Mimi Ito, "Fandom Unbound: Otaku Culture in a Connected World"
2011-11-16 17:30 - 19:00 (America/New_York) | MIT Media Lab, Room 633, 75 Amherst St., Cambridge, MA, 02139, United States
Mimi Ito
In recent years, otaku culture has emerged as one of Japan’s major cultural exports and as a genuinely transnational phenomenon. In this talk, Mimi Ito, a cultural anthropologist at UC Irvine, discusses how this once marginalized popular culture has come to play a major role in Japan’s identity at home and abroad. In the American context, the word otaku is best translated as “geek”—an ardent fan with highly specialized knowledge and interests. But it is associated especially with fans of specific Japan-based cultural genres, including anime, manga, and video games. Most important of all is the way otaku culture represents a newly participatory fan culture in which fans not only organize around niche interests but produce and distribute their own media content. How did this once stigmatized Japanese youth culture create its own alternative markets and cultural products such as fan fiction, comics, costumes, and remixes, becoming a major international force that can challenge the dominance of commercial media? By exploring the rich variety of otaku culture from multiple perspectives, Prof. Ito will provide fascinating insights into the present and future of cultural production and distribution in the digital age.
Her web site is at itofisher.com/mito.
Co-hosted with the MIT Cool Japan Research Project.

Fandom Unbound: Otaku Culture in a Connected World
2011-11-16 17:30 - 19:00 | MIT Media Lab, Room 633, 75 Amherst St., Cambridge, MA, 02139, United States

Online Information Session
2011-11-21 02:00 - 16:00 | cms.mit.edu

The Family of Man and the Politics of Attention in Cold War America
2011-12-08 17:00 - 19:00 | MIT Media Lab, Room 633, 75 Amherst St., Cambridge, MA, 02139, United States
Fred Turner
In 1955, the Museum of Modern Art mounted one of the most widely seen – and widely excoriated – photography exhibitions of all time, The Family of Man. For the last forty years, critics have decried the show as a model of the psychological and political repression of cold war America. This talk from Fred Turner challenges that view. It shows how the immersive, multi-image aesthetics of the exhibition emerged not from the cold war, but from the World War II fight against fascism. It then demonstrates that The Family of Man aimed to liberate the senses of visitors and especially, to enable them to embrace racial, sexual and cultural diversity – even as it enlisted their perceptual faculties in new modes of collective self-management. For these reasons, the talk concludes, the exhibition became an influential prototype of the immersive, multi-media environments of the 1960s – and of our own multiply mediated social world today.

Creative Industries, Micro-productivity and Social Learning: A Cultural Science Approach to Cultural and Media Studies
2011-12-13 17:00 - 19:00 | MIT Media Lab, Room 633, 75 Amherst St., Cambridge, MA, 02139, United States
John Hartley
“To have great poets, there must be great audiences too.”
–Walt Whitman
This paper outlines recent developments in the field of cultural and media studies, including an account of changes in the economy, culture and technology, and consequent initiatives in educational provision for the creative industries. It goes on to outline the case for a new approach to the media and culture, based on evolutionary and complexity studies, in which the comparative media environment is recast in terms of ‘micro-productivity’ (user-created content) and ‘social learning’ (networked knowledge).
John Hartley is an educator, author, researcher and commentator on the history and cultural impact of television, journalism, popular media and creative industries.

Designing Culture: The Technological Imagination at Work
2011-12-19 14:00 - 16:00 | MIT Media Lab, Room 633, 75 Amherst St., Cambridge, MA, 02139, United States
Anne Balsamo
In her transmedia project, Designing Culture, Anne Balsamo investigates the way in which culture influences the process of technological innovation. Drawing on her experiences working as part of collaborative research-design teams that combine art/science/design/engineering, she will describe her new research on public interactives and the infrastructures of public intimacy.
Anne Balsamo’s work focuses on the relationship between the culture and technology. This focus informs her practice as a scholar, researcher, new media designer and entrepreneur. She is currently a Professor of Interactive Media in the School of Cinematic Arts, and of Communication in the Annenberg School for Communication & Journalism. From 2004-2007, she served as the Director of the Institute for Multimedia Literacy.
designingculture.org

Before Fox News: Right-Wing Broadcasting, Cold War America, and the Conservative Movement
2011-12-20 17:00 - 19:00 | MIT Media Lab, Room 633, 75 Amherst St., Cambridge, MA, 02139, United States
Heather Hendershot
In the Cold War years, there was a tremendous surge in right-wing broadcasting in America. Hendershot explains how radio and TV extremists feigned a “balanced” presentation of their ideas in the 1950s; in the 60s, those same broadcasters switched to an overtly right-wing line. Ultraconservative broadcasting was eventually shut down by the IRS, citizen activists, and the FCC. The Fairness Doctrine was the most powerful tool used against the extremists, and, thus, right-wing broadcasting was reborn when Reagan suspended the doctrine in 1987, enabling the rise of Rush Limbaugh, and Fox News shortly thereafter. Hendershot’s work thus provides useful context for understanding not only the history of the conservative movement but also the contemporary landscape.
Heather Hendershot’s research centers on regulation, censorship, FCC policy, and conservative media and political movements. She is the editor of Nickelodeon Nation: The History, Politics and Economics of America’s Only TV Channel for Kids and the author of Saturday Morning Censors: Television Regulation before the V-Chip, Shaking the World for Jesus: Media and Conservative Evangelical Culture, and What’s Fair on the Air? Cold War Right-Wing Broadcasting and the Public Interest. She is also editor of Cinema Journal, the official publication of the Society for Cinema and Media Studies.

Hacker Movies!
2012-01-16 - 2012-01-20 | MIT Building E15, Room 344, 20 Ames Street, Cambridge, MA, 02139, United States
No enrollment limit, no advance sign up
Participants welcome at individual sessions (series)
Since the 1980’s, hackers have been a favorite subject of Hollywood and television. In this film series, we’ll be watching some classic (and not so classic) examples from the genre, looking at how the depiction of hacker characters has changed over time. After the screenings, we’ll adjourn for an informal discussion about how these different perspectives reflect changes in how hackers are viewed by mainstream society, and connections between popular culture depictions of hackers and federal computer crime statutes and prosecutions. Also featured: popcorn! A collection will be taken up for pizza when people are hungry. Come see the movies you like, and stay as long as you like.
Contact: Molly Sauter, (267) 337-3861, msauter@MIT.EDU
The Wunderkids
War Games (1983)
Hackers (1995)
Mon Jan 16, 06-10:00pm, E15-344
The Old Guard
Sneakers (1992)
Swordfish (2001)
Tue Jan 17, 06-10:00pm, E15-344
The Big Bad
Take Down (2000)
Live Free or Die Hard (2007)
Thu Jan 19, 06-10:00pm, E15-344
Not All White Dudes After All
The Girl with the Dragon Tattoo (2009) (Swedish with English subtitles)
Cowboy Bebop, “Jamming with Edward” (1998) (Japanese with English subtitles)
Leverage, episode to be announced
Fri Jan 20, 06-10:00pm, E15-344

Introduction to Knitting
2012-01-17 - 2012-01-20 | MIT Building E15, Room 320, 20 Ames Street, Cambridge, MA, 02139, United States
Tue Jan 17, 02-05:00pm, E15-320
Wed Jan 18, Thu Jan 19, Fri Jan 20, 03-05:00pm, E15-320
No limit but advance sign up required (see contact below)
Participants welcome at individual sessions (series)
Start a hat and keep warm in January! The basic knitting stitches will be taught during the mandatory first session (Tuesday January 17). The other three sessions are completely optional; I will be available to help. If you already knit, feel free to join us (but please bring your own materials). Materials will be provided for the first 15 people to sign up by Dec 31.
Contact: Ayse Gursoy, agursoy@MIT.EDU

Konstantin Mitgutsch: "Purposeful Games: Research & Design"
2012-01-24 12:00 - 13:30 | Comparative Media Studies: MIT Building E15, Room 335, 20 Ames St., Cambridge, MA, 02139, United States
Konstantin Mitgutsch
In the last few years a new trend of designing video games intended to fulfill a serious purpose through impacting the players in real life contexts has emerged. These games claim to raise awareness about social and political issues such as inequity, injustice, poverty, racism, sexism, exploitation, and oppression. Their intent is to reach a specific purpose beyond pure entertainment. But what are the specific attributes of purposeful games and how can they be researched? Which game design challenges arise and how are they addressed? How do players make meaning of their game play experiences in general? And what is the future of purposeful games research?
In this talk three perspectives of Konstantin Mitgutsch’s recent research on purposeful games are outlined: To begin, insights from a recent study on meaningful experiences in players’ lives are examined and the research method of playographies is discussed. In the second part, a research-based game design project on subversive game design and recursive learning is presented and the background of the game Afterland is highlighted. Finally, the narrative of serious games and the design of purposeful games are discussed. On this basis, recent research results will be explored and future challenges for game design and purposeful games research will be outlined.
Konstantin Mitgutsch is a post-doctoral researcher at the Singapore-MIT GAMBIT Game Lab and a Visiting Professor at the University of Vienna. In 2010 he was a Max Kade Fellow at the Education Arcade at the Program of Comparative Media Studies at MIT. He worked at the University of Vienna for several years and published books in the field of game studies and education. Since 2007 he organizes and chairs the annual Vienna Games Conference FROG and is on the expert council of the Pan European Game Information (PEGI).

Alternate Reality Game (ARG) Creation Workshop
2012-01-30 - 2012-02-03
Mon Jan 30, 09am-01:00pm, 4-145
Tue Jan 31, Wed Feb 1, 10-11:00am, 4-145
Thu Feb 2, 10-11:00am, 4-265
Fri Feb 3, 10am-01:00pm, E14-633
Enrollment limited: advance sign up required (see contact below)
Signup by: 25-Jan-2012
Limited to 30 participants.
Participants requested to attend all sessions (non-series)
An Alternate Reality Game (ARG) is an activity where players enter a fictional world, discovering more and more of a hidden story, characters, and challenges as they move through the game. During this workshop, groups of students will develop an ARG for the MIT Libraries to use as an orientation activity. On Monday, we will talk about ARGs and present some basic ideas, and the constraints and resources for the game will be presented. Students will be working on their own throughout the week to plan out the ARG, and there will be a time each day for the class to meet and groups to present on their progress and get ideas. On Friday, each group will present their ARGs to each other, library staff, and other MIT faculty. By the end of the workshop, participants will understand what an ARG is, will have created the structure for an ARG, and will also know more about key resources in the library.
The focus in this workshop is on the game design and not the programming of game software, so no programming expertise is required. The final product will be a paper-based plan and prototype that may be accompanied by digital media as a demonstration.
Contact: Scott Nicholson (Please register at link below)
Cosponsor: MIT Libraries

Professional Play and the E-sports Industry
2012-01-30 12:00 | Comparative Media Studies: MIT Building E15, Room 335, 20 Ames St., Cambridge, MA, 02139, United States
Photo by Bryce Vickmark
The rise of e-sports signals a development in computer gaming well worth paying attention to. Not only are we witnessing the emergence and refinement of elite play in formalized competitive environments, but the growth of an industry around it — complete with team owners, league organizers, broadcasters, and corporate sponsors. Based on extensive qualitative research, this talk will explore the nature of professional computer game play as embodied, technical, and social practice. It will then situate these player performances within a broader context of various institutional actors that are also shaping how high-end competition is developing. In particular, it will look at issues around the ownership of e-sports playing fields, and the status of player action within them.
T.L. Taylor is Associate Professor in the Center for Computer Games Research at the IT University of Copenhagen. She has been working in the field of internet and multi-user studies for over fifteen years and has published on topics such as play and experience in online worlds, values in design, intellectual property, co-creative practices, game software modification, avatars and online embodiment, gender and gaming, pervasive gaming, and e-sports. As a qualitative sociologist, her research looks at the socio-cultural aspects of network life and play. Her book Play Between Worlds: Exploring Online Game Culture (MIT Press, 2006) presented an ethnographic study of a popular massively multiplayer online game and her new book, Raising the Stakes: E-sports and the Professionalization of Computer Gaming (MIT Press, forthcoming March 2012) will be the first published scholarly monograph looking extensively at the rising phenomenon of high-end competitive computer game play. She is also a co-author (along with Tom Boellstorff, Bonnie Nardi, and Celia Pearce) on the soon to be published Ethnography and Virtual Worlds: A Handbook of Method (Princeton University Press, forthcoming summer 2012). Her website (including copies of many of her articles) can be found at tltaylor.com.

Contemporary Network Television News Reporting About Latinos: Successes, Failures, and a Range of Proposals to Correct Its Limitations
2012-02-08 17:00 - 19:00 | MIT Media Lab, Bartos Theater, 20 Ames Street, Cambridge, MA, 02139, United States
Otto Santa Anna
Otto Santa Anna presents findings from his forthcoming book, Juan in a Hundred: Faces and Stories of Latinos on the Network News (Texas). In it he elaborates standard cognitive metaphor analysis (as is used for printed texts), blending cognitive science with humanist scholarship, to attempt to capture the full semiotic range of televised reporting. His review of a full year of contemporary network news stories about Latinos reveals both the high production values and journalistic limitations of network reporting. This critical semiotic analysis offers an explanation about how news viewers construct partial understandings about Latinos from the news stories they watch. At the end of this talk he offers a range of recommendations, from modest to radical, to address these limitations.
Otto Santa Ana, UCLA Associate Professor, received his Ph.D. in Linguistics from University of Pennsylvania. Santa Ana

Performing Videogame Narratives in Space: Indexical Storytelling
2012-02-10 10:30 - 11:30 | Comparative Media Studies: MIT Building E15, Room 335, 20 Ames St., Cambridge, MA, 02139, United States
Clara Fernández-Vara
Videogames are performance activities, like theatre, sports, rituals or dance. The presentation will draw comparisons and contrasts with theatre to understand how videogames can incorporate narratives as part of the performance: games give cues to the player, who has to figure out the script of the story. How can these cues contribute to the narrative of the game? Focusing on the design of the space, and how it provides opportunities for action, provides some of the answers. The novel concept of indexical storytelling describes a series of strategies that use environmental design to help the player form the narrative script of a game. The game gives indications to the player to interpret, carry out, or even react against. These strategies help understand how videogames tell stories, create narrative opportunities, and open up new avenues for innovation.
Clara Fernández-Vara is a Postdoctoral Researcher at the Singapore-MIT GAMBIT Game Lab. She is particularly interested in applying methods from textual analysis and performance studies to the study of video games and cross-media artifacts. Her work concentrates on adventure games, as well as the integration of stories in simulated environments through game play. Her goal as a researcher is to bridge disciplines – humanities and sciences, theory and practice – in order to find ways to innovate and open new ground in video games studies and design.
Clara holds a Ph.D. in Digital Media from the Georgia Institute of Technology. She earned a BA in English Studies by the Universidad Autónoma de Madrid, and was awarded a fellowship from La Caixa Foundation to pursue a Masters in Comparative Media Studies at MIT. Clara has presented her work at various international academic conferences, such as DiGRA (Digital Games Research Association), Foundations of Digital Games and Future Play. She has also been a speaker at the Game Developer’s Conference, one of the main video game industry gatherings worldwide. She teaches courses on videogame theory and game writing at MIT, and has worked on two experimental adventure games as part of her research, Rosemary (2009), Symon (2010) and Stranded in Singapore (2011).

Games and Journalism
2012-02-23 17:00 - 19:00 | MIT Media Lab, Room 633, 75 Amherst St., Cambridge, MA, 02139, United States
Heather Chaplin
As a journalist covering games since 2001, Chaplin has seen a lot of changes in the industry and among game academics. In this talk she will give an overview of the most important and interesting trends, including emerging thinking on ideas about game literacies and the acceptance of games as facilitators of transformative experiences. This will include ideas about play as a crucial part of human development and a potentially subversive act, and the rise of systems thinking. Chaplin is not a games evangelist, so the talk will cast a skeptical eye on the current trend of games as an answer for all that ails society. She will also talk about my experiences in general as a journalist during the rise of the Internet, and share my thinking on the journalism program she is developing at The New School.
Heather Chaplin is an assistant professor of journalism at The New School and author of the book, Smartbomb: The Quest for Art Entertainment and Big Bucks in the Videogame Revolution. Her work has appeared in The New York Times, The Los Angeles Times, GQ, Details, and Salon. She was a regular contributor for All Things Considered, covering videogames. She has been interviewed for and cited in on the topic of games for publications such as The New Yorker, The Atlantic Monthly, The New York Times Magazine, Businessweek, and The Believer and has appeared on shows such as Talk of the Nation, and CBS Sunday Morning.

Media Culture in the Occupy Movement: from the People's Mic to GlobalRevolution.tv
2012-03-01 17:00 - 19:00 | MIT Building 2, Room 105, 182 Memorial Drive, Cambridge, MA, 02139, United States
Sasha Costanza-Chock
Scholars and activists have hotly debated the relationship between social media and social movement activity during the current global cycle of protest. This talk investigates media practices in the Occupy movement and develops an analytical framework of social movement media culture: the set of tools, skills, social practices, and norms that movement participants deploy to create, circulate, curate, and amplify movement media across all available platforms.
Movement media cultures are shaped by their location within a broader media ecology, and can be said to lean towards open or closed based on the diversity of spokespeople, the role of media specialists, formal and informal inclusion mechanisms, messaging and framing norms, and levels of transparency. The social movement media culture of the Occupy movement leans strongly towards open, distributed, and participatory processes; at the same time, highly skilled individuals and dedicated small groups play key roles in creating, curating, and circulating movement media. Insight into the media culture of the Occupy movement is based on mixed qualitative and quantitative methods. Qualitative insights come from semi-structured interviews with members of Media Teams and Press Working Groups, participant observation and visual research in multiple Occupy sites, and participation in Occupy Hackathons. Quantitative insights are drawn from a survey of over 5,000 Occupy participants, a crowdsourced database of the characteristics of approximately 1200 local Occupy sites, and a dataset of more than 13 million tweets with Occupy related hashtags.
Sasha Costanza-Chock is Assistant Professor of Civic Media in the Comparative Media Studies program at MIT. He is a Fellow at the Berkman Center for Internet & Society at Harvard University, co-PI of the MIT Center for Civic Media, and cofounder of the Occupy Research Network.

The Color of Seawater Through a Picture Window
2012-03-08 17:00 - 19:00 | MIT Media Lab, Room 633, 75 Amherst St., Cambridge, MA, 02139, United States
David Kelley primarily works with digital video installation and photography, with recent projects involving performance and sculpture. His practice consistently interrogates the apparatus of photography and film to encounter narrative in the process of becoming. His latest films, set in Newfoundland and the Brazilian Amazon, draw on the genre of ethnography as a narrative device to rehearse the real and imagined social relations of these sites. In Newfoundland, Kelley participated in a remote art residency founded as a socio-economic redevelopment project on Fogo island, an outport community with a failing fishing industry. In Manaus in the Amazon, he filmed rehearsals of an independent film about drug-fueled indigenous suicides in the colonial Teatro Amazonas. The theater was funded by the fortunes of rubber barons and also served as the location for Werner Herzog’s Fitzcarraldo. Kelley 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.
Kelley is an artist and Assistant Professor of Photography at Wellesley College. He received his MFA from University of California in Irvine and is a recent alumni of the Whitney Museum of American Art’s Independent Study Program. Kelley’s work has been shown at MassMoCA, The Kitchen, BAK in Utrecht, and Bangkok Experimental Film Festival. His project with Patty Chang Flotsam Jetsam (2007) exhibited in New York at Museum of Modern Art’s 2008 New Directors New Films Festival and won the Golden Pyramid at the Cairo IMFAY Media Arts Festival.

Mapping the Urban Database Documentary
2012-03-22 17:00 - 19:00 | MIT Media Lab, Room 633, 75 Amherst St., Cambridge, MA, 02139, United States
Jesse Shapins
The 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. The genre emerges in the early 20th century, and can be read as symptomatic of panoramic perception, sensory estrangement and networked participation, cultural utopias which respond to modernity’s underlying paradoxes. As such, the invention of the computer did not give rise to the urban database documentary, it only enabled new forms of its realization. The hope is to shift the conversation from a fetishization of ever-new technological possibilities to a discussion of the underlying cultural aims/assumptions of media art practice and the specific forms through which works address modernity’s cultural tensions.
Jesse Shapins is a media theorist, documentary artist, and social entrepreneur whose work has been featured in The New York Times, Metropolis, PRAXIS and Wired, cited in books such as The Sentient City and Networked Locality, and been exhibited at MoMA, Deutsches Architektur Zentrum and the Carpenter Center for Visual Arts, among other venues. He is Co-Founder/Chief Strategy Architect of Zeega, Co-Founder/Associate Director of metaLAB (at) Harvard, and on the faculty of architecture at the Harvard Graduate School of Design, where he has invented courses such as The Mixed-Reality City and Media Archaeology of Place.

Adapting Journalism to the Web
2012-04-05 17:00 - 19:00 | MIT Media Lab, Room 633, 75 Amherst St., Cambridge, MA, 02139, United States
Co-sponsored by the Center for Civic Media; Comparative Media Studies; Science, Technology, and Society; and the Program in Writing and Humanistic Studies
New communications technologies are revolutionizing our experience of news and information. The avalanche of news, gossip, and citizen reporting available on the web is immensely valuable but also often deeply unreliable. How can professional reporters and editors help to assure that quality journalism will be recognized and valued in our brave new digital world?
Jay Rosen is director of NYU’s Studio 20, a master’s level journalism program which uses projects to teach innovation in journalism. He is the author of the blog PressThink, and of the book What are Journalists For?
Ethan Zuckerman is director of the Center for Civic Media at MIT, and a principal research scientist at the Media Lab. He blogs at ethanzuckerman.com/blog.
A Knight Science Journalism event.

Designing Digital Humanities
2012-04-26 17:00 - 19:00 | MIT Building 2, Room 105, 182 Memorial Drive, Cambridge, MA, 02139, United States
Johanna Drucker
What is the role of design in modeling digital humanities? Can we imagine new forms of argument and platforms that support interpretative work? So much of the computationally driven environment of digital work has been created by design/engineers that humanistic values and methods have not found their place in the tools and formats that provide the platform for research, pedagogy, access, and use. The current challenge is to take advantage of the rich repositories and well-developed online resources and create innovative approaches to argument, curation, display, editing, and understanding that embody humanistic methods as well as humanities content. Designers have a major role to play in the collaborative envisioning of new formats and processes. Using some vivid examples and case studies, this talk outlines some of the opportunities for exciting work ahead.
Johanna Drucker is the inaugural Breslauer Professor of Bibliographical Studies in the Department of Information Studies at UCLA. She is internationally known for her work in the history of graphic design, typography, experimental poetry, fine art, and digital humanities. In addition, she has a reputation as a book artist, and her limited edition works are in special collections and libraries worldwide. Her most recent titles include SpecLab: Digital Aesthetics and Speculative Computing (Chicago, 2009), and Graphic Design History: A Critical Guide (Pearson, 2008, 2nd edition late 2012). She is currently working on a database memoire, ALL, the online Museum of Writing in collaboration with University College London and King’s College, and a letterpress project titled Stochastic Poetics. A collaboratively written work, Digital_Humanities, with Jeffrey Schnapp, Todd Presner, Peter Lunenfeld, and Anne Burdick is forthcoming from MIT Press.

14th Annual CMS Media Spectacle
2012-04-30 18:00 - 20:00 | MIT Building 32 (Stata Center), Room 155, 32 Vassar Street, Cambridge, MA, 02139, United States
The CMS Media Spectacle, founded by late CMS program administrator Chris Pomiecko, celebrates his love for filmmaking by showcasing the finest video projects created by MIT students, staff and faculty.
Historically, the event has received submissions of every genre from experimental to documentary to narrative works created on every conceivable platform and device. Prizes include the Chris Pomiecko Award for Best Undergraduate Entry, as well as awards for Best Non-undergraduate Entry, Animation, Experimental, Narrative, Nonfiction, and Audience Favorite. The event is judged by esteemed members of the CMS community, including Cathy Pomiecko, Chris’s sister.

ROFLCon 2012
2012-05-04 - 2012-05-05
Sponsored in part by CMS, ROFLCon is “Two days and two nights of the most epic internet culture conference ever assembled. Informed commentators suggest that this may be the most important gathering of humanity since the fall of the tower of Babel.”
About: roflcon.org
Registration: roflcon.org/registration

Electronic Literature and Future Books
2012-05-04 17:00 - 19:00 | MIT Media Lab, Bartos Theater, 20 Ames Street, Cambridge, MA, 02139, United States
Mainstream and avant-garde poets and fiction writers have been exploring the literary potential of the computer for decades, creating work that goes far beyond today’s e-books. The creators of electronic literature have developed new interface methods, new techniques for collaboration, and new ways of linking language, computing, and other media elements. How has electronic literature influenced other media, including the Web and the book? What are the implications of having literary projects in the digital sphere alongside other forms of communication and art?
Katherine Hayles is professor in the literature program at Duke University. Her books include Electronic Literature: New Horizons for the Literary (2008) and My Mother Was a Computer: Digital Subjects and Literary Texts (2005).
Rita Raley is associate professor of English at the University of California at Santa Barbara where she directs Transcriptions, an online publication covering digital humanities. Her most recent publications include the co-edited Electronic Literature Collection, volume 2.

How To Wreck A Nice Speech: Hearing Things With The Vocoder, From World War II To Hip-Hop
2012-05-10 17:00 - 19:00 | MIT Media Lab, Room 633, 75 Amherst St., Cambridge, MA, 02139, United States
Dave Tompkins
Invented by Bell Labs in 1928 to reduce bandwidth over the Trans Atlantic Cable, the vocoder would end up guarding phone conversations from eavesdroppers during World War II. By the Vietnam War, the “spectral decomposer” had been re-freaked as a robotic voice for musicians. How To Wreck A Nice Beach is about hearing things, from a misunderstood technology which in itself often spoke under conditions of anonymity. This is a terminal beach-slap of the history of electronic voices: from Nazi research labs to Stalin gulags, from World’s Fairs to Hiroshima, from Churchill and JKF to Kubrick and Kinski, The O.C. and Rammellzee, artificial larynges and Auto-Tune. Vocoder compression technology is now a cell phone standard–we communicate via flawed digital replicas of ourselves every day. Imperfect to be real, we revel in signal corruption.
Dave Tompkins’ first book, How To Wreck A Nice Beach: The Vocoder From World War II To Hip-Hop, is now out in paperback. Amazon named it “top pick” for Entertainment book of the year in 2010. He has presented on the vocoder in Germany, Netherlands (Jan Van Eyck), New York (Eyebeam Institute), London, Poland (Unsound Festival), and at the NSA Cryptologic Symposium held at the Applied Physics Laboratory at Johns Hopkins University. Tompkins has written for Grantland, Oxford American, The Believer and The Wire. Tompkins is currently researching Sustained Decay bass sub-frequencies in Florida. Born in North Carolina, he now lives in Brooklyn.
Co-hosted with the MIT Cool Japan Project.

The News as a Social Process for Improving Society
2012-09-06 17:00 - 19:00 | MIT Media Lab, Room 633, 75 Amherst St., Cambridge, MA, 02139, United States
Yves Citton
What we are now accustomed to call the “knowledge economy” may be the Humanities’ worst enemy as well as their best friend. This presentation will attempt to focus the Humanities on a certain definition of the interpretive activity: while machines can “read” data, only human subjectivities can “interpret” them. This typically human activity of interpretation requires specific conditions (a suspended time, a protected space, a certain indifference to objective truth, an indirect mode of enunciation), which are often at odds with the demands of the capitalist knowledge economy (obsessed with communication, information, accuracy, speed, short-term profit). It is the future of Mankind, which is at stake in the future of the Humanities, insofar as they represent a continuous effort to promote an open culture of interpretation against the increasing pressure of the knowledge economy.
Yves Citton is a professor of French Literature of the 18th Century at the Université de Grenoble-3. He taught for 12 years in the department of French and Italian of the University of Pittsburgh, PA, and has been invited Professor at NYU, Harvard and Sciences Po. He recently published Zazirocratie. Très curieuse introduction à la biopolitique et à la critique de la croissance (Ed. Amsterdam, 2011), L’Avenir des Humanités. économie de la connaissance ou cultures de l’interprétation? (La Découverte, 2010), Mythocratie. Storytelling et imaginaire de gauche (Ed. Amsterdam, 2010), Lire, interpréter, actualiser. Pourquoi les études littéraires? (Ed. Amsterdam, 2007) and L’Envers de la liberté. L’invention d’un imaginaire spinoziste dans la France des Lumières (Ed. Amsterdam, 2006).
Sponsored by Comparative Media Studies, Foreign Languages and Literatures, and MIT France

Games by the Book: An Exhibit
2012-09-07 - 2012-10-08 | Hayden Memorial Library, 160 Memorial Drive, Cambridge, MA, 02139, United States
Curated by Clara Fernández-Vara & Nick Montfort. From the exhibit description…

People can’t get enough of stories–we’re always seeking to re-experience them, in different forms and versions. Myths have been transformed and rehashed between religion, folklore, and popular narrative. It’s typical to see the play, read the book, watch the film, and now, play the game. Each medium will appropriate a story based on what each medium can do best. This exhibit focuses on literary adaptations to the new medium of the videogame, ones that come from classical theatre texts (by Sophocles and William Shakespeare) as well as novels (by F. Scott Fitzgerald and Douglas Adams).
The games showcased in this exhibit demonstrate that there is a wide variety of approaches one can follow in adapting literary works into games.
The participatory nature of the medium cues a transformation of the original story, exploring its different alternatives. The Hitchhiker’s Guide to the Galaxy (a text game, or interactive fiction) is an example of how the player becomes the protagonist, engages in the story, maybe changing the events, maybe experiencing a different version of the story. Another approach to adaptation is focusing on world building rather than the events. Avon (also an interactive fiction) invites the player to explore a land inhabited by Shakespeare’s characters, who create the challenges that the player must face. The Great Gatsby (a tongue-in-cheek Flash game) intersects the world of F. Scott Fitzgerald’s story with the conventions of platformer games such as Super Mario Bros., marking the transition between levels with short cutscenes based on the novel. Another option is adapting the themes, so that the actions of the player rehearse and explore these essential themes, while the original characters, events, and setting may not be present at all. The mechanics of Yet One Word are based on the themes of Oedipus at Colonus.
The exhibit showcases these four games alongside the books they are based on; editions of these book are also available near the exhibit in the Humanities Library’s browsery.

George Lakoff, "The Brain's Politics: How Campaigns Are Framed and Why"
2012-09-11 17:00 - 19:00 | MIT Media Lab, Bartos Theater, 20 Ames Street, Cambridge, MA, 02139, United States
Sponsored by the MIT Imagination, Computation, and Expression Laboratory (ICE Lab)

George Lakoff
Everything 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.
George Lakoff is Richard and Rhoda Goldman Distinguished Professor of Cognitive Science and Linguistics at the University of California at Berkeley, where he has taught since 1972. He previously taught at Harvard (1965-69) and the University of Michigan (1969-1972).
He graduated from MIT in 1962 (in Mathematics and Literature) and received his PhD in Linguistics from Indiana University in 1966.
Read more at georgelakoff.com.

Artist-Audience Relations in the Age of Social Media
2012-09-13 17:00 - 19:00 | MIT Building 4, Room 231, Cambridge, MA, 02139, United States
Nancy Baym
Social media have transformed relationships between those who create artistic work and those who enjoy it. Culture industries such as the music recording business have been left reeling as fans have gained the ability to distribute amongst themselves and artists have gained the ability to bypass traditional gatekeepers such as labels. The dominant rhetoric has been of ‘piracy,’ yet there are other tales to tell. How does direct access to fans change what it means to be an artist? What rewards are there that weren’t before? How are relational lines between fans and friends blurred and with what consequences? What new challenges other than making a living do artists face?
Nancy Baym is a Principal Researcher at Microsoft Research New England. She is the author of Personal Connections in the Digital Age (Polity), Internet Inquiry (co-edited with Annette Markham, Sage) and Tune In, Log On: Soaps, Fandom and Online Community (Sage). For the last two years she has been interviewing musicians about their relationships with audiences.

On-Campus Information Session
2012-09-20 09:00 - 16:30 | Comparative Media Studies: MIT Building E15, Room 335, 20 Ames St., Cambridge, MA, 02139, United States

Jim Bizzocchi, "Close-Reading Media Poetics"
2012-09-20 17:00 - 19:00 | MIT Media Lab, Room 633, 75 Amherst St., Cambridge, MA, 02139, United States
Jim Bizzocchi
Close reading is a classic humanities methodology for the analysis and understanding of texts across a variety of media. It’s a rigorous discipline — in the words of van Looy and Baetans: “The text is never trusted at face value, but is torn to pieces and reconstituted by a reader who is at the same time a demolisher and a constructor.” This is a difficult task — the practice of close 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 in order to observe and understand the construction and the effects of the text. Bizzocchi relies on close reading for his own scholarly work and uses various strategies to reconcile the contradictory states of experience and analysis.
Close reading can be used to explicate works across a variety of dimensions: thematic, cultural, historical, sociological, and others. Bizzocchi’s goal is to understand the poetics — the creative decisions — embedded in media works. Bordwell describes poetics as “inquiry into the fundamental principles by which artifacts in any representational medium are constructed, and the effects that flow from these principles”. Bizzocchi has always loved the magic of immersion in the experience of the moving image. As a scholar, he says his role is “to seek within that immersive experience the details of how the magic is created”. He will present his analyses of Norman Jewison’s The Thomas Crown Affair, Tom Tykwer’s Run, Lola, Run, and Gerrie Villon and Alex Mayhew’s Ceremony of Innocence (an interactive adaptation of The Griffin and Sabine trilogy by Nick Bantock).
Jim Bizzocchi is an Associate Professor in the School of Interactive Arts and Technology at Simon Fraser University in Vancouver, British Columbia. His research includes work on narrative, interactive narrative, and the evolution of the moving image. He teaches classes in these areas, and is a recipient of the University Award for Excellence in Teaching. He is a practicing video artist, creating award-winning works in a genre he calls “Ambient Video”. Jim is a graduate of the MIT Comparative Media Studies Program (2001).
