for learning has three basic things, which is always offer multiple ways of engaging with your students, multiple ways of perception of the information and multiple ways of expressing that you learn that knowledge. And so understanding that framework, which is again, very general, and there's more specifics, that helps you really address all your students. So when we're talking about media education in my field, that means engagement in a variety of ways, a variety of media. So even if I'm, for example, I was a film teacher in high school, back in 2001. But it doesn't mean that I only engage with films or videos, I also use podcasts, I also use drawing, I use different ways to engage the students different tactics of engagement. And in perception, it's a show the same information in different ways. So that can be you know, back then I was projecting on the wall, I could draw on the wall, there were different, like ways that I would do it. And then the last thing is different way of expression. So we're used to like there is an exam. Everybody is writing on paper. But what about offering different ways. So if I'm a media educator, maybe some of my students and I've been doing it at Columbia College Chicago for several years now in advocating for other faculty to do the same. I give my students the questions, and they choose how to answer them as long as they actually answer them. So they can record themselves. They can write, they can take pictures and do a photo essay. So it's they can deliver a PowerPoint, it doesn't matter as long as they actually answer and show me that they are knowledgeable about what I'm asking them.   Michael Hingson  07:30 Did you or do you have today, much involvement with outside of learning disabilities and so on persons with physical disabilities like blindness or, or other physical type disabilities?   Yonty Friesem  07:44 At the college, we have an ASL program. So we do have students who also are hard hearing or need interpretation, or are deaf. And I didn't encounter so far blind students in my four and a half years at Columbia College, but we had different disabilities that people came and because I'm using the Universal Design for Learning and very close to the office of disability, I'm working on always different ways to have students be able to share their knowledge, their learning, and also learn in the way that will be customized to the learning type, if we can call it that way.   Michael Hingson  08:32 Yeah. Well, I think for, for blind people, were, in part probably a little bit later than some to discovering, and becoming more involved in some kinds of, of artistic things. But it is happening. And I wouldn't be surprised if you are colleagues, at some point, start to get more blind people, for example, in programs interested in learning more about art and learning more about even doing film and other kinds of work. Traditionally, in acting, for example, people who portray blind people have not been blind people. And now, the the world of blind people, the organized blind movements, for example, are starting to say, there really needs to be more of us doing it, let us do it. So it I'm sure will help shape a different image over time.   Yonty Friesem  09:35 And I really hope so because like, for example, this program of civic media that I founded at Columbia College Chicago, would really benefit what we're trying to do is get as many voices and different voices to come and create media for the greater good and to help the community that they're interested in. So as we have you know, people who are working on different disabilities, working with indigenous people working with have black community, for example, in south and west of Chicago, it would be amazing to have somebody who would like to work on art with blind people and see how that can be spread, because I know that we can learn a lot from it. So I really hope that, you know, that will happen soon.   Michael Hingson  10:20 I suspect it will very much be a two way learning Street, which is okay, too.   Yonty Friesem  10:26 And that's how we work. Exactly.   Michael Hingson  10:30 So you have however, done a lot of work with people in terms of learning disabilities, and so on. So how, how has that all worked? What are some of your experiences in the challenges that you've faced?   Yonty Friesem  10:42 I mean, that goes back to like, 20 years ago. You know, I was 23 years old, when I was I say, thrown into the classroom. Not exactly, but I was hired two days before the first day of school. And I was putting like, 39 hours per week teaching, ninth 10th 11th and 12th grade, high school students, media. And that specific school was in a very tough neighborhood, in the center, like near Tel Aviv. And the kids were really struggling personally, you know, family wise learning. And most of them were not diagnosed with whatever was there. You know, disability, if it was emotional, if it was physical, neurological, or whatever it was. So I'm 23 year old, don't have too much experience in teaching was then asked to be there. And that was my kind of bootcamp to like, really listening and understanding and seeing that what I perceive as something is not necessarily the same for the other. And so really, by committing to being with them, listening, seeing what's going on, checking with them, and just being them and showing care. Because that's really the the emotional, like way of connection. As an educator, that's what creates the trust, to then build learning, there's not going to be learning if there's no engagement. And that's the first thing of Universal Design for Learning. You need to engage, have the trust, and then go together as the state's two way learning. It's never just the educator, teaching the students. So that was like the beginning of my journey to really understand that I need to be humble, and I don't know what other people are going through, and I need to listen to what's going on. And then you know, as negotiate, what can we do together? How can we get there together?   Michael Hingson  12:49 And I would presume that you had some successes, especially once you learned that it's all about establishing a rapport. It's all about gaining trust. And and also on, you're in probably doing some learning to trust.   Yonty Friesem  13:04 Yeah. Oh, yeah. goes both ways. Yes. Yeah, exactly. So, you know, I mean, going back to that, you know, initial experience that was very, you know, crucial for me, the students were assured that I was the one to blame for their teacher who left, which obviously had nothing to do with it. But, um, I was there and I was just there, like, with whatever they needed in the editing room in the filming. And I was there to support, they were throwing things at me, they were like spitting in the class. They were, you know, slurs and like, it was very, very tough. But I, they couldn't get rid of me in the sense of, they were trying different tactics to see like, you know, oh, to make me leave. But the fact that they saw me staying there and wanting to help them genuinely, that earn their trust, and that was tough. That was, you know, several months that took to earn. But once I earned that, that's for life. I'm still, you know, in contact with some of them. Some of them became filmmakers. And it's, it was gratifying in the long run. Yeah. And like every educator, it takes time to see the fruits of your harvest. So long, but yeah, that's like how, how it worked with a lot of work on my part to show that I'm really genuinely there and I don't think I'm superior or no better than them.   Michael Hingson  14:33 Wow. So you, you were thrust into it what they must have liked or had a great liking for the previous teacher? Oh, yeah.   Yonty Friesem  14:41 Yeah. Because they're like, you know, since they arrived, so yeah, it was tough.   Michael Hingson  14:51 Well, of course, when you have a beloved teacher and then someone else comes in, yeah, it is a it is always a challenge and It is all about trying to get people to understand. I'm sure that there were some who just refuse to, to open up and recognize that there was value in a new teacher.   Yonty Friesem  15:14 I mean, eventually they did. It was really like a bravery test, or I don't know what to call it kind of how much will I endure? And the fact that I did was something for them to say, Oh, okay. So I guess he, you know, he wants to be here. He cares about us. He wants to actually here and help us to have our opinions shared. And they would make film about their experiences and things. And so my help was crucial for them to get their message across.   Michael Hingson  15:45 When did you know that you had really broken through to them?   Yonty Friesem  15:50 When the I didn't have to call it misbehavior, but the interruption really, really wind down. And it goes, I'm saying it took several months, like six months. So that was very tough. But as I saw that they, you know, started to come happily to the class, they would share with me more personal things that were going on. And we're really focusing on the work and not being disruptive. That's where I saw the change.   Michael Hingson  16:18 And then they started becoming engaged. Yeah. So you still you say you still are in touch with some of them, which is always cool.   Yonty Friesem  16:29 Yeah, you know, it's now like 20 years of like, connection and, and seeing, you know, their family, their kids their career. So it's, it's very gratifying to hear and, and some of them still, like, it was amazing to hear that they're still like joking the group of friends, how they will torture me. So they knew that they were torturing me. That was part of it. Yeah.   Michael Hingson  16:56 Do some of them still come and seek any input or advice from you? Or   Yonty Friesem  17:01 sometimes? Yeah, here and there. Again, I mean, I have a whole ocean and half of the globe like distance. So it's not like I can see them, like personally one on one. But yes, you know, there is social media, there is emails, so yes, definitely. There are different things that they're you know, making movie and asking, like, what do I think And here and there, so it's very gratifying.   Michael Hingson  17:25 That's as cool as it gets. I, I understand that whole experience and that concept? Well, I remember, my sophomore geometry teacher did herbal Shimer. And I became friends, when I was a sophomore. And in reality, we still communicate to this day. And that's been quite a long time now since 1965. So it is, it is a lot of fun when you have a teacher that lasts and does well and that you still get to talk with and actually become a friend with. It's it's a it's a jewel in life. Yeah. Yeah. So I understand that from some of our discussions that you've done some work with foster children. And that kind of got you on the road to a little bit of dealing with accessibility and so on. Can you tell me a little bit about that?   Yonty Friesem  18:18 Sure. So it's not like there's no foster care system in Israel. But it's very different. And I was never encountering that when I was in Israel. But when I came to the states to do my PhD, the first semester at the University of Rhode Island, because of my background as an educator and working with special, I was like a special educator, homeroom teacher, basically in Israel. So I had a lot of experience, I was approached to be part of a project called first Star Academy. And that's, it's a Hollywood base, nonprofit organization that helps across the country, foster youth, to help them get into college. The research have been shown from 2011, that if you're in foster care, no matter your race, religion, gender, you're less likely to graduate from college. Like that's the most like horrible factor that will prevent you basically so what the organization is doing is supporting high school students to be more familiar with university settings, and academically and also emotionally support them so that they can go to college. So as part of that, I was asked to be in charge of the media classes, which would be basically the fun part, the less academic, it's not the math of the language and language arts But as such I worked on, you know, applying UDL, applying universal design for learning and applying all the strategy that I've learned in Israel to work with the foster kids, it was a very different setting because it was in the university, it was a summer camp of more than a month when they lived on campus, I also lived on campus as a student. So we basically lived in the same place saw each other on a daily basis. And we worked at the University Academic Library, which is like, you know, astonishing, like to make movies and stuff. And it was, like one of the most transforming experience that I had. In the US. It was just amazing to work with all the different. I mean, they're not kids, they were teens. And now they're grownups, because we're talking about 10 years ago, was the first time I started. So you know, they're now like getting to their late 20s. So it was really interesting to see and to learn, because as I did before, I was focusing on listening. And since I'm really not familiar with the foster care system, I heard a lot of stories that I didn't know of, and didn't know how things works from their perspective. And that's where we decided that part of media literacy education is to know your target audience and to purposefully create a message in whatever media you choose. And so what we decided to do, because there was a lot of anger, frustration, because they wanted to see their families or their siblings and, and they were looking at their social worker as like the gatekeeper in a way. So what we decided to do was, okay, let's have your social worker, be your target audience. And let's create media that you think will communicate your social worker, what you want. So in the beginning, it was bashing the social worker saying, You don't understand it's like, and then as we talked with them, we said, Okay, we did some empathy exercises, if you would get this kind of message, would you listen, if somebody is bashing you and telling you you don't understand and they said, No. So maybe we should change that narrative to really get to the point that you're trying to make. So some did he pop music, some did websites, some did videos, some did podcast, and it was really amazing to see the transformation. And also, one of the thing that I later on, published about, or with my colleagues, was the feedback. Because being kind of, you know, I'm calling it victim of art school. But   Yonty Friesem  22:40 I did four years of film school. And you know, my teachers thought that it's like part of their job, to criticize the work and basically give what they saw as constructive criticism, but actually was just bashing my work and saying, I don't know anything, and I should listen to them, because they're the experts. And so since then, I really don't buy this thing of constructive criticism. I think criticism is criticism. You think it's constructive, but it's not. So I'm working on on empathic feedback. And that seems to work as we go along. Because we needed to tweak some stuff that we thought would be empathic, but we're not empathic and they taught us what is the right sequence that feels and, you know, as they came back, like, even the fourth year, they were see me and they say, oh, let's do the the empathic feedback. And let's, you know, and knowing how to receive that feedback from really a caring and compassionate way to make it better, but not just to bash and feel that I'm the instructor superior, and I know more. So that was a long answer.   Michael Hingson  23:41 Can you give me no, it's fine. But now you, you have me curious about a couple of different things. And I want to do this one first. So tell me a little bit more about empathic feedback as opposed to what some people would call constructive criticism, what you are calling constructive criticism, which necessarily, isn't really constructive, but a lot of criticism. So can you give me an example of the difference?   Yonty Friesem  24:08 So I love to tell that story with which happened to a sense, all of us in the camp with the foster youth didn't know too much. So we did our own research, of kind of trying to understand but research is one thing and then actually, you know, being in the encounter with the teens is different. So we came up with we were looking like what would be an efficient feedback. And we saw that there is something called the sandwich feedback. I don't know if you know that. So that's basically the bread is the positive, then you put the negative and then you put the positive. And we thought that would be brilliant. That will be you know, kind of sugarcoating, and that will work and they'll you know, be very happy about and so we tried to implement it and it was a disaster because they saw our bullshit like they knew That, like, we're not really saying the positive positives, just sugarcoating, as I said it was actually the negative part. And they were like, Okay, what's the negative? And I was like, okay, that's not working. And some of them like, one of the stories that I don't like to tell it's horrible story. But it demonstrates how horrible it was. A student was so afraid of receiving that feedback, the positive, negative positive, that the second before he was supposed to be in front of the class and receiving the feedback, he pressed on the delete button that deleted the whole website, he worked for a month. And that said, the whole work was gone, because he couldn't handle like the feedback, which, again, was not really feedback was criticism. Right. So that's, that's the sandwich feedback, which, you know, there was a lot of research about it afterwards, when I looked at, like, delving more into it, how uneffective it is, and how the students can read between the lines, that again, it's really the negative there. So what we did is we changed that part. And what we decided to do and why I call it empathic is to two things. One is all the statements, there's four statements, all the statements, start with AI. And that helps will for the person who's listening, because if you start and stating, using, I think I love, I wonder, I see, you hear that, okay, it's you, it's your perspective. So that statement, starting with an eye, put it in perspective of like, okay, I can receive it or not, but that's your bias. It's your assumption. It's your, like, way of looking. So that was one thing that we change, that it's not just your editing doesn't work? No, I think or I don't see what's working here or something like that. So that was changed. Number one. The second was this four parts that evolved during the years as we got get feedback from them about what works and what doesn't work. So the sequence goes as to noting, I saw, I heard, I felt I you know, you just give a summary of what was your own experience, kind of an observation of what was the experience of consuming that media, then you move to a praise. I loved how you and you need to be detailed, because if I say to you, Hi, love the music of your video, it's not helpful for you, you're like, Okay, what does it mean you love. But if I say I love the music, because it made me feel such and such at this moment, I was so stressed. And then I heard the music. And maybe that's helpful to see if it's really the effect that I wanted to make or not. So that's the second thing like a praise, basically. The third thing is a suggestion, from my own perspective. If I were you, I would do this and this and this. So by framing it that way, it's just a suggestion. And I might not get exactly to why you want to do it and how you want to do it. But that's how I suggest doing it. And you can take it or leave it, it's up to you. And the last thing ends with a question a wonder of like, I wonder, like, what did you do here? Why did you do this, and I don't understand this. And this, how that so that it creates this kind of dialogue with the other person. That was significantly different because it created really a conversation, a dialogue from a genuine place, and not a bashing. Like I'm trying to show my power and that I'm smarter than the other person I'm giving the feedback to.   Michael Hingson  28:40 And the reality is, it seems to me that what you're saying and describing is valuable for anyone who deals with anyone else and making suggestions that goes far beyond film school. Needless to say, Oh,   Yonty Friesem  29:01 for sure. Right? Very difficult to implement it. But yes, that's definitely an I'm a, I was introduced to nonviolent communication. That was a major basis for that. And now I'm teaching a class of nonviolent communication at the college and also working with other educators to use that because that's really based on empathy. Marshall Rosenberg, the late Marshall Rosenberg, colleagues, language of life, of like really communicating with the person because you really want to communicate with the other human beings.   Michael Hingson  29:39 Well, so you you now tweaked another, another question. You say it's very difficult to implement why?   Yonty Friesem  29:48 Because we're human beings. And there's always struggles and things and, and we have our own needs, and it's very difficult to find the balancing act. Between verbalize what is our needs, and understanding that it might not always work with somebody else needs and our emotions, like, you know, we're emotional beings. So it's not like our needs don't matter, they matter. But we need to understand that we're working in a society with other people. So it needs to be somewhere a compromise and a wheel to work together to figure it out, which a lot of our structures, especially education are very oppressive. If you think about it, you know, the fact that I'm as an educator needs to give grades, that puts me in a position of power, that puts me in a position that I need to evaluate by a grade the students. And so I found different strategy to overcome that, to really go back to a dialogue place, but the system is built in a very difficult, challenging way that doesn't really is about the need and the human being,   Michael Hingson  30:58 we become so much involved with power and authority. And we don't always learn easily, how to take people where they are. And maybe there's a place where we believe that they need to go. But we don't generally like to look at people where they are, they should be like us, or they're useless. And we we teach that as a society. And that's one of the things I think we have to get over.   Yonty Friesem  31:31 Yeah, it's, it's very sad. And obviously, the technology is amazing. The way it's like advancing, but the premise of social media has been really the counter like social media is putting us in connection, but very toxic connection. There is positive connection in many ways. But Twitter, Facebook, tik, Tok, Snapchat, Instagram, they're not designed for dialogue. They're designed for Amplifying Voices in one way, but not reciprocally. And there are efforts like minds, which is social media that is built on dialogue.   Michael Hingson  32:18 How does that work?   Yonty Friesem  32:21 It works in a way that you post and then it's it's part of for like, conversation threads between people like, Twitter does have an option to reply, and then somebody can reply to you. But the fact that it's replying reply, you cannot add it and you, you basically have only now more characters, but 100 2001, it's double now. But it doesn't really allow for a conversation. And so if you're talking about the conversation that is not like so clubhouse, for example, is a converse and audio conversation. So you really can talk with between people in the room at real time, or you can listen to the recording, but they're not really participate, but minds trying asynchronously to have that with posting that people can post like thoughtful, like, read it in a way have it in some capacity and more dialogical way of structure.   Michael Hingson  33:23 What about LinkedIn?   Yonty Friesem  33:26 Yeah, I mean, LinkedIn, you know, there's not so much restriction like, Twitter. But I see it very similar to like Facebook and Twitter in that sense, you know, people are sharing their, whatever message they want to share. And people can like and can add to it. Like usually it's a sentence. And sometimes you get into like, a whole thread of one, say something and then going back and forth. And, but it doesn't really seem like it's like a genuine like dialogue. But it's, it's a little bit better, but very, very problematic. And I want to go back to what you were saying, because that's the whole basis of both inclusion and accessibility is understanding the other person in front of you as a human being. Right, and they have needs and emotions exactly like you. And so how we can work together. And that doesn't seem to be the general notion like if you're working in your community, yes, people might be more inclusive in their small community. But at the larger once you get to political debate, or you get a little bit out of your comfort zone, always like it's a retrieving to like safeguard and kind of like, I need my needs to be met. And I'm not listening.   Michael Hingson  34:48 When you and I first began communicating course, we did that through LinkedIn and I sent you a message and you responded. And then I gave me more information about the podcast. And very frankly, what I was working toward was what we finally did, which was to have a real live real time conversation. I, I think email is lovely. I think social media has some places, some versions of it more than others. But there's nothing like having a conversation.   Yonty Friesem  35:24 Right, and you didn't put like a post on my wall or my, you did it like as a private message. So, you know, you're respected, like privacy and looked for engagement as basically like a hook here. Like, let's continue a conversation on another platform. So that was kind of like the jump. So yes, in that sense, it works. I'm getting a lot of, you know, different connection through Twitter, through LinkedIn. But I think what social media promised us in the early 2000 was, you know, to make the world a better place to connect better. And what we can see now is that it's not working that well, because of the economical kind of structure, the business model of those social media. And we can see the whole debate now with Elon Musk, like buying Twitter, and people who are afraid people who are for it, and the whole discussion about monetizing tweets and stuff. So it goes back to that part that social media is monetized. And it's a business. And it's really not about making the world a better place. It is about connecting people, but I'm not sure connecting the way that I would like or see that that was the premise of connecting that way.   Michael Hingson  36:41 I'm not sure we're really connecting. There. There are interaction somewhat, but really connecting and really getting to know people on on any of the social media platforms isn't anywhere near the level of getting to really understand and interact with someone that you get when you have a direct real communication. And none of the platforms including email, for that matter, do it. Texting doesn't do it. Yes, you can text and you can respond, your send, and maybe because texting is a little bit more, especially with the younger generation, real time, they might say, well, but we are connecting, but we're still missing the real conversation, and all the nuances of that, that you get when you're interacting with a person in real time directly.   Yonty Friesem  37:39 Yeah, definitely, that's, you know, we can see that that there is sometimes the illusion of reality. But understanding that social media has its own boundaries, and the person you communicate with, you see just the image of the person, and they might tweet or post or share or put a tick tock video in the middle of something else that's going on and not seeing the larger picture. Because like when we're now engaged in a dialogue, like obviously, you know, the frame of the Zoom now is showing just part of the room I'm in. And there's a lot of other things that are happening around here. But still, there is something that is more genuine and more realistic than the social media that is really like a Mealy kind of thing of my life that people are sharing and other people are sure to interpret it as such or such. Or you can see so many times when people misinterpret messages, and then it becomes like a huge like, fuming like   Michael Hingson  38:43 Twitter rage. Yeah. You said something earlier, I wanted to ask about you said that. Some of the educational things like dealing with foster children and dealing with children in class is somewhat different in Israel than it is here. How are they different?   Yonty Friesem  39:03 Well, I mean, you know, surely, it's, I'll give you one example. When I the first class I taught and that was not, you know, it was I had my first class in undergraduate that I taught at University of Rhode Island in the spring of 2012. So 10 years ago, exactly. I was teaching a film class had six students, and then the first class I'm going in and you know, I'm sharing some stuff we like, do things and then I'm teaching something and then I'm asking questions, and then nobody raised their hand. Nobody answered. Nobody likes silence. I'm like, Okay, so I'm trying a different question. Nothing like so I you know, after that class, very frustrated, go back to like American friends and asking them is my accent so horrible, like, what's going on? Like, they don't understand what I'm asking them and They're telling me no, they're just like, shy and are like worry about getting the wrong answer. So I said, okay, and then the next time I come, and then I asked them to write their answer, let them time to edit their written answer, and then they read it. So then suddenly, I got more engagement in Israel, I wouldn't be able to say a word in class, like the students thinks they know much better, and they need to like talk, they need to argue with the teacher, which I was used to that. So coming to a place that is more respectful, and more kind of, you know, listening, I was like, wow, okay. That's very different. So that's really like one anecdotal example. But obviously, there's a lot of cultural differences being in the Middle East, you know, warmer country, warmer temperament. And being in a constant state of safety issues. creates like a lot of differences versus, you know, there is a lot of safety issue here in the US, but it affects different students differently. And culturally, there's a little bit, you know, more kind of, like, listening. I think practices than in Israel,   Michael Hingson  41:21 you think that there was? Or is more fear in Israel? And that that makes a difference? Do you think fear is is a part of it? And I don't know that it is, it's just something that   Yonty Friesem  41:34 I would read the opposite, like, and it might be because of the the trauma, the collective trauma that is happening in Israel is that, you know, it's one of the happiest place, which you would like really, like, how can that be, but people understand that they're in constant threat, and you just learn to live with it, like, in the late 90s, when there are buses that were, you know, like, bombed, like, in the center of Tel Aviv, the day after one bus was bombed, I took the same line with the same path, because it's like, okay, you know, if I'm going to be blown up, I'm going to be blown up, I don't have control over that, I'm not going to let the terrorist decide for me, what is going to be my life pattern, and I'm just going to, you know, so it is something that is in the psyche of the daily, but not like as overtly. So there's really no fear in that sense. I mean, it's very depressed, like, in some level, but I think in the US, there's more fear about the authority, fear of like being wrong of like, so the engagement is different. Like there is something in Israel that is more in your face, kind of whatever happens, like you'll know, if somebody likes you, or don't like you, in the US, you might not know that, which is very European culture, in that sense of like, people not always sharing what they think about you. But in Israel, there's no problem, you know, very quickly, for good or bad. So it's very different culturally. And it's not one is better than the other. It's just very, very different. And it takes time to to adjust to it.   Michael Hingson  43:14 Is it a self confidence to a degree kind of thing?   Yonty Friesem  43:19 chutzpah? Yeah, I guess there's something to that the Sabra kind of you know, that the symbol of the Israeli, like, pointy, kind of from the outside, but very soft from the inside. So, yeah, that might be part of it.   Michael Hingson  43:36 So universal design, learning, obviously, is very important to you. Why is that?   Yonty Friesem  43:42 Because they think that when I reflect to my own learning, I see how that could have been helpful. Like when I started to not being so good in math, when I had the tension issues as an adolescent. And again, I was diagnosed with ADHD only a year and a half ago. So it's not like my whole life. I knew I had ADHD, I assume that most likely I have it. But it was really with the pandemic that I was like, in such stress that I said, Okay, let's see what's going on, neurologically. And so, I see universal design for learning as a way to really engage all students and best practices of education. And I, I see how my own self like early self would benefit from that. It took me nine years to finish my bachelor degree. I didn't finish a PhD in a foreign language, basically, successfully, but it took a huge toll. And if I would have known if my teacher would have used that, I know it would be much easier. And I know I have a lot of privilege that I'm, you know, coming to as a learner. And most of the students I'm encountering don't have that privilege. And so that undermined even more toward the learning. And if we want to look at the better, good, the, you know, the greater good and the better society, we need to do a lot of work in education to really reach everybody that's not going to solve our social issues, that needs to be legislation funding that there needs infrastructure, for a lot of things that needs to happen. Education is not the only solution. But in my area of education, I think Universal Design for Learning is a necessity to really address every student in the class and not doing what I hate, which is the bell curve of saying, well, we'll go to the middle. So the excellent students will take care of themselves. And the bad students, that's collateral damage, it's okay, no, it's not okay. Like we need to reach every student's, and there are ways of doing that.   Michael Hingson  45:51 You certainly seem to typify the concept that as a teacher, you also do need to be a learner, which we've talked about, and that you are better for the fact that you regard yourself as a learner just as much as your students are.   Yonty Friesem  46:08 Yeah, I mean, again, it's, you know, there is this kind of the sage on the stage and the guide on the side. So I definitely see myself as the guide on the side that also learn from them. Because it goes back to what I talked before, if I have all the knowledge, and my students are waiting for me to pour information to them. I'm just exercising oppression. And I'm just keeping the system as is. It's not like I don't have knowledge to share, but they also have very valuable knowledge for me that they can share. And if we really experienced this dialogue, it's like, I don't know if you know, Steven Covey The Seven Habits of Highly Effective People. So, um, one of his elements is synergy. And what he says about synergy is, once you experience that, you want to go back to that, because that's a type of collaboration that is so addictive, that you understand that that's how a real collaboration should work. And that's the same thing, if students will experience a genuine reciprocal relationship, they'll want to go back to that, and they'll be kind of, you know, pass it forward, kind of do it and make the world a better place in that sense. So that's why I'm such a big advocate of that, because that's the relationship I want to have when I going to my primary care physician, when I'm calling my healthcare and fighting with them, and not getting somebody who's reading the script, and not really listening to what I'm asking because they have a script. And there's only five scenarios there. And my scenario doesn't exist there. So they cannot help me. So the whole system has that. And if we start to break that, that's the way to really bring more inclusion and accessibility and understanding that it's not like there's only five script because the algorithm or the designer of the algorithm decided on that, because that's what they knew. It's like, let's bring everybody to the conversation. Let's be open and listen to what's happening. Because each one has a unique story, unique circumstances that might challenge what you think that you know, or the practices that you do.   Michael Hingson  48:30 You raise a really interesting and relevant point that all too often today in healthcare, they want you to fit into a certain mold. And it's not just healthcare, but I know my wife is a paraplegic and has been in a chair her entire life, but a lot of her needs and a lot of the kinds of things that she needs to deal with don't fit the same mold as an amputee or a person who becomes paralyzed later in life. And we find that the healthcare system doesn't really understand that all that well. Or, for me as a as a blind person, I've gone and visited with a number of ophthalmologists who have absolutely no knowledge of how to deal with a person who is blind. And I've experienced some major challenges because I don't fit their view, both from a standpoint of competence as a as a person who happens to be blind and able to do things much less that my eyes have, have not become a part of me in terms of the way I function, other than when they aren't doing right like conjunctivitis or other things like that. And healthcare just doesn't always like it when some of us don't fit the The mold that we think that people should be fitting in. And I know that's just as true in education, it's certainly true with a lot of different kinds of companies and bosses and so on. leadership styles sort of go the same way. And if we can't really learn to grow with the people that we work with, and understand them, then we're the ones that are going to lose out in the end.   Yonty Friesem  50:24 Yeah. And that goes to politicians with their own constituents that they're listening to. But what about the people who are part of their, like, grid that maybe not vote for them? And are they listening? And are they? And what kind of legislation is happening? Right? And sure, the whole debate Yes, like who? There is so much research? So um, research of algorithm of oppression, for example, about it's not the algorithm that is racist or oppressive, but somebody needed to design it. Right. So when you talk about the health care for your wife, like, Who's the person who created those policies? Have they ever talked to somebody who would be impacted? In that sense? Do they understand the scope? And it's so vast in health care, that you can't really do that? So like, how can we make mechanism that will be a little bit more open to a variety of different narratives, different story different needs, that the person who was in charge may have not encountered? Or seeing?   Michael Hingson  51:27 Yeah, exactly. Right. And, you know, the, the ultimate thing is that it's important to always try to learn things I know, for me, for the last 20 years, as you may know, I have been a keynote speaker, a public speaker, and I travel the world and talk about September 11, I talk about my experiences, I talk about lessons we should learn, and so on. But even through all of that, anyone who talks to me about that, and my career, as a keynote speaker, will hear me say, if I don't come away from any event, I attend, learning more than I hope that I'm able to impart to the people who are listening to me, if I don't learn more, then I haven't done a good job. Because all of those people have things to teach me. And it's one of the reasons that when I speak, I like to go early. I'd like to spend time with people at the event. Because I will learn more, the more I get to dialogue with them. So I don't like to just go and speak and leave. I like to go early if I can. And I like to definitely interact. And it's the only way to really get the best flavor for what you're doing.   Yonty Friesem  52:49 Yeah, I'm with you there.   Michael Hingson  52:53 So it makes for an interesting, interesting world. So you've talked about the concept of civic media? When did you hear about that? And tell me more about it.   Yonty Friesem  53:07 I mean, it's a pretty new concept started in 2006, by Henry Jenkins, then was at MIT now is that USC. And, you know, academics like to put concepts and different definitions and his definition evolved. In the beginning, it was any media that increase civic engagement. But that doesn't tell you much. So 2011, he revisited and kind of was a little bit more elaborative about how it should be more inclusive. How should it fight oppression. And we have at Columbia College, Chicago, the only MA in civic media, which is a big pride of me that we were able to do that and letting me lead that curriculum wise. And so our program is fully online, which is also something that is important for part of fighting oppression and accessibility, in the sense of like, having people from around the world joining that program and being able to experiencing it. So when I'm talking about the program, I'm explaining that people are making media to drive social change in a very specific community. Going back to what I said about target audience, you need to really be specific and there is an amazing TED talk that I love to have my students listen to. And it's you want to help question mark, shut up and listen, exclamation mark. And it's a great video that really set the tone of the program that is about listening to the community. And the students in my program will be the media experts, but they're not the experts of the community, their ex roots in community engagement. So what we really focusing on is having the students learn nonviolent communication, listening skills, and how to leverage the media knowledge that they're learning into really doing those practices to help the community figure out together, what are the media based solution for that. So it can be urban planning, it can be solution journalism, it can be media arts can be documentary filmmaking, podcasting. So there is a variety of things. Your podcast is civic media, you're spreading through the podcast, the ideas of accessibility of inclusion, you're bringing voices and variety of voices to talk about those issues so that people can connect, learn from and then go and explore it. So this is a civic media project. And we have such a variety of project, we have a student who is now working at NPR, after graduating a student who is directing a film festival with indigenous youth, in New Mexico, we have somebody who is a communication manager for Autism Awareness network, you know, and the list goes on and on. So it's, it's great to have the opportunity to have this kind of program that is so unique in addressing social issue through media, and it's so interdisciplinary and out of the box that people are like, What are you doing there. But it's very exciting to see the results and to see what the amazing work that our students are doing.   Michael Hingson  56:40 You find that when people are making films, or podcasts or whatever, that the better ones are the ones who also listen to their own work or observe their own work as they're doing it or afterward. And then, as I like to say, become their own best or worst critic.   Yonty Friesem  57:06 So I'll give you one example that I think is one of the highlights of me as a media civic media educator. Last year, one of our students decided to do a photo essay as a caregiver to a person with disability. And they decided to do it together as a dialogue. So my student is a photographer, a photo journalist. And the person she was caring for, is a communication specialist, and has her own company now media for accessibility called Craig crap, which is awesome. And what they did is they took the pictures that shows the daily work of a caregiver, very statically, very intimate. But that was a dialogue, they took 1000s of pictures. And then together, they decided, like, you know that besides the framing, which one to include, which one not to include, and once they posted it, they also added a dialogue between them, so that you read the dialogue. And you can also look at the images. And now they're going to have a gallery and it was published in disability accessibility blog. So this is really a genuine like, when you're in a dialogue, it goes back to what we've discussed in the last hour, right? Civic media is about civic civil dialogue, using media media is just the conduit to it. But it's real human to human engagement. And that's, that's the core of it.   Michael Hingson  58:51 How do you find that civic media is making a difference in terms of accessibility and inclusion?   Yonty Friesem  58:58 So again, I mean, there's a lot of different ways. If it's by you know, infographic, using social media, to campaign awareness, having people be more inclusive, with the work that you're doing in the company that you're working with, you know, having websites be more accessible and the fact that their standards and people understand that that's something that they need. That's how civic media can bring an awareness having just the button to see like, ABA, I don't need that. But to see that there is a button there. Off accessibility, that's part of awareness. That's part of the service that different civic media, practitioners are doing to bring more awareness of inclusion of accessibility.   Michael Hingson  59:54 And that makes perfect sense. It's all about having something that's visible however, It's visible, but having something that's visible, that people can see can interact with. And that specifically sends the message. I'm here to help, as we're discussing here, deal with accessibility and inclusion.   Yonty Friesem  1:00:16 Yeah, I mean, take the example of closed caption. So closed caption was an accessibility requirement with a ADA. But once it started to be implemented in bars, like, you know, the music could be in a crazy volume or the TV might have been very far away. But there's a closed caption. So that helps everybody to read it, right. So it started with accessibility and actually gave accessibility to many more people they intended to. And that's something that people now are used to, but they were not used to having those closed caption. And in the beginning, people were like, What is this thing, but now it's all accepted. So those are the things that need to be more instituted. And seeing, and this is the fight of civic media to bring those inclusive practices into all media use.   Michael Hingson  1:01:07 Well, here's a thought. And then we've been doing this an hour. So we'll have to wrap up here soon. But here's an observation that I've had, of late over the last few years, we've seen many television advertisements in commercials. And the commercials have music, a lot of visual information going on the screen, and no dialogue, which systematically incorrect and absolutely categorically leaves out a segment of the population. And it seems like that's an increasing trend where we're going backwards in the sense that getting to the point where it's all about what you see, and who cares about what you hear. And I think that's a problem that somehow we need to teach people that they're creating rather than being truly inclusive.   Yonty Friesem  1:02:06 And that goes back to what I said about the genuine, like work. And if somebody who has that experience, and you know, having a blind person coming to learn civic media, and then advocate and learn how to do those things, that's why we need a variety and diverse people with diverse background, because that's where people bring this perspective that hasn't been seen, understood or accepted by others. But that's, that's the fight. That's basically what needs to happen to be more inclusive. Yeah,   Michael Hingson  1:02:44 somehow, we have to convince Elon Musk that he needs to make the passenger side of Tesla's a little bit more inclusive, because people who are blind can interact with the radio, they can interact with anything on their side, it's all touchscreen. But he's not alone in that auto automobile manufacturers have been moving that way again, and it is it's all about dialogue. And recognizing that if you're going to truly be inclusive, then you have to look at areas of the population that you're not necessarily familiar with.   Yonty Friesem  1:03:17 And the only way of making it work is what's called participatory action research, which is not you, you know, like the kind of sociologists come and observes the others, but actually, a research by dialogue by doing it together and searching it together. What are the solutions? What are the problems and how to do it? That's the only way and in tech companies or other like healthcare, this is not the practices, you just hire like a research company, you ask them what to do the research. And that's it, you don't do a genuine participatory action research to really reach all the audience genuinely that you want to serve.   Michael Hingson  1:03:58 And that makes perfect sense. Well, I want to thank you for being with us today on unstoppable mindset, you're certainly helping society in a lot of ways hopefully become more unstoppable. And I mean that in a very serious way, if people want to reach out to you and contact you or learn more about all the things we've been talking about, how might they do that?   Yonty Friesem  1:04:20 So I'm Twitter addict, with all what I said about Twitter. And there you go. You're at yo and Ty on Twitter. But you can find also me on LinkedIn on Columbia College Chicago, website and the media education lab. So there is multiple ways of connecting me since I'm using universal design to contact me because I want to connect and I want to diversify as much as I can. All the people that I'm encountering some I always welcome people to connect with me and thank you so much, Michael for this lovely hour and let You know, talk about all my passion. So it's a lot of fun, don't have that a lot of opportunities.   Michael Hingson  1:05:05 And I liked the way you do sound passionate, and that's great. And I want to thank you Yachty for being here as well. If people want to learn more, hopefully they will reach out to you. They can also reach out to us and I can help connect. But I really appreciate all of you listening in and Yonty for you being here. If people wish to reach out to me, they can email me Michaelhi M I C H A E L H I at accessibe  A C C E S S I B E.com. So feel free to email you can also go to Michael hingson.com/podcast. That's w w w.m i c h a l h i n g s o n .com/podcast. And of course, as I always ask people to do, if you will have you liked what you heard, please give us a five star rating wherever you're listening to this podcast. We appreciate it. And Yanty will as well. Yeah, we'll make sure that you know about it right.   Yonty Friesem  1:06:05 Thank you so much. We yes will spread the word. Well, thank   Michael Hingson  1:06:08 you and Michael, thanks for being with us on unstoppable mindset   UM Intro/Outro  1:06:18   You have been listening to the Unstoppable Mindset podcast. Thanks for dropping by. I hope that you'll join us again next week, and in future weeks for upcoming episodes. To subscribe to our podcast and to learn about upcoming episodes, please visit www dot Michael hingson.com slash podcast. Michael Hingson is spelled m i c h a e l h i n g s o n. While you're on the site., please use the form there to recommend people who we ought to interview in upcoming editions of the show. And also, we ask you and urge you to invite your friends to join us in the future. If you know of any one or any organization needing a speaker for an event, please email me at speaker at Michael hingson.com. I appreciate it very much. To learn more about the concept of blinded by fear, please visit www dot Michael hingson.com forward slash blinded by fear and while you're there, feel free to pick up a copy of my free eBook entitled blinded by fear. The unstoppable mindset podcast is provided by access cast an initiative of accessiBe and is sponsored by accessiBe. Please visit www.accessibe.com. accessiBe is spelled a c c e s s i b e. There you can learn all about how you can make your website inclusive for all persons with disabilities and how you can help make the internet fully inclusive by 2025. Thanks again for listening. Please come back and visit us again next week.

This week Henry and Colin are joined by Cathy Cohen, a distinguished professor at the University of Chicago and Jen Humke, a senior program officer at the MacArthur Foundation to discuss Participatory Civic Media. Cohen discusses her work with The Black Youth Project and GenForward, projects that are focused on building independent institutions and influencing media institutions, respectively. These projects are supported by Humke through the MacArthur Foundation. We discuss the work introduced by the guests as they focus on engaging youth of color, predominantly Black youth in how they are represented and the way they represent themselves within digital media. Participatory civic media allow marginalized groups who have not had a voice in media, particularly in the political sphere, to now have one. We then consider the danger in focusing on voice more than power. More and more people may find their voice through a growing democratic digital media landscape, but that does not mean they are sharing in the power. How do we enact a power shift to give an equal playing field to all voices?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:Cathy Cohen is the David and Mary Winton Green Distinguished Service Professor at the University of Chicago. She is also the creator of The Black Youth Project and the GenForward Survey.Cohen is the author of Democracy Remixed: Black Youth and the Future of American Politics and The Boundaries of Blackness: AIDS and the Breakdown of Black Politics. She is also a co-editor of Women Transforming Politics: An Alternative Reader.Jen Humke is the Senior Program Officer for the Journalism and Media program at the MacArthur Foundation. Her grantmaking work focuses on participatory civic media. Share 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.Henry Jenkins, What Is Civic Media?Black Youth ProjectgenForward SurveyCivic Imagination ProjectAtlas of the Civic ImaginationCivic Media FellowshipDanielle Allen on ReconciliationFrom Voice to Influence: Understanding Citizenship in the Digital AgeRobin Kelly, Freedom DreamsAlissa Richardson: Bearing Witness While Black: African-Americans, Smartphones and the New Protest JournalismMegan StielstraColor of ChangeDefine AmericanDarnell MooreNicholas Negroponte – Being DigitalCrystal Echo HawkReservation DogsIlluminative Podcast  Illuminative Netflix programConnie Yowelldanah boydMimi ItoDigital Media and LearningYouth and Participatory PoliticsJoe KahneMarch for Our LivesQ-AnonConfronting the Challenges of Participatory Culture (Fifteen Years Later) Podcasting  Origin StoriesBBC's Noise: A Human History, “Radio Everywhere” (14:37)FDR fireside chat 1 (12:57)Norman Corwin (56:28)Edward R. MurrowPodcast and DiscordRadio Free GeorgiaEar HustleNancyHow to Be a Girl; Peabody AwardPlus, check out these earlier earlier episodes:Episode 73: Increasing Visibility is Existential for Native Communities, with Crystal Echo HawkEpisode 22: Benjamen Walker and Wu MingEpisode 81: Warren Hedges on the Fantasy Roots of the Capital InsurrectionEpisode 48: Digital Diversity with Craig Watkins, Mimi Ito and Katie SalenEpisode 82: Bridgit Antoinette Evans and Tracy Van Slyke on the Intersection of Art and ActivismEpisode 69: The Power of Fan activism with Janae Phillips and Shawn TaylorMusic:“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––––––––––––––––––––––––––––––

*Programming note: This is a rebroadcast. You can learn much about a media and political culture by examining when it panics, and who it panics about. And we've always panicked about video games, from the early arcades until this very day. Whether you are a prudish Christian conservative, or a concerned liberal-minded paternalist, demonizing video … Read More Read More

En este episodio de "La Fonoteca de Blogpocket" nos visita Cristina Aced @blogocorp y nos habla sobre las nuevas narrativas digitales. Emisión original: 17/11/2020. Referencias El blog de Cristina Aced https://cristinaaced.com/blog/ El rediseño gráfico y conceptual de Blog-o-corp https://cristinaaced.com/2020/09/15/nueva-web/ Los libros de Cristina Aced https://cristinaaced.com/publicaciones/ La edición actualizada de Nuevas Narrativas Digitales https://cristinaaced.com/2020/10/27/nuevas-narrativas-digitales-2/ Twitter estrena sus stories (Fleets) https://blog.twitter.com/en_us/topics/product/2020/introducing-fleets-new-way-to-join-the-conversation.html El episodio de Noches de Blogging sobre Transmedia https://www.youtube.com/watch?v=NYDMJE-ILxs El artículo seminal "Transmedia Storytelling" de Henry Jenkins https://www.technologyreview.com/2003/01/15/234540/transmedia-storytelling/ El libro "Narrativas transmedia" de Carlos Scolari https://www.planetadelibros.com/libro-narrativas-transmedia/87482 Las 20 herramientas propuestas por Cristina Aced en su "Recetario de narrativas digitales" https://cristinaaced.com/recetario-narrativas-descarga/ El post: "Alargando la vida de los contenidos" https://cristinaaced.com/2020/11/10/alargando-vida-contenidos-ejemplo/ El informe "Perspectivas Wellcomm 2019" http://perspectivas2019.well-comm.es/ El blog como "campamento base" de Magali Benitez https://pt.slideshare.net/poliedric/tu-web-tu-campamento-base La herramienta Wakelet https://wakelet.com/ El concepto original de microcontenido de Hoa Loranger y Jakob Nielsen https://www.nngroup.com/articles/microcontent-how-to-write-headlines-page-titles-and-subject-lines/ El tuit-vídeo de Telefónica y Netflix https://cristinaaced.com/2018/05/28/narrativas-digitales-telefonica-netflix/ El hilo en Twitter de Telefónica por sus 94 años https://twitter.com/Telefonica/status/986840328253603841 Buenas prácticas de comunicación científica en redes sociales https://twitter.com/i/events/1319542363748958209

In the twentieth episode of Meaningful Play, Sian and Jordana welcome a special guest, Heather Blakey(!), a PhD candidate focused on games and aesthetics. Together, they discuss the concept of environmental storytelling (or “embedded narratives” as termed by scholar Henry Jenkins), sharing some of their favourite or notable games that have successfully implemented environmental objects... Continue Reading →

One of the more celebrated aspects of contemporary media is that it seems so much more participatory. In principle, at least, anyone can for example establish a Twitter or a YouTube account, and share their experiences or views with minimal censorious intervention. Some have explained this apparently more participatory media culture with reference to the capacities of technologies. After all, people can participate more easily when so many media functions are collapsed into an internet-enabled device like a smartphone. And yet, for others, this technological explanation is flawed, underplaying longer-term cultural shifts, which these new technologies might more properly be seen as crystallizing.  In this episode, we begin with work by thinkers such as Henry Jenkins, who have notably opposed technological explanations for a participatory media culture. For Jenkins, ordinary people's participation in media creation is about more than gadgets, devices or platforms. Rather, it is a momentous cultural shift, towards new and potentially democratising forms of 'collective intelligence' that blur the old distinction between media ‘producers' and ‘audiences'. Jenkins' work has been widely discussed. For some, his model of ‘a convergence culture' overemphasises the individual agency of media participants. Sure, they may be technically freer and more enabled than in the past, but when someone creates or shares a meme, for example, they also partially reproduce or conform to cultural norms. We might also ask: does insisting on ‘culture' bring us back to the same unsustainable technology/culture dichotomy we have challenged in earlier episodes?  It is probably difficult to conceive, for example, of the cultural conditions for a so-called post-truth politics without some account of the technical affordances of social media platforms. Thinkers Discussed: Tim Dwyer (Media Convergence); Lev Manovich (Software Takes Command); Ithiel de Sola Pool (Technologies of Freedom: On Free Speech in an Electronic Age); Thomas Friedman (Thank you for Being Late: An Optimist's Guide to Thriving in the Age of Accelerations); Henry Jenkins (Convergence Culture: Where Old and New Media Collide); Axel Bruns (Blogs, Wikipedia, Second Life and Beyond: From Production to Produsage); Pierre Lévy (Collective Intelligence: Mankind's Emerging World in Cyberspace); Bernard Stiegler (The Economy of Contribution); Jose Van Dijck (Users Like You? Theorizing Agency in User-Generated Content); Richard Dawkins (The Selfish Gene); Limor Shifman (Memes in Digital Culture); Noam Gal, Limor Shifman and Zohar Kamph (‘It Gets Better': Internet Memes and the Construction of Collective Identity); danah boyd (Social Network Sites as Networked Publics: Affordances, Dynamics, and Implications); Jason Hannan (Trolling Ourselves to Death? Social Media and Post-Truth Politics); Neil Postman (Amusing Ourselves to Death: Public Discourse in the Age of Show Business).

Intro.(2:22) - Start of interview.(3:04) - Aaron's "origin story". He grew up in New Jersey. After law school he founded a tech company focused on user generated content that got bought by Wikia (the for-profit sister company of Wikipedia). He later practiced law at a few law firms before joining the faculty at Cardozo Law School in 2014. He got interested in Bitcoin early on, and collaborated on the launch of Ethereum. He co-authored a book called The Rule of Code, Blockchain and the Law (2018). He's been constantly playing around with the technology itself and he co-founded OpenLaw, which makes it easy to create legal agreements that work with Ethereum. Most recently he's been spending a lot of time pulling together a bunch of DAOs.(5:13) - How blockchain can disrupt corporate governance. The history of DAOs (6:35). Dan Larimer's Decentralized Autonomous Companies (DACs) article (2013). The concept of DAOs picked up with the Ethereum blockchain. Beyond just corporations, to organizations generally. A lot of people think about blockchain as a system to transfer value in a fast way (~12 mins for Bitcoin and ~12 secs for Ethereum). But beyond this transfer of value, blockchain can also be understood as a system to coordinate disparate people with a set of smart contracts. This allows a new way to structure organizations.(12:13) - The story of The DAO (2016). "It was pretty revolutionary in terms of its objective." After the project got hacked, it led to "quite a dramatic (governance-related) decision to fork the Ethereum network." For a number of years, people had "PTSDAO", they were afraid of other hacks. "But about 2-2.5 years ago that started to change, PTSDAO began to wear off and developers began to look at this problem again." New DAO platforms and tooling emerged, the most notable example of them was Moloch DAO (it provided grants to Ethereum projects). More innovation followed, and DAOs were capable of not only giving grants but also making investments. "There has been a sort of explosion of DAOs." To put some numbers to it, "In Feb 2019 there was ~$10m in these DAO like structures with ~2,000 users, today depending on the numbers you look at, it's north of $10bn with several hundreds of thousands of users."(20:30) - His article "The Rise of DAOs: Opportunities and Challenges" (Stanford Journal of Blockchain, Law & Policy, 2021). Questions on legal frameworks for DAOs: partnerships, LLCs, new state DAO LLC laws: Vermont and Wyoming. Unincorporated Non-Profit Associations (UNAs). Wrapped and unwrapped DAOs. How to think about interests in DAOs (securities or something different like member-managed partnerships). Separating economic and governance rights. Are tradable governance rights securities? Grey zone.(29:58) - His take on The LAO (the DAO that he co-founded focused on venture investments). "This was an effort to reboot the original The DAO concept but in a compliant US law format." It's structured as a Delaware LLC, with changes in its operating agreement that waived fiduciary duties and conflicts of interests. Core decision-making was delegated to a smart contract (code). They pooled capital (in Ether), members were only permitted to purchase up to 9% of the LAO (most purchased between 1-2%). There are about 75 members, scattered around the world, chatting via discord, all decisions are made via blockchain-based voting. "It's created a hive-mind." "Instead of having a few people in charge like in a VC fund, you have a collective group." "The decision-making has been pretty great." "The members of the DAO have been able to move faster than traditional VC funds, generating a higher rate of return (still early so TBD) and better at predicting the future of the market, such as with NFTs." "A network of capital deployers"(37:21) - On DAOs' decision making (7 day voting period), rough consensus (no quorum requirement) and internal mechanisms. Faster and better decision-making (time will tell if the latter is true). Each member is provided with "ragequit" rights (automatic redemption rights). "[I]t usually happens at the beginning, when they join a DAO and they either don't have the time to participate and they feel they should, or they decide they didn't like the opportunity as much."(41:20) - On FlamingoDAO and Non-Fungible Tokens (NFTs). Inside TheLAO many members wanted to back NFT projects. A question emerged internally to either invest in the projects or buy the art. They decided to do both. In Oct 2020 Flamingo DAO was born. Now they have 9 different DAOs ("about $200m in ETH has been contributed to these DAOs", over 200 people):The LAO (VC investments, it can invest in equity or tokens, could lead a round, draft a term sheet, nominate a board member who could be any member of the DAO - it hasn't done so yet). How people can become members (accredited investors).Flamingo DAO (NFT projects and art). "It started with a contribution of about 6,000 ETH ($6M at the time) and now if new members want to join they are valuing Flamingo DAO's interests at over $1 billion." (in just a year of existence!)Neptune DAO (DeFi)Neon DAO (Metaverse). "It was opened up last week, it took 40mins to close. It's a $20 million vehicle." ("that process for a VC fund or hedge fund would take 3-6 months.").Red DAO (digital fashion)ReadyPlayer DAO (gaming)Museo (NFT-native museum, art collection)Two more in development.(52:33) - On Sequoia's move to a permanent fund, "[I]t mirrors the structure of our DAO network." The LAO operates like a DAO of DAOs (like Sequoia's permanent fund).(53:59) - His fascination with DAOs: "a lot of it is corporate governance theory at its core." "Blockchain technology is providing a laboratory to play around and geek out on corporate governance." "Maybe [in a digital world] it's better: 1) to have rough consensus voting instead of quorum voting, 2) to have a broader base of decision makers for investing instead of a few people [like in a traditional VC fund], 3) to have more flexible redemption rights instead of lock-up windows or capital calls, 4) to have people provide more capital upfront, 5) to delegate voting rights to other members (different ways to provide proxy voting).(56:49) - His favorite books:Infotopia by Cass Sunstein (2006)Road to Serfdom by F.A. Hayek (1944)Fans, Bloggers and Gamers. Exploring Participatory Culture. by Henry Jenkins (2006) The Wealth of Networks by Yochai Benkler (2006)Code and Other Laws of Cyberspace by Lawrence Lessig (2000)(58:02) - His mentors:Jimmy Wales (founder of Wikipedia).Gil Penchina (former CEO of Wikia).When he was a lawyer in private practice he learned a lot from the litigators and corporate attorneys he worked with.David Roon (co-founder at OpenLaw, soon to be re-named Tribute Labs)Brett Frischman (mentored him at Cardozo Law School)(1:00:05) - An unusual or absurd habit that he loves: loves walking.(1:00:30) - The living person he most admires: his mother.Aaron Wright is an Associate Clinical Professor of Law at Cardozo Law School; Co-Founder at OpenLaw, The LAO, FlamingoDAO.You can find him on Twitter @awrigh01If you like this show, please consider subscribing, leaving a review or sharing this podcast on social media. __ You can follow Evan on social media at:Twitter @evanepsteinLinkedIn https://www.linkedin.com/in/epsteinevan/ Substack https://evanepstein.substack.com/Music/Soundtrack (found via Free Music Archive): Seeing The Future by Dexter Britain is licensed under a Attribution-Noncommercial-Share Alike 3.0 United States License

You can learn much about a media and political culture by examining when it panics, and who it panics about. And we've always panicked about video games, from the early arcades until this very day. Whether you are a prudish Christian conservative, or a concerned liberal-minded paternalist, demonizing video games has long been good politics. … Read More Read More

This pandemic has created a major upheaval in Los Angeles, the global hub of entertainment. We're now used to streaming movies and TV shows whenever we want, and we're finding new types of entertainment in places like YouTube, Twitch and TikTok. So what does the future hold for movie theaters, streaming services, film and TV studios, and the people who work for all of them, when this pandemic ends? Listen to two experts in entertainment and pop culture who tell us what types of things we'll be watching in the future, how we'll be watching then, and what that all means for one of California's biggest economic forces, the entertainment industry. GUESTS * Gene Del Vecchio, adjunct professor of marketing at USC's Marshall School of Business, marketing consultant for the entertainment industry, and author of business books like "Creating Blockbusters" - https://www.marshall.usc.edu/personnel/gene-del-vecchio * Henry Jenkins, Provost Professor of Communication, Journalism, Cinematic Arts and Education at USC, writer/editor of 20 books about media and popular culture, and co-host of the podcast "How Do You Like It So Far?" - https://annenberg.usc.edu/faculty/henry-jenkins PODCAST PLAY-BY-PLAY * 0 to 6:15 min - Intro to California Groundbreakers, and this episode * 6:15 min - The biggest changes that Del Vecchio and Jenkins made in their entertainment consumption during this pandemic * 10:30 min - Are movie theaters going to survive? * 17:40 min - How the movie experience, and types of movies, will change as more of us stop going to the movies * 23:10 min - What's the relevance of movie stars these days, and will Scarlett Johansson's "Black Widow" lawsuit against Disney change the way they're paid? * 31:25 min - How the rise of streaming video is changing TV production and the traditional TV and cable networks * 42:05 min - How GenZ's tastes in entertainment are changing the way Hollywood makes entertainment * 48:20 min - How social movements are hitting Hollywood (i.e., MeToo, PayUpHollywood, cancel culture), and are they causing significant change? * 57:25 min - Will Los Angeles remain the epicenter of entertainment, and will Hollywood still be "Hollywood?" * 1 hr, 30 sec - Del Vecchio and Jenkins' recommendations for what to watch this summer

Lorena, Luca P. e Claudio vi consigliano alcuni libri a tema videogiochi da portare sotto l'ombrellone (e non solo).- Fantoni, Vivere Mille Vite, Effequ, 2020- Kojima, Il gene del talento e i miei adorabili meme, 451, 2021- Dimopoulos, Virtual Cities: An Atlas & Exploration of Video Game Cities, Unbound, 2020(solo inglese)- Cuomo, Papale, Petillo, Rao, Toniolo (a cura di), Emozioni da Giocare, Poliniani, 2021 (in pre-order)- AA. VV., Videogames, V&A Publishing, Londra, 2018- AA. VV., Hamelin #49 - Videogiochi: un altro modo di raccontare, Associazione Hamelin, Bologna, 2020- Manovich, Il Linguaggio dei Nuovi Media, Olivares, Milano, 2012 (prima edizione 2002)- Tom Bissel, Voglia di Vincere, editore Guidemoizzi, 2012;- Henry Jenkins, Cultura Convergente, editore Apogeo Education,2014 (come anno di stampa in ita non l'originale);- Mitchell , Pictorial Turn: Saggi di cultura visuale, editore Raffaello Cortina, 2017Music By SCORTESI

Olá! No vídeo de hoje convidamos Christian Gonzatti, doutorando em Ciências da Comunicação (UNISINOS) e criador do canal @Diversidade Nerd Oficial , para falar neste terceiro episódio da série HistóriaFlix sobre a diversidade na cultura pop. Nosso convidado apresenta então quais são as disputas em torno da cultura pop e os atravessamentos que os debates principalmente sobre gênero e sexualidade realizam em seus produtos (games, histórias em quadrinhos, filmes, etc.). Ficou curioso/a? Assiste o vídeo! Siga Diversidade Nerd no Instagram! https://www.instagram.com/diversidadenerd_/ Referências Currículo Lattes Christian http://lattes.cnpq.br/3424217300381419 "Cultura da Convergência" de Henry Jenkins

As a PhD candidate at the School of Oriental and African Studies (SOAS), Rakesh Sengupta researched early Indian cinema. His essay 'Writing from the Margins of Media: Screenwriting Practice and Discourse During the First Indian Talkies', published in the Dec 2018 issue of Bioscope [no. 9.2] won the Best Journal Article by Screenwriting Research Network and also received High Commendation for Screen's Annette Kuhn Debut Essay Prize. On today's episode, we talk about the way in which the lack of script archives dictated the methods of research, how the vocation of screenwriting propelled fantasies of self-improvement and socioeconomic ascendancy in the 1930s and 1940s and the way in which the study of early cinema has been revitalised in the contemporary context of OTT and web programming. We also have some lovely anecdotes about serendipitous discoveries of forgotten Indian cinema scripts in other corners of the world. Click here to access the Image+ Guide & view the material being discussed in the podcast: https://sites.google.com/view/artalaap-podcast-resources/episode-9. Credits: Producer: Tunak Teas Design & artwork: Mohini Mukherjee Marketing: Dipalie Mehta Musical arrangement: Jayant Parashar Images: Rakesh Sengupta Additional support: Kanishka Sharma, Amy Goldstone-Sharma, Raghav Sagar, Shalmoli Halder, Arunima Nair Audio courtesy: Vernouillet by Blue Dot Sessions [CC BY-NC 4.0] References: Ashish Rajadhyaksha, 'The Phalke Era: Conflict of Traditional Form and Modern Technology', The Journal of Arts and Ideas, 1987. Kaushik Bhaumik, 'The Emergence of the Bombay Film Industry, 1913-1936', D. Phil Diss., University of Oxford, 2001. Priya Jaikumar, 'Cinema at the End of Empire', Duke University Press, 2006. Debashree Mukherjee, 'Notes on a Scandal: Writing Women's Film History Against an Absent Archive', Bioscope: South Asian Screen Studies' [Vol. 4.1], pp. 9-30, Jan. 2013. Bombay Hustle: Making Movies in a Colonial City',Columbia University Press, 2020. 'Somewhere Between Human, Nonhuman and Woman: Shanta Apte's Theory of Exhaustion', Feminist Media Histories [Vol. 6.1], pp. 21- 51, 2020. Tom Gunning, 'The Cinema of Attractions', Amsterdam University Press, 2006. André Gaudreault and Phillipe Marion, 'The Cinema as a Model for the Genealogy of Media', Convergence: The International Journal of Research into New Media Tecnologies [8.4], pp. 12-18, Dec. 2002. Ravi Vasudevan, 'The Melodramatic Public: Film Form and Spectatorship in Indian Cinema', Palgrave Macmillan US, 2010. Rachel Dwyer, 'Filming the Gods: Religion and Indian Cinema', Routledge, 2006. Rosie Thomas, 'Bombay Before Bollywood: Film City Fantasies', SUNY Press, 2015. Sudhir Mahadevan, 'A Very Old Machine: The Many Origins of the Cinema in India', SUNY Press, 2015. André Bazin, 'What Is Cinema?', trans. Hugh Gray, University of California Press, 1967. Stephen Hughes, 'The Production of the Past: Early Tamil Film History as a Living Archive', Bioscope: South Asian Screen Studies, pp. 71-80, June 2013. Ravikant, 'Words in Motion Pictures: A Social History of the Language of Hindi Cinema (c. 1931 till present)', Unpublished diss., University of Delhi, 2015. Henry Jenkins, 'Converge Culture: Where Old and New Media Collide', NYU Press, 2006. Virchand Dharamsey, 'Light of Asia: Indian Silent Cinema', 1912-1934, eds. Suresh Chabria, Paolo Cherchi Usai, Niyogi Books, 1994.

Primeiro episódio do Popcast traz a teoria de Henry Jenkins e como entramos cada vez mais para cultura pop através dos realities show. Karina e Alex vão abordar o primeiro reality show conhecido mundialmente, o Survivor e como ele virou uma febre no início dos anos 2000. Além disso, aqui no Brasil temos um programa muito parecido com a versão americana. Você já ouviu falar em No Limite? Vem ouvir que a gente te conta TUDO!

Come get a DOUBLE HELPING of Back to the Double R! The Season 2 premiere is so jam-packed with Peaksian goodness, we needed two podcasts just to wrangle it. As ever, plot details for this ep are fair game; watch before listening! “May the Giant Be With You” aired 9/30/90, written by Mark Frost and David Lynch. In Part 1, Damon breaks down the opening scene; Jennifer notes a disturbing family reunion; Colin tracks Leland's surprising glow up; and Jonathan gives Donna Hayward a closeup. Also: TP's cultural impact  and our dream directors.LISTEN: BuzzSprout | Google Podcasts | Spotify | RSS | and more!S2, E1 PART 1 NOTES: Usenet (1980-2005)Henry Jenkins (b. 1958, USC professor)“Twin Peaks: How the Show's Original Fans Created the Internet as We Know It Today” (2017,  article at IndieWire by Liz Shannon Miller)Twin Peaks-inspired photo shoot (1990, Sassy Magazine)Custom Audrey Horne doll (by remy/rogue) Twin Peaks Usenet newsgroup (2014, archived at LostIntheMovies.com) NES Twin Peaks video game (2020, article in TheGamer.com by Isaac Diaz)“Fuck Twin Peaks” (1993, 2014, song from Bikini Kill album Yeah Yeah Yeah Yeah)Hype! (1996, film, dir. Doug Pray)Dir. Guy Maddin (The Saddest Music in the World, 2003)Dir. Sofia Coppola (The Bling Ring, 2013; The Virgin Suicides, 1999)Dir. Sally Potter (Orlando, 1992)Dir. Kimberly Peirce (Boys Don't Cry, 1999)Dir. Atom Egoyan (Exotica, 1994)Dir. Alfonso Cuarón (Harry Potter and the Prisoner of Azkaban, 2004)Hank Worden (Waiter) (1901-1992, appeared in The Searchers, 1956, directed by John Ford)Carel Struycken (Giant)Ray Wise (Leland Palmer)

Join us for the beginning of our Puffs-palooza! In this episode, we talk with Dr. Melissa Aaron and Dr. Lauren Camacci about the off-Broadway play Puffs - how you can see it at home, why should see it (if you haven’t already), and why we love it so much. Warning: Spoilers abound in this episode!   Puffs imagines the seven-book Harry Potter series in a compressed timeline and from the perspective of students in Hufflepuff in those same years. This is a fan fiction approach that Henry Jenkins calls refocalization, which retells a story from the perspective of marginalized characters to provide new insights. Melissa, a theater historian who saw the play in New York, explains how the in-person play experience is different from seeing it on film, and we consider whether the play is satire, parody, or something else, and what makes it so funny. It creates an in-group experience for fans and millennials. Bringing Muggle pop culture, including fantasy geekdom, into Hogwarts corrects a gap in the original series. The character of Hufflepuff Oliver reminds us that a good student in the Muggle world would not necessarily be good in magic and that Hogwarts lacks basic education high schoolers of all kinds need, including math and sex ed (the latter hilariously taught by Professor Snape (Stephen Stout) in Puffs). Lauren points out that the play’s portrayal of Harry highlights his privilege and the favoritism he receives, especially from Dumbledore, making us question his character and examine the everyday heroism of his Puffs parallel, Wayne, who Melissa calls “The Unchosen One.” In celebrating more mundane moral qualities (friendship, kindness, bravery, sacrifice) - absent the greater save-the-world destiny - Puffs truly gets to the heart of the Harry Potter series. Are you a Puff? Are you such a Puff? We talk about the Hufflepuff house identity and how perceptions of it may have changed. Seeing Cedric’s death from the Hufflepuff perspective provides a point of view that makes us read the original Harry Potter books differently. We compare Cedric’s characterization in Puffs and in Harry Potter and the Cursed Child and discuss the two plays more generally, pondering which seems more true to the spirit of the original character and book series. Each play provides a different theater experience, and even the commercial aspects of the two productions differ. Dear Listener, which of these two plays do you prefer? Share your thoughts with us! In a fascinating listener follow-up, our Owl Post segment poses questions about wand violence based on Potterversity Episode 4: “Violence and Civilization.”  Stay tuned for our next episode in which we talk with Puffs creator Matt Cox and actor Stephen Stout! You will not want to miss our conversation. 

Wherein Beth and Matt discuss Will's good lawyer, Freddie's outfit, and why Hannibal needs Jack in the FBI. Nice links: Balthus Knot (correction: Matt referred to it as a Balthazar knot) Joel Cairo fondling his cane in The Maltese Falcon Henry Jenkins' essay "What's Behind the Glass?" Henry Jenkins' Textual Poachers The Kingpin Don Giovanni libretto New Deal art in New York City courthouses

One of the more celebrated aspects of contemporary media is that it seems so much more participatory. In principle, at least, anyone can for example establish a Twitter or a YouTube account, and share their experiences or views with minimal censorious intervention. Some have explained this apparently more participatory media culture with reference to the capacities of technologies. After all, people can participate more easily when so many media functions are collapsed into an internet-enabled device like a smartphone. And yet, for others, this technological explanation is flawed, underplaying longer-term cultural shifts, which these new technologies might more properly be seen as crystallizing.  In this episode, we begin with work by thinkers such as Henry Jenkins, who have notably opposed technological explanations for a participatory media culture. For Jenkins, ordinary people's participation in media creation is about more than gadgets, devices or platforms. Rather, it is a momentous cultural shift, towards new and potentially democratising forms of 'collective intelligence' that blur the old distinction between media ‘producers' and ‘audiences'. Jenkins' work has been widely discussed. For some, his model of ‘a convergence culture' overemphasises the individual agency of media participants. Sure, they may be technically freer and more enabled than in the past, but when someone creates or shares a meme, for example, they also partially reproduce or conform to cultural norms. We might also ask: does insisting on ‘culture' bring us back to the same unsustainable technology/culture dichotomy we have challenged in earlier episodes?  It is probably difficult to conceive, for example, of the cultural conditions for a so-called post-truth politics without some account of the technical affordances of social media platforms. Thinkers Discussed: Tim Dwyer (Media Convergence); Lev Manovich (Software Takes Command); Ithiel de Sola Pool (Technologies of Freedom: On Free Speech in an Electronic Age); Thomas Friedman (Thank you for Being Late: An Optimist's Guide to Thriving in the Age of Accelerations); Henry Jenkins (Convergence Culture: Where Old and New Media Collide); Axel Bruns (Blogs, Wikipedia, Second Life and Beyond: From Production to Produsage); Pierre Lévy (Collective Intelligence: Mankind's Emerging World in Cyberspace); Bernard Stiegler (The Economy of Contribution); Jose Van Dijck (Users Like You? Theorizing Agency in User-Generated Content); Richard Dawkins (The Selfish Gene); Limor Shifman (Memes in Digital Culture); Noam Gal, Limor Shifman and Zohar Kamph (‘It Gets Better': Internet Memes and the Construction of Collective Identity); danah boyd (Social Network Sites as Networked Publics: Affordances, Dynamics, and Implications); Jason Hannan (Trolling Ourselves to Death? Social Media and Post-Truth Politics); Neil Postman (Amusing Ourselves to Death: Public Discourse in the Age of Show Business).

De que forma se desenvolveu a Indústria Cultural, importante conceito para Adorno e Horkheimer, e como ela exerce seu poder nas sociedades? Podemos relacionar videogame e Indústria Cultural? Como disse Nick Dyer-Witheford and Greig de Peuter, seriam os videogames a principal forma de entretenimento do século XXI e isso os colocariam como principal objeto de dominação ideológica no capitalismo? Para falar sobre videogame e Indústria Cultural recebemos o Doutor em História pela UERJ Raphael Silva Fagundes, que possui uma pesquisa focada na retórica, historiografia e poder. Raphael também escreve para o Le Monde Diplomatique Brasil e a Revista Fórum. Siga o Holodeck no Twitter, Facebook, Instagram, Twitch, YouTube e entre em nosso grupo de Discord do Regras do Jogo. Escute nosso episódio anterior Regras do Jogo #87 – Boteco Holodeck v.1 Assista nossa participação na live do ComunaGeek sobre Cyberpunk 2077 Participantes Fernando HenriqueGamer AntifascistaRaphael Fagundes Comentado no episódio: Lésbica e maconheira: “The Last of us parte II” e a indústria culturalRoda Viva - Slavoj Zizek - 2009A 19th-Century Vision of the Year 2000 Indicações do Episódio Livro Indústria cultural - Theodor W. AdornoLivro Sobre a televisão: Seguido de "A influência do jornalismo" e "Os jogos olímpicos" - Pierre BourdieuArtigo Raízes da cultura do consumo - Gisela TaschnerLivro Cultura da Conexão: Criando valor e significado por meio da mídia propagável - Henry Jenkins, Sam Ford e Joshua GreenLivro A Nebulosa de Andrómeda - Iván EfrémovFilme Bliss (2021)Livro Interpassivity: The Aesthetics of Delegated Enjoyment - Robert PfallerLivro Maneiras de transformar mundos: Lacan, política e emancipação - Vladimir SafatleTexto E agora, que o neoliberalismo está em ruínas?Banda Ponto de Inflexão Músicas: Persona 5 – Beneath The Mask lofi chill remixHome – Hold

Welcome to the first episode of "What's Making You Sappy," Henry Jenkins and Colin Maclay's pop culture happy hour! For this week, we have recommendations from Clifford Johnson, a Professor in the Physics and Astronomy Department at USC and author of The Dialogues. We also have Dan Goldman, a writer, an artist, producer and founder and narrative lead of Kinjin Story Lab, whose work spans from graphic novels, TV and video games.

Bugunkü yayında Henry Jenkins'in Cesur Yeni Medya kitabını temel alarak transmedya anlatılarını ele almaya çalıştım. Başlıktaki kavramları açıkladıktan sonra transmedya ile podcast formatının ilişkisini ele almaya çalıştım. Aynı gün yayınlanan yazımı podcast formatında daha geniş bir şekilde aktarmaya çalıştım. Artık yazılarımı da podcast formatında sizlere sunmaya çalışacağım. Keyifli Dinlemeler!Yazıyı okumak isteyenler için: https://indyturk.com/node/252386/t%C3%BCrki%CC%87yeden-sesler/cesur-yeni-medya-d%C3%BCzeni-transmedya-multimedya-crossmedya-ve-bunlar%C4%B1n

Here are some of the references from this episode, for those who want to dig a little deeper: Scholarship on Online Learning:PACE: What California’s Leaders Must Do Next to Advance Student Learning During COVID-19Ed Week: The Disparities in Remote Learning Under Coronavirus (early in the pandemic, but similar trends)McKinsey: COVID-19 and student learning in the United States: The hurt could last a lifetimeCommon Sense Media: Closing the K–12 Digital Divide in the Age of Distance LearningEd Trust: From Crisis to Opportunity: Recovering California’s Commitment to Equity"On The Media" podcast episode about higher education, remote learning and political conventions Henry’s MIT Conference: We Wired the Classroom, Now What?MacArthur Digital Media and Learning InitiativeHenry’s blog conversation on screen time: Sangita Shresthova and Susan KresnickaCivic Imagination Toolkit Civic Media Fellowship ProgramHow Do You Like It So Far? Episode 59: On Communities with Colin and Henry2020 Movies Available Online: Palm SpringsDa 5 BloodsThe Old GuardFirst CowHow Do You Like It So Far? Episode 58: Open TV with A.J. ChristianASMR on TwitchSequester (game)Henry’s article on Dziga VertovHow Do You Like It So Far? Episode 1: Star Wars Cluster — Ahmed BestHow Do You Like It So Far? Episode 34: Power and Pleasure of Podcasting (part three): Amber J. Phillips & Chenjerai Kumanyika on podcasting as a vehicle for counterhistoryKimberly Guilfoyle’s fiery Republican National Convention speechSen. Amy Klobuchar's Full Speech At The 2020 DNCBarack Obama’s Full Speech At The 2020 DNCMichelle Obama Complete Remarks at 2020 Democratic National ConventionRep. Alexandria Ocasio-Cortez speaks at 2020 DNCJoe Biden Acceptance Speech at 2020 Democratic National ConventionPresident Donald Trump Full Acceptance Speech at 2020 Republican National ConventionSen. Elizabeth Warren's Full Speech At The 2020 DNCSen. Bernie Sanders' Full Speech At The 2020 DNCGavin Newsom’s full speech at the 2020 Democratic National ConventionSen. Catherine Cortez Masto’s full speech at the 2020 DNC (“kitchens like this across America”)Full Democratic roll call from Delegates across AmericaRNC delegates conduct roll call vote in personHow Do You Like It So Far? Episode 7: March for Our Lives and the Census2020 Census Adjustments due to COVID-19Hansi Lo Wang’s Twitter feed (leading source of Census news)LA Times Editorial on Decennial CensusHow Do You Like It So Far? Episode 45: “Radicalized” with Cory Doctorow Cory Doctorow’s “Radicalized”Cory Doctorow’s “Masque of Red Death”The Ezra Klein Show: An inspiring conversation about democracy with Danielle AllenHenry’s recommendations:HBO's Perry MasonShowtime’s Penny Dreadful: City of AngelsHBO’s WatchmenChadwick Boseman films:Black Panther42MarshallGet on UpHDYLISF? Episodes on Black Panther:Episode 5: Black Panther, comics and the history of MarvelEpisode 6: Define American’s Julian Gomez on Black Panther and empowering fan activismEpisode 8: Manouchka Labouba on Black Panther and African cinema todayEpisode 9: Nicholas J. Cull on Black Panther and the politics of popular cultureShare 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!

Qu'est-ce qu'une fanfiction ? Merci d'avoir posé la question !Fin août 2020, la bande annonce du nouveau film “Batman” a été publiée sur Internet. Prévu pour 2021, il s’agit du neuvième film consacré au super-héros, avec cette fois Robert Pattinson dans le rôle-titre. L’univers de Batman ne cesse d’inspirer, plus de 80 ans après la création du personnage. Il a d’ailleurs donné lieu à de nombreuses fanfictions. Une écrivaine américaine, Addison Cain, s’est fait connaître en publiant ses premières fanfictions sur Internet, où Bane, l’ennemi juré de Batman, devient un anti-héros sexy.Quel est le principe d'une fanfiction ? Une fanfiction est un récit écrit par un fan pour prolonger ou transformer une histoire venant d’un roman, d’une série, d’un film, d’un jeu vidéo, ou s’inspirant d’une personnalité publique. A l’ère du numérique, les fanfictions explosent. Le fan revoit l’œuvre originale à sa manière. L’expression est issue de la culture populaire et a été définie par l’essayiste et chercheur américain Henry Jenkins comme "une manière pour la culture de réparer les dégâts commis dans un système où les mythes contemporains sont la propriété des entreprises plutôt que d’être celle des gens". On les appelle aussi “fanfics”. Les fanfictions étaient d’abord publiées dans des fanzines. Les premières étaient consacrés à Star Trek dans les années 70. Puis, Internet a permis le développement des fanfictions sur des sites de publications en ligne dédiés ou sur des forums. En France, il y a le site fanfictions.fr, où des centaines d’histoires sont disponibles par catégories : mangas, comics, films, jeux vidéo, livres et séries. Le plus grand recueil de fanfictions sur Internet se trouve sur le site fanfictions.net, avec plus de 2,2 millions d’utilisateurs enregistrés, écrivant en 40 langues.Y a-t-il des critères spécifiques à respecter pour écrire une fanfiction ? Qui sont ceux qui écrivent des fanfictions ? Pourquoi sont-elles si populaires ? Y a t-il des auteurs de fanfictions très connus ? Ecoutez la suite dans cet épisode de "Maintenant vous savez".A écouter aussi : Qu'est-ce que OnlyFans ?Qu'est-ce qu'un showrunner ?Qu'est-ce qu'un meme ?Vous pouvez réagir à cet épisode sur notre page Twitter. See acast.com/privacy for privacy and opt-out information.

From Star Trek to K-pop, fan culture is everywhere — and as USC Professors Henry Jenkins and Robert Kozinets say, so is fan activism. This week, we’re taking a more theoretical approach to New Activism, exploring the roots of activism in fandom, and how corporate fans — also known as invested consumers — can help companies improve their corporate social responsibility initiatives. In this episode, Jenkins and Kozinets offer valuable insights into the ways companies can successfully interact with their fans on social issues related to business and promote civic engagement. They also discuss the do’s and don’ts of responding to widespread social activism and offer tips on staying connected with your company’s fandom from the c-suite.Featuring:Henry Jenkins (@henryjenkins), Author and Provost Professor of Communication, Journalism and Cinematic Arts, and Robert Kozinets (@Kozinets), Social media marketing researcher and Jayne and Hans Hufschmid Chair of Strategic Public Relations, both of the USC Annenberg School for Communication and Journalism.Host:Fred Cook (@fredcook), Chairman of Golin, a global PR firm. Author of “Improvise - Unorthodox Career Advice from an Unlikely CEO” and Director of the USC Center for Public RelationsFollow us: @Center4PR (Twitter, Facebook and Instagram)Newsletter: News from the USC Center for Public RelationsVisit our website: https://annenberg.usc.edu/research/center-public-relations

Alanna hosts author and educator Jennifer Casa-Todd and we talk about her journey from being a fearful and reluctant parent of teens in regards to the use of social media, to blogging and using social media with her students, and now student voices on a global scale. Jennifer gives some solid advice about setting up norms in social media for student participation and handling multiple perspectives for learning.Shoutouts to Alec Couros, George Couros, Dean Shareski, danah boyd, Henry Jenkins, Leigh Cassell, Stacey Wallwin, Tina Zita, Donna Fry, Mark Carbone, Brock Baker, Allison Fuisz, Nicole Kauffman, Michael Drezek and Dave Burgess.Jennifer's paper for Treasure Mountain Canada 2020: https://tmcanada.blogspot.com/p/tmc6-casa-todd.htmlGet involved with #GlobalEdSsChat: https://globaledsschat.com/Want to know more? Here's Jenn's book Social LEADia: Moving Students from Digital Citizenship to Digital Leadershiphttps://www.goodreads.com/book/show/35444016-social-leadia

È la seconda estate del podcast di Mondo di Nerd e gli assessori hanno deciso di fermarsi a fare quattro chiacchiere sotto l'ombrellone per salutarvi e commentare le ultime uscite del mondo (di) nerd.Hanno commentato le ultime (per ora) notizie riguardo Lucca, cantato Hamilton, approfondito il fenomeno Star Wars e consigliato libri, film e serie per sopportare meglio il caldo afoso di questi giorni.Buona estate, dunque, cittadini! State sicuri che dopo le ferie ci faremo sentire! :)LINK:⇒ Il nostro Instagram: https://www.instagram.com/mondodinerd/⇒ Il nostro canale Telegram: https://t.me/mondodinerdpodcast------------------------------Post-produzione a cura di Matteo Scandolin. Trovate tutto su di lui a https://scandol.in Continuate a seguirci su Spreaker, Spotify, iTunes, YouTube, ecc., iscrivetevi al nostro canale Telegram (https://t.me/mondodinerdpodcast) per eventuali aggiornamenti e, se proprio proprio ci volete bene, sosteneteci su Ko-Fi offrendoci un caffè (https://ko-fi.com/mondodinerdilpodcast).► Music Credit: SUNDANCETrack Name: "Perséphone - Retro Funky (SUNDANCE remix)"Music By: SUNDANCE @ https://soundcloud.com/sundancemusicThe SUNDANCE Official Website is HERE - http://lefthandmusic.fr/Follow SUNDANCE on BandCamp: https://sundancemusic.bandcamp.com/License for commercial use: Creative Commons Attribution 3.0 Unported (CC BY 3.0) https://creativecommons.org/licenses/...Music promoted by NCM https://goo.gl/fh3rEJ––– ♪♫ FREE DOWNLOAD ♫♪ –––► Download "Perséphone - Retro Funky (SUNDANCE remix)" for free HERE - https://www.youtubetomp3musicdownload...Or from the official source here: https://soundcloud.com/sundancemusic/...––– ♪♫ Artist(s) Links ♫♪ –––► Music by: SUNDANCE• Listen to more music by SUNDANCE on their Official SoundCloud Page HERE - https://soundcloud.com/sundancemusic• The SUNDANCE Official Website is HERE - http://lefthandmusic.fr/• Follow SUNDANCE on Twitter HERE - https://twitter.com/sundancemusic• Contact SUNDANCE @ contact@sundancemusic.tv

È la seconda estate del podcast di Mondo di Nerd e gli assessori hanno deciso di fermarsi a fare quattro chiacchiere sotto l'ombrellone per salutarvi e commentare le ultime uscite del mondo (di) nerd.Hanno commentato le ultime (per ora) notizie riguardo Lucca, cantato Hamilton, approfondito il fenomeno Star Wars e consigliato libri, film e serie per sopportare meglio il caldo afoso di questi giorni.Buona estate, dunque, cittadini! State sicuri che dopo le ferie ci faremo sentire! :)LINK:⇒ Il nostro Instagram: https://www.instagram.com/mondodinerd/⇒ Il nostro canale Telegram: https://t.me/mondodinerdpodcast------------------------------Post-produzione a cura di Matteo Scandolin. Trovate tutto su di lui a https://scandol.in Continuate a seguirci su Spreaker, Spotify, iTunes, YouTube, ecc., iscrivetevi al nostro canale Telegram (https://t.me/mondodinerdpodcast) per eventuali aggiornamenti e, se proprio proprio ci volete bene, sosteneteci su Ko-Fi offrendoci un caffè (https://ko-fi.com/mondodinerdilpodcast).► Music Credit: SUNDANCETrack Name: "Perséphone - Retro Funky (SUNDANCE remix)"Music By: SUNDANCE @ https://soundcloud.com/sundancemusicThe SUNDANCE Official Website is HERE - http://lefthandmusic.fr/Follow SUNDANCE on BandCamp: https://sundancemusic.bandcamp.com/License for commercial use: Creative Commons Attribution 3.0 Unported (CC BY 3.0) https://creativecommons.org/licenses/...Music promoted by NCM https://goo.gl/fh3rEJ––– ♪♫ FREE DOWNLOAD ♫♪ –––► Download "Perséphone - Retro Funky (SUNDANCE remix)" for free HERE - https://www.youtubetomp3musicdownload...Or from the official source here: https://soundcloud.com/sundancemusic/...––– ♪♫ Artist(s) Links ♫♪ –––► Music by: SUNDANCE• Listen to more music by SUNDANCE on their Official SoundCloud Page HERE - https://soundcloud.com/sundancemusic• The SUNDANCE Official Website is HERE - http://lefthandmusic.fr/• Follow SUNDANCE on Twitter HERE - https://twitter.com/sundancemusic• Contact SUNDANCE @ contact@sundancemusic.tv

Tá no ar o novo #2Cool4Academy! Você sabe o que é ser ACAFAN? No episódio de hoje a @luisadoamaral te explica tudo e conta como ser fã ajudou a trilhar o seu caminho dentro da vida acadêmica. Livros citados no episódio: Fan Cultures - Matt Hills: https://docero.com.br/doc/nxnvxcs Cultura da Convergência – Henry Jenkins: http://lelivros.love/book/baixar-livro-cultura-da-convergencia-henry-jenkins-em-pdf-epub-e-mobi-ou-ler-online/ Acompanhe o BAA: http://barmysacademicas.com/ https://twitter.com/BAA_twt https://www.instagram.com/baa_ig/ https://anchor.fm/b-army-acadmicas

We're joined by RMCAD Alumni and fine artist Dalton Frizzel. We talk about careful news consumption, the story behind his #blessed piece, tattooing, the journey to graduate school, what to expect when pursuing a master's degree, stealing from your influences, and studious readings like "Out of the Closet and Into the Universe: Queers and Star Trek" by Henry Jenkins. A special shoutout goes to Martha Neth in RMCAD's Hugh Thurlow Memorial Library for finding the article so that we could share it with all of you! To view images related to this episode on our website, click here or visit rmcad.edu/remotelycreative.

In episode three of Sparking Connections, Esmé and Kim discuss Sarah Perry's 2016 novel The Essex Serpent, male-female friendship, autism, and the importance of names, with a brief detour into fandom and shipping (I promise it's relevant…) Show Notes: Transcript can be found at: https://pleaseholdfor.squarespace.com/transcript-episode-3-the-essex-serpent Buckley, Linda H, ‘Toward a New Mythology of Eve: Women, Men and Friendship in Victorian Literature as Seen Through Sarah Perry's The Essex Serpent' (Georgetown University, 2018) [accessed 2 November 2020] Harrison, M. John, ‘The Essex Serpent by Sarah Perry Review – a Compulsive Novel of Ideas', The Guardian, 16 June 2016, section Books [accessed 11 February 2020] Jenkins, Henry, ‘Fan Fiction as Critical Commentary', Henry Jenkins [accessed 10 February 2020] Perry, Sarah, ‘Reading Lessons of a Religious Upbringing without Modern Books', The Guardian, 2 July 2014, section Books [accessed 11 February 2020] ———, The Essex Serpent: The Number One Bestseller and British Book Awards Book of the Year, Main edition (Serpent's Tail, 2016) Quinn, Annalisa, ‘“The Essex Serpent” Spreads Its Wings', NPR.Org, 2017 [accessed 11 February 2020] Saner, Emine, ‘The Essex Serpent Author Sarah Perry: “Kids at School Found Me Strange. I Didn't Mind”', The Guardian, 31 July 2016, section Books [accessed 11 February 2020] Sontag, Susan, Illness as Metaphor (Vintage Books, 1979) the tumblr post about autism and changelings: https://hazeldomain.tumblr.com/post/180938754851/oockitty-coldalbion-grace-and-ace Visit https://pleaseholdfor.squarespace.com for more podcast episodes and discussions.

Match Volume features interviews with USC Professors Henry Jenkins and Tok Thompson. Enjoy learning about the political histories of comics and about internet ghost stories from these two experts in storytelling!

Welcome to another week, How Do You Like it So Far? fans! We have a very special episode in store for you all. This week, Henry is on the other side of the … well it’s not the microphone hm, the … recording booth, table … well you get the point. This week, Colin interviews Henry about his work surrounding civic imagination! They are joined by their esteemed colleague Dr. Sangita Shresthova, the Director of Research of the Civic Paths Group at USC and an integral part of the Annenberg Innovation Lab’s Civic Media Fellowship. They discuss their upcoming book Popular Culture in the Civic Imagination: Case Studies of Creative Social Change. They dissect the components of civic imagination and how it can help us as people imagine a better world and a process of change. Their work surrounding civic imagination has led them to ask questions such as, “How do we change our civic spaces with the possibility of a future?” Listen in as Henry and Sangita discuss their work in starting with the visions of the future, could see possibilities between us and help solve problems. They even discuss what people envisioned in 2016 and how identifying those paradoxes and tensions in the field might be usable for activists and storytellers to incite change.