Games and Journalism
MIT Media Lab, Room 633 75 Amherst St., Cambridge, MAHeather Chaplin on "emerging thinking on ideas about game literacies and the acceptance of games as facilitators of transformative experiences."
MIT Graduate Program in Comparative Media Studies
Studying Media and Making Media
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Media Culture in the Occupy Movement: from the People’s Mic to GlobalRevolution.tv
MIT Building 2, Room 105 182 Memorial Drive, Cambridge, MASasha Costanza-Chock investigates media practices in the Occupy movement and develops an analytical framework of social movement media culture.
The Color of Seawater Through a Picture Window
MIT Media Lab, Room 633 75 Amherst St., Cambridge, MAKelley will show selections of his recent projects and related narrative and ethnographic films, as well as rehearse a lecture/performance about architectural morphology and global tourism.
Mapping the Urban Database Documentary
MIT Media Lab, Room 633 75 Amherst St., Cambridge, MAThe urban database documentary is a mode of media art practice that uses structural systems as generative processes and organizational frameworks to explore the lived experience of place.
Designing Digital Humanities
MIT Building 2, Room 105 182 Memorial Drive, Cambridge, MAJohanna Drucker tells us how designers have a major role to play in the collaborative envisioning of new formats and processes.
How To Wreck A Nice Speech: Hearing Things With The Vocoder, From World War II To Hip-Hop
MIT Media Lab, Room 633 75 Amherst St., Cambridge, MADave Tompkins' How To Wreck A Nice Beach is about hearing things, from a misunderstood technology which in itself often spoke under conditions of anonymity.
The News as a Social Process for Improving Society
MIT Media Lab, Room 633 75 Amherst St., Cambridge, MAYves Citton: "While machines can 'read' data, only human subjectivities can 'interpret' them."
George Lakoff, “The Brain’s Politics: How Campaigns Are Framed and Why”
MIT Media Lab, Bartos Theater 20 Ames Street, Cambridge, MAEverything we learn, know and understand is physical — a matter of brain circuitry. This basic fact has deep implications for how politics is understood, how campaigns are framed, why conservatives and progressives talk past each other, and why progressives have more problems framing messages than conservatives do — and what they can do about it.
Artist-Audience Relations in the Age of Social Media
MIT Building 4, Room 231 Cambridge, MANancy Baym asks, "How does direct access to fans change what it means to be an artist? What rewards are there that weren't before?"
Jim Bizzocchi, “Close-Reading Media Poetics”
MIT Media Lab, Room 633 75 Amherst St., Cambridge, MAClose reading requires that the scholar immerse herself in the experience of the text on its own terms, and at the same time maintain a critical distance.
Gediminas Urbonas
MIT Building 4, Room 231 Cambridge, MAGediminas Urbonas is artist and educator, and co-founder of Urbonas Studio, an interdisciplinary research program that advocates for the reclamation of public culture.
Cultural Production and Social Media as Capture Platforms: How the Matrix Has You
Comparative Media Studies: MIT Building E15, Room 335 20 Ames St., Cambridge, MAHector Postigo's presentation develops a framework for understanding how social media’s technical feature-sets create a system of capture and conversion.
Minding the News
MIT Media Lab, Room 633 75 Amherst St., Cambridge, MAMark Turner's research on the cognitive underpinnings of network news, with an emphasis on blended joint attention, story-telling, counterfactuality, and hypotheticals.
New Forms, New Markets for Independent Film
MIT Building 4, Room 231 Cambridge, MAIndependent film-maker Andrew Silver will discuss emerging forms of hybrid media, some promising new pathways for distributing films and his career as a director and producer.
Nostalgia for a Not-So-Distant Youth: Digital Games and Affect in Urban China
MIT Media Lab, Room 633 75 Amherst St., Cambridge, MAMarcella Szablewicz: "Are games the imagined utopia they are made out to be in these nostalgic accounts or might these affective attachments prove to be a form of what Lauren Berlant has called cruel optimism?"
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