MIT Graduate Program in Comparative Media Studies

Victoria Cain, “Educated Viewers: Civic Spectatorship, Media Literacy, and American Schools”
2021-09-30 17:00 - 18:30 (America/New_York) | Zoom, and (for MIT only) E15-318 Common Area, 20 Ames Street, Cambridge, Massachusetts, 02139, United States
In-person attendance: Only MIT community members enrolled in Covid Pass may attend in-person. Your MIT ID will be scanned when you arrive.

Streaming: This event will be available live on Zoom (mit.zoom.us/j/96579656038) and recorded.

In this talk, Victoria Cain provides a brief overview of some of the themes of her new book, Schools and Screens: A Watchful History, and a deeper dive into a few defining experiments with educational media in twentieth century US schools. Her talk will focus on the struggle of successive generations of education reformers who attempted to meet massive social and economic crises through careful instruction in media viewing and collective discussion. Cain will consider how and why these reformers came to conclude that “civic spectatorship” was essential to modern education and democratic participation, and reflect on the significance of their experiments for schools today.

Victoria Cain teaches in the Department of History at Northeastern University. She is the author of Schools and Screens: A Watchful History (MIT, 2021), as well as numerous articles and chapters on media, technology and education, and the co-author, with Karen Rader, of Life on Display: Revolutionizing U.S. Museums of Science and Natural History (Chicago, 2014). Her newest project explores the history and politics of adolescent privacy.

Nick Thurston, “Document Practices: The Art of Propagating Access”
2021-10-14 17:00 - 18:30 | MA
This event is virtual and will be streamed live on Zoom (mit.zoom.us/j/96579656038) and recorded.

This talk will introduce arguments and examples from Nick Thurston’s current book project, Document Practices, which explores aesthetic and political frameworks for analyzing acts of re-publishing already public documents. With case studies that range from shadow libraries to experimental videos, and ideas about “the document” which haunt the sociology of literature as much as documentary arts practice, Nick will sketch out the project’s starting points and some of its key debates.

Documents remain the primary media form of public information and record, so the social and epistemological status of “the document” should be central to a spectrum of debates, from data literacy norms to intellectual property claims. Yet, as buzz terms like “post-truth” and “deep fake” remind us, the social lives of documents are entwined with the techno-political conditions of the communities who produce, save and share them. As such, the status of any document and its content are both contextually variable. Since the 1970s, as a response to the suppression of marginalized histories and the rise of personal computing, radical practitioners from across the arts have shifted from representing “the document” as a symbol of power to critically (and sometimes illegally) re-publishing documents as an artistic act.

With this macro picture in mind, Nick’s project takes the micro perspective of art criticism to figure out some comparative frameworks for thinking across media and across artforms about the public-ness of publishing.

These preliminaries settled, he did not care to put off any longer the execution of his design, urged on to it by the thought of all the world was losing by his delay, seeing what wrongs he intended to right, grievances to redress, injustices to repair, abuses to remove, and duties to discharge.

About Nick Thurston

Nick Thurston is a writer and editor who makes artworks. He is the author of two experimental books, Reading the Remove of Literature (2006) and Of the Subcontract (2013), the latter of which has been translated into Dutch (2016), Spanish (2019) and German (2020). He writes regularly for the literary and arts press as well as for independent and academic publications. His most recent book is the co-edited collection Post-Digital Cultures of the Far Right (2018). His recent exhibitions include shows at Transmediale (Berlin, 2018), Q21 (Vienna, 2018), MuHKA (Antwerp, 2018) and HMKV (Dortmund, 2019).

From 2006–18 he was a co-editor of the influential publishing collective Information As Material (York), with whom he was Writer in Residence at Whitechapel Gallery (London, 2011–12). He has been Artist in Residence at the Irish Museum of Modern Art (Dublin, 2014) and was awarded a Paul Hamlyn Foundation Award for Artists (2020). He is currently Associate Professor in Fine Art at the University of Leeds, where he co-founded the Artists’ Writings & Publications Research Centre and is a fellow of the Poetry Centre.

Memorial Colloquium for Professor Jing Wang
2021-10-21 17:00 - 18:30 | MIT Building 56, Room 114, Access via 21 Ames Street, Cambridge, MA, 02139, United States
Attending in person: Attendance limited to MIT community members enrolled in Covid Pass. Please bring your MIT ID.

Streaming: This event will be available live on Zoom (mit.zoom.us/j/96579656038) and recorded.

Professor Jing Wang — a beloved longtime colleague, vocal supporter of Comparative Media Studies/Writing, and mentor to countless students and fellow faculty — passed away at age 71 this past July. At this Colloquium, we publicly honor her life and work, featuring brief talks by some of those who knew her best. They include:

Emma J. Teng, T.T. and Wei Fong Chao Professor of Asian Civilizations in MIT History and the Director of Global Languages. She teaches classes in Chinese culture, Chinese migration history, Asian American history, East Asian culture, and women’s and gender studies. Teng was Wang’s close colleague in Chinese studies for two decades.

T.L. Taylor, Professor of Comparative Media Studies at MIT and co-founder of AnyKey, an organization dedicated to diversity and inclusion in gaming. She is a qualitative sociologist whose research explores the interrelations between culture and technology in online environments. She was a colleague to Wang, working with her on various department-related issues, but mostly counted her as a dear friend.

Han Su, S.M. CMS, ’20, is Founder & CEO of Privoce, which builds tools to help netizens take better control of their data. Jing Wang served as advisor on his thesis Theory and Practice Towards a Decentralized Internet.

Tani Barlow, George and Nancy Rupp Professor of Humanities at Rice University, who met Wang in 1986 at Duke University, where Barlow came to her first academic conference. Over the next 45 years, Wang and Barlow were close friends, sisters, comrades. “We saw each other through joy, success, battles, losses, tragedies and the tedium and labor of writing,” Barlow writes. She is the author of The Question of Women in Chinese Feminism (2004) and In the Event of Women (2021), as well as many edited volumes. She is the founding senior academic editor of positions: asia critique. Jing Wang was a founding member of the journal.

Edward Schiappa, “The Transgender Exigency: The Role of Media Representation”
2021-10-28 17:00 - 18:30 | Streamed live on Zoom
This event is virtual and will be streamed live on Zoom (mit.zoom.us/j/96579656038) and recorded.

This presentation defines the phrase “transgender exigency” as a situation marked by an urgent need; in this case, the need to address the political and definitional challenges evinced by the need for transgender rights. The presentation provides evidence for substantial prejudice against transgender people, as well as the dramatic increase in transgender visibility and rights in the 2010s. The collision of prejudice and visibility has led to a series of controversies that involve “regulatory definitions” imposed by institutions or legislatures, some of which are the subject of Schiappa’s forthcoming book, The Transgender Exigency: Defining Sex & Gender in the 21st Century.

Edward Schiappa is the John E. Burchard Professor of Humanities at the Massachusetts Institute of Technology. His work in rhetorical theory and media studies has been published in journals in Classics, Psychology, Philosophy, English, Law, and Communication Studies. He is author of a number of books, including Defining Reality: Definitions and the Politics of Meaningand Beyond Representational Correctness: Rethinking Criticism of Popular Media.

Graphic Materiality, Trauma, and Expressionist Comics: Artist's Talk With Leela Corman
2021-11-04 17:00 - 18:30 | Zoom, and (for MIT only) E15-318 Common Area, 20 Ames Street, Cambridge, Massachusetts, 02139, United States
In-person attendance: Only MIT community members enrolled in Covid Pass may attend in-person. Your MIT ID will be scanned when you arrive.

Streaming: This event will be available live on Zoom (mit.zoom.us/j/96579656038) and recorded.

Join graphic novel creator Leela Corman for a talk and Q&A about her graphic novels and short comics on the topics of generational and personal trauma, New York City history, Polish-Jewish life, and amateur women’s wrestling.

Corman is a painter, educator, and graphic novel creator. Her books include Unterzakhn (Schocken/Pantheon, 2012) and the short comics collection We All Wish For Deadly Force (Retrofit/Big Planet, 2016). She is currently at work on the graphic novel Victory Parade, a story about WWII, women’s wrestling, and the liberation of the Buchenwald concentration camp. Her short comics have appeared in The Believer Magazine, Tablet Magazine, Nautilus, and The Nib.

Craig Robertson, “‘Information at Your Fingertips’: The Filing Cabinet and the Gendering of Information Work”
2021-11-18 17:00 - 18:30 | MIT Building E15, Room 318 (Common Area) and streamed on Zoom, 20 Ames Street, Cambridge, 02139
Attending in person: Attendance limited to MIT community members enrolled in Covid Pass. Please bring your MIT ID.

Streaming: This event will be available live on Zoom (mit.zoom.us/j/96579656038) and recorded.

In this talk, Craig Robertson provides a brief overview of the some of the themes of his recent book, The Filing Cabinet: A Vertical History of Information (Minnesota, 2021). He argues the emergence of the filing cabinet illustrates an important moment in the genealogy of the ascendance of modern information. He highlights a moment when information became a label for an instrumental form of knowledge, as information is connected to gendered ideas of efficiency and labor. Storing loose sheets of paper on their long edge in tabbed manila folders grouped behind tabbed guide cards made visible and tangible a conception of information as a discrete unit. Compared to pages in a bound book, loose paper in a tabbed folder presented information as something that was discrete, easy to extract, and easy to circulate: it was now possible to have information at your fingertips.

Craig Robertson is an associate professor of media studies at Northeastern University. For the last decade he has been researching and writing on the history of information and paperwork beginning with The Passport in America: The History of a Document (Oxford, 2010) His most recent book is The Filing Cabinet: A Vertical History of Information (Minnesota, 2021).

Ekene Ijeoma, “Poetic Justice: Art at the same scale society has the capacity to destroy”
2021-12-02 17:00 - 18:30 | Zoom, and (for MIT only) E15-318 Common Area, 20 Ames Street, Cambridge, Massachusetts, 02139, United States
Attending in person: Attendance limited to MIT community members enrolled in Covid Pass. Please bring your MIT ID.

Streaming: This event will be available live on Zoom (mit.zoom.us/j/96579656038).

Founded in the spring of 2019 by artist Ekene Ijeoma, Poetic Justice researches intersectional issues, such as racial and environmental justice, and develops artworks about or with communities. Poetic Justice’s participatory public artworks, including phone and online accessible sound and video streams, have been presented by the Contemporary Art Museum of Houston, Contemporary Art Museum of St. Louis, Bemis Center for Contemporary Art, and Museum of the City of New York.

Its current projects question, if “Artists need to create on the same scale as society has the capacity to destroy,” as Sherrie Rabinowitz suggested in 1984, then how can we scale social practice through conceptual art and computational design strategies? Ijeoma will share how Poetic Justice has been thinking through this question by developing a series of generative sound and video portraits of linguistic and ethnic diversity in US cities, Black thought and expression in the US (TBA), liberty and equality across multiple countries (TBA), and Black lives lost to COVID-19 in the US (TBA).

Ekene Ijeoma is an artist, Assistant Professor of Media Arts and Sciences at MIT, and Director of the Poetic Justice group at MIT Media Lab. Through his lab and studio art practices, Ijeoma researches social inequality across multiple fields to develop communal empathy through sound, video, sculpture, and installation art. Ijeoma’s multimedia practices critique themes such as language, identity, and displacement, and propose values such as belonging and healing. His work has been presented through exhibitions and initiatives at the Bemis Center for Contemporary Art, Museum of Contemporary Art Denver, Contemporary Art Museum of Houston, Annenberg Space for Photography and The Kennedy Center.

Alexandra To, “Uplifting Us: Design Opportunities in Centering Racialized Experiences in Games”
2021-12-09 17:00 - 18:30 | Streamed live on Zoom
This event is virtual and will be streamed live on Zoom (mit.zoom.us/j/96579656038) and recorded.

People of color have always been present in games as designers, developers, players, and critics. As Kishonna Gray further expounds, gaming is a site for “resistance, activism, and mobilization among marginalized users.” In this talk Alexandra To will describe some of the game design opportunities present in centering the experiences of people of color from the beginning through the lens of 1) a design process that focuses on the creation of joyful counterspaces, 2) game design choices that embed encountering and processing racial trauma, and 3) exploring the work that players of color are actively engaging in to create custom content that represents them where it may not exist. Through these projects we can begin to articulate an agenda for racially inclusive game design.

Alexandra To is an Assistant Professor at Northeastern University jointly appointed in the Art + Design (Games) department in the College of Art, Media, and Design and the Khoury College of Computer Science. Her core research interests are in studying and designing social technologies to empower people in marginalized contexts. She uses qualitative methods to gather counterstories and participatory methods to design for the future. She additionally has extensive experience leading teams of educational game designers and has designed award-winning games. She has received multiple ACM Best Paper awards and published at CHI, UIST, CSCW, CHI Play, ToDiGRA, and DIS. Alexandra is a racial justice activist, a critical race scholar, game designer. She received her PhD in Human-Computer Interaction from Carnegie Mellon University as well as a B.S. and M.S. in Symbolic Systems with a minor in Asian American Studies from Stanford University.

Samantha N. Sheppard, “Changing the Subject: Lynn Nottage’s By the Way, Meet Vera Stark and the Making of Black Women’s Film History”
2022-02-03 17:00 - 18:30 | MA
This event is virtual and will be streamed live on Zoom (mit.zoom.us/j/96579656038) and recorded.

Lynn Nottage’s 2011 satirical play By the Way, Meet Vera Stark stages the life and legacy of the fictional Vera Stark, a Black maid and struggling actress during Hollywood’s golden age. Nottage, a two-time Pulitzer prize-winning playwright and screenwriter, was inspired in part by the career of African American actress, singer, and dancer Theresa Harris. A play about Black women’s cinematic representation and social erasure, Nottage’s fabrication of film history extends beyond the staged plot to also include a digital archive documenting Vera’s celebrity and career. In this talk, Samantha N. Sheppard examines how Nottage’s play and paratexts produce a speculative fiction and archive about Black women’s media histories, staging what she calls a phantom cinema—an amalgam of real and imagined film histories that haunt, trouble, and work with and against cinema histories to creatively illuminate archival gaps in visual culture and the public imagination.

Samantha N. Sheppard is an associate professor of cinema and media studies in the Department of Performing and Media Arts at Cornell University. She is the author of Sporting Blackness: Race, Embodiment, and Critical Muscle Memory on Screen (University of California Press, 2020) and co-editor of From Madea to Media Mogul: Theorizing Tyler Perry (University Press of Mississippi, 2016) and Sporting Realities: Critical Readings on the Sports Documentary (University of Nebraska Press, 2020). She has published on film and media in academic and popular venues such as Film Quarterly, The Atlantic, Flash Art International, and Los Angeles Review of Books. She was named a 2021 Academy Film Scholar by the Academy of Motion Picture Arts and Sciences.

Eric Freedman, “Non-Binary Binaries and Unreal MetaHumans”
2022-02-10 17:00 - 18:30 | Streamed live on Zoom
This event is virtual and will be streamed live on Zoom (mit.zoom.us/j/96579656038) and recorded.

Video game engines have promoted a new cultural economy for software production and have provided a common architecture for digital content creation across what were once distinct media verticals—film, television, video games and other immersive and interactive media forms that can leverage real-time 3D visualization. Game engines are the building blocks for efficient real-time visualization, and they signal quite forcefully the colonizing influence of programming. Video game engines are powering our visual futures, and engine developers that include Unity Technologies and Epic Games are rapidly iterating their products to tackle new markets, where data and visuality continue to converge. This analysis, which draws from software studies and studies of visual culture, examines a tool that is fairly new to the Epic Games arsenal—the in-development MetaHuman Creator that is part of Epic’s proprietary Unreal Engine. The MetaHuman Creator is a cloud-streamed application that draws from a library of real scans of people and allows 3D content developers to quickly create unique photorealistic fully-rigged digital humans. MetaHuman creation is a fluid of process, and the speedy transformation of character rigs and other non-binary attributes highlights the potential queerness or openness of data. Yet the ongoing push toward (hyper)realism in commercial media has birthed a visual economy which is supported by an industrial apparatus that privileges mastery over the tools of production, and where bodies and politics are often cleaved in the design process. Epic’s multiethnic, multiracial, transgender MetaHuman Creator is a design tool and not a narrative engine. Its transitions are simple and seamless, and the traces of non-binary and non-white identities are simply part of a larger color palette. These tools represent a way of seeing and knowing the world, and the representations they produce are part of hermetically-sealed and privately-held encoding processes that include a company’s original data, its application programming, its proprietary build environment and its interface. This analysis poses two interrelated questions. Are the MetaHuman Creator and similar simplified building tools democratizing the field of digital content creation? Are they fostering more diverse representations and narratives, and supporting the free play of identity in playable media?

Eric Freedman is Professor and Dean of the School of Media Arts at Columbia College Chicago. He is the author most recently of The Persistence of Code in Game Engine Culture (2020), as well as Transient Images: Personal Media in Public Frameworks (2011). He serves on the editorial board of the International Journal of Creative Media Research and the advisory board of the Communication and Media Studies Research Network.

Jorge Caraballo, “How to Use Audio Storytelling to Cultivate a Community and Keep it Engaged”
2022-02-17 17:00 - 18:30 | Streamed live on Zoom
This event is virtual and will be streamed live on Zoom (mit.zoom.us/j/96579656038) and recorded.

Podcasts are in a golden age and are being used to effectively communicate new ideas, tell compelling stories, and build highly participative communities. This presentation will explore the power of audio storytelling to connect individuals in engaged networks of collaboration. Jorge Caraballo (’22 Harvard Nieman Fellow) will draw from experience as the former Growth Editor at Radio Ambulante –Latin America’s most popular documentary podcast– and will highlight different ways in which storytelling can be the starting point of new collective identities.

Jorge Caraballo is a journalist and a 2022 Harvard Nieman fellow. Before that, he worked for four years as the Growth Editor at Radio Ambulante –the most popular documentary podcast in Spanish, and the only one in that language distributed by NPR. There he led online and offline engagement initiatives to grow the community around the podcast. He holds a master’s degree in Media Innovation at Northeastern University. He’s a Fulbright Scholar and a Google News Initiative Fellow.

Hillary Chute, "Maus Now: Spiegelman’s Graphic Novel and the Present Tense"
2022-02-24 17:00 - 18:30 | MA
This event is virtual and will be streamed live on Zoom (mit.zoom.us/j/96579656038) and recorded.

In this talk, Hillary Chute considers the contemporary relevance of Art Spiegelman’s classic graphic novel, Maus: A Survivor’s Tale, in an overview linked to her forthcoming book Maus Now: Selected Writing (a collection to be published by Pantheon in 2022). Maus was first published serially beginning in 1980, and came out in two book volumes in 1986 and 1991; today, she argues, it’s timeless for many different reasons, including stark political ones. She highlights what Spiegelman’s comics narrative, which is about history, reveals about the form’s capacity both to register the continuousness of history and also to function in today’s context as a text of resistance to fascism.

Hillary Chute is Distinguished Professor of English and Art + Design at Northeastern University. She is the author or editor of six books, including Why Comics? From Underground to Everywhere (Harper, 2017), Disaster Drawn: Visual Witness, Comics, and Documentary Form (Harvard UP, 2016), Outside the Box: Interviews with Contemporary Cartoonists (U of Chicago P), and Graphic Women: Life Narrative and Contemporary Comics (Columbia UP, 2010). She has written for venues including Artforum, Bookforum, the Village Voice, and the New York Review of Books. She is a comics and graphic novels columnist for the New York Times Book Review.

Katherine Jewell in conversation with Ian Condry, “Party City: WMBR, Institutional Change, and Democratic Media”
2022-03-10 17:00 - 18:30 | Zoom, and (for MIT only) E15-318 Common Area, 20 Ames Street, Cambridge, Massachusetts, 02139, United States
In-person attendance: limited to MIT community members enrolled in Covid Pass.

Streaming: This event will be available live on Zoom (mit.zoom.us/j/96579656038) and recorded.

College radio has long been known as the weird, wacky signals on the left of the FM dial offering music that would never be mainstream. But this wasn’t always the case—and moreover, even at stations exemplifying musical adventurousness and the community potential of college signals, institutional constraints loomed. In this talk, Katherine Jewell delves into the history of WMBR at MIT from the 1960s to the 1980s to explore how this station, with a license held by an independent non-profit corporation, built a meaningful community institution despite transformations within the university, its student body and organizations, as well as regulatory changes regarding noncommercial radio and the music industry’s shifting business model. DJs debated and embraced the democratic obligations of their signal, particularly their commitment to diversity of sound. But achieving these lofty goals often proved complicated given the need to construct a program that appealed to and served many audiences in a fluctuating radio market. Despite these limits, college radio’s history can offer much to consider in considering how to pursue democratic media and community connection in the twenty-first century.

Katherine Rye Jewell, Ph.D., is a historian writing about the history of college radio, including her forthcoming book, tentatively titled Live from the Underground: A History of College Radio from University of North Carolina Press. Her research on college radio is at the center of two additional book projects currently in progress. She is the author of Dollars for Dixie: Business and the Transformation of Conservatism in the Twentieth Century, published by Cambridge University Press (New York) in 2017. Her work has appeared in The American Historian, the Washington Post, among other scholarly publications. A graduate of Vanderbilt University (BA, 2001) and Boston University (MA, 2005; Ph.D., 2010), she studies the business and politics of culture. She is currently Associate Professor of History at Fitchburg State University, where she received the Fitchburg State University Faculty Research Award in 2018, and a year-long visiting fellowship from the University of Connecticut Humanities Institute.

Ian Condry is a cultural anthropologist of Japan and professor at MIT since 2002. He is the author of two books, Hip-Hop Japan and The Soul of Anime, both of which explore globalization from below. The books are available for free, thanks to Creative Commons and Duke University Press: mit.academia.edu/IanCondry. In the fall of 2019, he launched the MIT Spatial Sound Lab, a community production studio for immersive, multiperspective, sonic experimentation. Among the goals is to provide a space for using sound to disrupt hierarchies, reduce inequalities, and cross borders. He is co-organizer of Dissolve Music, a sound conference and music festival, in 2018 and 2020 (mitdissolve.com). Since 2018, he is the radio DJ for Near and Far, a Japanese hip-hop show, on WMBR 88.1FM Cambridge, and online at wmbr.org, weekly Tuesdays 7-8pm. Archive at mixcloud.com/iancondry. Since 2006, he has organized the MIT / Harvard Cool Japan research project, which explores the critical potential of popular culture. He is currently working on a book about musicians on the margins in Tokyo, Boston, and Berlin.

Jens Pohlmann, “Platform Regulation and the Digital Public Sphere: Comparing the Discourse in Germany and the United States”
2022-03-31 17:00 - 18:30 | MA
This event is virtual and will be streamed live on Zoom (mit.zoom.us/j/96579656038) and recorded.

In this talk, Jens Pohlmann compares the discourse about the regulation of social media platforms and its effect on freedom of expression in Germany and the United States. Drawing on computational methods, he analyzes the discussion about a German anti-hate speech law called the Network Enforcement Act (NetzDG) and the debate about a reform of Section 230 of the Communications Decency Act in the United States in different media environments (IT-blogs, newspapers, social media).

Ultimately, he considers the extent to which cultural, historical, and political differences between these two liberal democracies inform the present transatlantic debate about the restriction of content online and the regulation of social media platforms, as well as potential impacts on the evolving digital public sphere.

Jens Pohlmann is a Research Associate at the Centre for Media, Communication & Information Research (ZeMKI) at the University of Bremen. He received his Ph.D. from Stanford University in 2017 and focuses his research on the internet policy discourse in Germany and the United States. His first book, The Creation of an Avant-Garde Brand: Heiner Müller’s Self-Presentation in the German Public Sphere is to be published this fall.

Oscar Winberg, “Archie Bunker Goes to Washington: How Television in the 1970s Remade Politics into Entertainment”
2022-04-07 17:00 - 18:30 | MA
This event is virtual and will be streamed live on Zoom (mit.zoom.us/j/96579656038) and recorded.

This talk reconsiders the role of television entertainment in American political life in the 1970s and beyond. Focusing on the situation comedy All in the Family (CBS, 1971-1979), the talk looks at a turn to politics in entertainment and a turn to entertainment in politics. In the 1970s, fictive characters, including Archie Bunker (played by Carroll O’Connor) and Edith Bunker (Jean Stapleton) of All in the Family but also Hawkeye Pierce (played by Alan Alda) of MAS*H and Mary Richards (played by Mary Tyler Moore) of The Mary Tyler Moore Show, became political icons. Produced by Norman Lear, All in the Family is recognized as a watershed moment in television history. And yet, Oscar Winberg argues, the show did not just change television, it transformed American politics. Recognizing the popularity of television, politicians learned how to use (and abuse) television entertainment to win votes, to fundraise, to promote their agenda, and to push for legislation. Television entertainment in the 1970s thereby remade political life in its image, paving the way for our current moment of mediated showbiz politics.

Oscar Winberg holds a Ph.D. in History from Åbo Akademi University. He is working on a political history of television entertainment in the 1970s United States. His work focuses on mass media in modern political history and has appeared in PS: Political Science & Politics, European Journal of American Studies, and Finsk Tidskrift. He is a columnist for Hufvudstadsbladet and has written for venues such as Made by History at the Washington Post, Vasabladet, and the public broadcasting corporation in Finland.

“Saving the News: Why the Constitution Calls for Government Action to Preserve Freedom of Speech,” a Conversation with Martha Minow and Heather Hendershot
2022-04-14 17:00 - 18:30 | MA
This event is virtual and will be streamed live on Zoom (mit.zoom.us/j/96579656038) and recorded.

In her 2021 book Saving the News: Why the Constitution Calls for Government Action to Preserve Freedom of Speech, our guest Martha Minow “outlines an array of reforms, including a new fairness doctrine, regulating digital platforms as public utilities, using antitrust authority to regulate the media, policing fraud, and more robust funding of public media. As she stresses, such reforms are not merely plausible ideas; they are the kinds of initiatives needed if the First Amendment guarantee of freedom of the press continues to hold meaning in the twenty-first century.”

Martha Minow has taught at Harvard Law School, where she also served as Dean, since 1981. In addition to Saving the News, she is author of When Should Law Forgive? (2019), In Brown’s Wake: Legacies of America’s Constitutional Landmark (2010), among many other books and articles. She is an expert in human rights and advocacy for members of racial and religious minorities and for women, children, and persons with disabilities, she also writes and teaches about digital communications, democracy, privatization, military justice, and ethnic and religious conflict.

Heather Hendershot is Professor of Comparative Media Studies at MIT and studies TV news, conservative media, political movements, and American film and television history. She is author of the forthcoming book When the News Broke: Chicago 1968 and the Polarizing of America, which follows her 2016 title Open to Debate: How William F. Buckley Put Liberal America on the Firing Line. She has held fellowships at Vassar College, New York University, Princeton, Harvard, Radcliffe, and Stanford, and she has also been a Guggenheim fellow. Her courses emphasize the interplay between creative, political, and regulatory concerns and how those concerns affect what we see on the screen.

Mary Beth Meehan and Fred Turner, “Seeing Silicon Valley”
2022-05-05 17:00 - 18:30 | Zoom, and (for MIT only) E15-318 Common Area, 20 Ames Street, Cambridge, Massachusetts, 02139, United States
In-person attendance: limited to MIT community members enrolled in Covid Pass.

Streaming: This event will be available live on Zoom (mit.zoom.us/j/96579656038) and recorded.

Acclaimed photographer Mary Beth Meehan and Silicon Valley historian and media scholar Fred Turner discuss their recently published and award-winning book Seeing Silicon Valley: Life inside a Fraying America, a collaborative exploration of the culture of Silicon Valley — not the culture of Elon Musk and Mark Zuckerberg that we see in the press, but the lives of the men and women who inhabit the Valley and make it work. If Silicon Valley is building the world’s future, Meehan and Turner argue, then we must learn to see through the tech industry’s marketing campaigns. We need to see the kind of society the tech industry is actually creating, in its own back yard.

Fred Turner is the Harry and Norman Chandler Professor of Communication at Stanford University. Before coming to Stanford, he taught Communication at Harvard’s John F. Kennedy School of Government and MIT’s Sloan School of Management. He also worked for ten years as a journalist. He has written for newspapers and magazines ranging from the Boston Globe Sunday Magazine to Harper’s.

Mary Beth Meehan is an independent photographer, writer, and educator, who has spent more than twenty years embedding herself in communities across the United States. Beginning in her native New England, and continuing in the Midwest, the American South and in Silicon Valley, her work, which combines image, text, and large-scale public installation, stems from her belief in a collaborative process that should function in and for the communities it reflects. Co-opting the scale of celebrity and advertising, Meehan’s portrait banners activate public spaces and spark conversations among and about the people who inhabit them.
