Music Fandom and the Shaping of Online Culture
2018-04-05 17:00 - 18:30 (America/New_York) | MIT Building 56, Room 114, Access via 21 Ames Street, Cambridge, MA, 02139, United States
Nancy Baym, Principal Researcher, Microsoft; Research Affiliate at MIT Comparative Media Studies/Writing
From the earliest days of networked computing, music fans were there, shaping the technologies and cultures that emerged online. By the time musicians and industry figures realized they could use the internet to reach audiences directly, those audiences had already established their presences and social norms online, putting them in unprecedented positions of power. Even widely-hailed innovators like David Bowie, Prince, and Trent Reznor were late to the game. This talk traces the intertwined histories of music fandom and online culture, unpacking the fundamental disruption and its broader implications for interacting with audiences.
Nancy Baym is a Principal Researcher at Microsoft in Cambridge, Massachusetts and a Research Affiliate in CMS/W at MIT. She earned her Ph.D. in Communication at the University of Illinois in 1994 and joined Microsoft in 2012 after 18 years as a Communication professor. She is the author of Personal Connections in the Digital Age (Polity Press), now in its second edition, Tune In, Log On: Soaps, Fandom and Online Community (Sage Press), and co-editor of Internet Inquiry: Conversations About Method (Sage Press) with Annette Markham. Her bookPlaying to the Crowd: Musicians, Audiences, and the Intimate Work of Connection will be published in July by NYU Press. More information, most of her articles, and some of her talks are available at nancybaym.com

CMS Graduate Thesis Presentations - 2018
2018-04-06 10:30 - 17:00 | MIT Building W20, Room 491, 84 Massachusetts Avenue, Cambridge, MA, 02139
This event is free and open to the public. You are welcome to attend as many or as few presentations as you wish. Livestream available at https://www.youtube.com/MITComparativeMediaStudiesWriting.

10:30 Coffee and Conversation
11:00 Presentations by:
Claudia Lo When All You Have Is A Banhammer
The popular wisdom about internet moderation is, simply: moderators remove stuff. But there is plenty that they do that doesn’t fit in such a simple definition. Through research with large-scale Twitch esports moderators, we can see that there are social and communicative aspects to their work. From making their own moderation tools, creating new policies and developing ethical standards for moderation, what else do moderators do when all we give them is a banhammer?
Aashka Dave When to Start Freaking Out: Audience Engagement on Social Media During Disease Outbreaks
How do perceptions of risk contribute to sensationalized social media spectacles, and how might social media practices further such a practice? This thesis will explore sensationalism and gatekeeping through an examination of how news and public health organizations used social media during the most recent Ebola and Zika outbreaks.
12:30 Lunch Break
1:00 Presentations by:
Vicky Zeamer Internet Killed the Michelin Star: The Motives of Narrative and Style in Food Text Creation on Social Media
Food porn has become mainstream content on social media sites and digital streaming sites. With this comes a change in status—from expert to everyone. As a result, the role of authority figures, in particular chefs, has changed. This thesis illustrates the convergences and divergences in the creation and consumption of food texts today.
Kaelan Doyle-Myerscough Intimate Worlds: Reading for Intimate Affects in Contemporary Video Games
Leveraging affect theory and video game studies, I examine Overwatch, The Last Guardian and The Legend of Zelda: Breath of the Wild for intimate affects. I read for intimacy as a way to understand how sensations of vulnerability, the loss of control and precarity can become pleasurable in contemporary video games.
Sara Rafsky The Print that Binds: Local Media, Civic Life and the Public Sphere
Aziria Rodriguez Arce Seizing the Memes of Production: Political Memes in Puerto Rico and the Puerto Rican Diaspora.
Mariel Garcia Montes Youth and Privacy in the Americas
How do youth allies promote young people’s critical thinking on privacy, in informal learning contexts in the Americas? This thesis look at ways that educators and allies work to think about, critique, engage with, and circulate ideas about youth online privacy.

Vibranium Culture: Race, Gender, Technology, and History in Black Panther (#WakandaUniversity)
2018-04-12 15:00 - 16:30 | MIT Black Students’ Union Lounge (Building 50, Room 105), 142 Memorial Drive, Cambridge, MA, 02139, United States

The City Talks: Storytelling at the New York Times's Metro Desk
2018-04-12 17:00 - 18:30 | MIT Building 56, Room 114, Access via 21 Ames Street, Cambridge, MA, 02139, United States
Emily Rueb – Photo by Leslye Davis
As attention spans shrink and the representation of factual information is under scrutiny by the public, news organizations need clear, engaging storytelling that reaches readers where they are. In this talk, Emily Rueb, a reporter for The New York Times, will share insights gained in bursting boundaries of traditional storytelling for The New York Times’s Metro desk. Weaving video, audio, illustrations and text across multiple platforms, she chronicled aspects of New York’s complex but rarely seen infrastructure, like the power grid and the water system, and also its overlooked neighbors, like red-tailed hawks. Her talk will also look at what’s next for an organization that cherished its customs but has come to realize that its most important legacy values cannot survive without steady, rapid integration of new techniques.
Ms. Rueb writes and produces New York 101, a multimedia column explaining infrastructure. At the Times, she pioneered new approaches to storytelling for the breaking news blog, City Room, where she covered Hurricane Sandy and major elections, and created a niche writing about avian life. She also edited Metropolitan Diary. Her New York 101 series examined the power grid, road construction, organics recycling and the water system. Winner of an Emmy and a Knight-Batten Award for Innovation in Journalism, Rueb also has contributed to The Financial Times, BBC Scotland, Time Out Paris and Cleveland Magazine.

Republican Resistance in the Age of Trump
2018-04-12 18:00 - 20:00 | MIT Building 3, Room 270, 33 Massachusetts Ave (Rear), Cambridge, MA, 02319, United States
Stuart Stevens, Republican political consultant
Stuart Stevens believes Republicans are in a “GOP apocalypse,” and he’s mobilizing conservatives to stop it.
Stevens is a Republican political consultant who’s worked on presidential campaigns for Bob Dole and George W. Bush, served as the lead strategist for Mitt Romney’s 2012 presidential campaign, and helped elect more governors and US Senators than any other GOP consultant working today. He’s also an outspoken critic of Donald Trump, starting from the earliest days of Trump’s candidacy. Stevens joins MIT Communications Forum director Seth Mnookin to discuss the future of the GOP, how Donald Trump has influenced the American political system, and predictions for the 2018 midterm and the 2020 presidential elections.
Speakers:
Stuart Stevens is a political consultant, author, and founding partner of the consultancy firm Strategic, Partners & Media. Stevens has served as a strategist and media consultant to President George W. Bush, Governor Tom Ridge, and senators Chuck Grassley, John McCain, Thad Cochran, Roger Wicker, Dick Lugar, and many others. Stevens was the lead strategist for Mitt Romney’s 2012 presidential campaign.
Jennifer Nassour is the founder of Conservative Women for a Better Future, a non-profit organization dedicated to electing more conservative women in the Northeast, and former chairman of the Massachusetts Republican Party. During her tenure, Republicans won the U.S. Senate seat held by Scott Brown and doubled their ranks in the Massachusetts House of Representatives.
Dr. Daniel Barkhuff is president of Veterans for Responsible Leadership, a nonpartisan political action committee that supports veterans who have demonstrated integrity and rational thought as they run for positions in local, state and federal elections. Barkhuff served for 7 years as a member of Naval Special Warfare and is currently a faculty member and emergency medicine doctor at the University of Vermont.
Moderator: Seth Mnookin is the director of the MIT Communications Forum and director of MIT’s Graduate Program in Science Writing. His most recent book, The Panic Virus: The True Story Behind the Vaccine-Autism Controversy,won the “Science in Society” award from the National Association of Science Writers.

Between Participation and Control: A Long History of CCTV
2018-04-26 17:00 - 18:30 | MIT Building 56, Room 114, Access via 21 Ames Street, Cambridge, MA, 02139, United States
Anne-Katrin Weber
Closed-circuit television (CCTV) has become synonymous with surveillance society and the widespread use of media technologies for contemporary regimes of power and control. Considered from the perspective of television’s long history, however, closed-circuit systems are multifaceted, and include, but are not limited to sorting and surveillance. During the media’s experimental phase in the 1920s and 1930s, closed-circuit systems were an essential feature of its public display, shaping its identity as a new technology for instantaneous communication. With the emergence of activist video practices in the 1970s, closed-circuit TV became a core feature for alternative experiments such as the Videofreex’ Lanesville TV, where it offered access to community-based media making. This use of CCTV as a tool for participatory media took place simultaneously with the rise of CCTV as a surveillance technology, which had been promoted under the label of “industrial television” already from the early 1950s on. Based on war-driven technological developments, industrial TV implemented televisual monitoring in industrial, educational, and military spheres decades before the global spread of surveillance cameras in public space.
This talk by Anne-Katrin Weber explores the politics of CCTV as they unfold in different institutional and ideological settings. Examining television’s history beyond broadcasting and programs, it focuses on television’s multiple applications and meanings in public space – from the early presentation of television at World’s Fairs to community-based initiatives – and thus highlights the adaptability of closed-circuit technologies, which accommodate to, and underpin variable contexts of media participation as well as of surveillance and control.
Anne-Katrin Weber is a postdoctoral fellow supported by the Swiss National Science Foundation and is a visiting scholar at MIT Comparative Media Studies/Writing. Her research examines the history of television outside broadcasting institutions. Currently preparing her first monograph titled Television on Display: Visual Culture and Technopolitics in Europe and the USA, 1928-1939, she is the editor of La télévision du téléphonoscope à Youtube: pour une archéologie de l’audiovision (with Mireille Berton, Antipodes, 2009) and an issue of View: Journal of European Television History and Culture (“Archaeologies of Tele-Visions and –Realities,” with Andreas Fickers, 2015).

Bunk and the History of Hoaxes with Kevin Young
2018-04-26 18:00 - 20:00 | MIT Building 3, Room 270, 33 Massachusetts Ave (Rear), Cambridge, MA, 02319, United States
Kevin Young, poetry editor for The New Yorker and director of the Schomburg Center for Research in Black Culture at the New York Public Library
The author of 11 books and poetry collections, poetry editor for The New Yorker and director of the New York Public Library’s Schomburg Center for Research in Black Culture, Young has spent the past six years tracing the history of news-worthy fraudulence all the way back to the 18th century. Young’s latest book Bunk: The Rise of Hoaxes, Humbug, Plagiarists, Phonies, Post-Facts, and Fake News chronicles the racially prejudiced path that brought fake news to where it is to today. Longlisted for the 2017 National Book Award, Bunk dives into hoaxes big and small that permeate American history and the cultural attitudes that drive them. Young joins Carole Bell, an assistant professor of Communication Studies at Northeastern University whose research explores the connections between media and politics, for a broad-ranging discussion on the current state and political consequences of fake news. A book signing will follow.
Speakers:
Kevin Young is poetry editor for The New Yorker, director of the Schomburg Center for Research in Black Culture at the New York Public Library, and the author of 11 books and poetry collections including The Grey Album: On the Blackness of Blackness, which was a New York Times Notable Book, and Jelly Roll: A Blues, which was a finalist for the National Book Award.
Carole Bell is an assistant professor of Communication Studies and affiliated faculty in Political Science at Northeastern University. Bell’s teaching and research focuses on the intersections of media, politics, public opinion and public policy, with a particular focus on issues of social identity. Her first book, The Politics of Interracial Romance in American Film, is forthcoming from Routledge.
This event is sponsored by Radius at MIT. All Communications Forum events are free and open to the general public.

Ordinary Violence and Network Form: On #blacklivesmatter
2018-05-03 17:00 - 18:30 | MIT Building 56, Room 114, Access via 21 Ames Street, Cambridge, MA, 02139, United States
Scott C. Richmond, assistant professor of cinema and digital media, University of Toronto
This talk addresses the hashtag #blacklivesmatter as a network form: a network (counter)infrastructure for the circulation and visualization of the ordinary state and quasistate violence visited upon Black bodies and populations in the United States. The University of Toronto’s Scott C. Richmond argues that #blacklivesmatter as a hashtag–but specifically neither the videos of violence and death that have circulated under it, nor the penumbra of political movements grouped under the moniker Black Lives Matter–can be productively theorized as a Black, feminist, and queer infrastructure of mourning and care on the network. In Christina Sharpe’s terms, #blacklivesmatter is a form of wake work–a digital and networked form of Black annotation that makes visible Black lives and the violence to which they are subject. It does so outside of the logics of melodrama and white identification that have organized so much of the history of figurations of Black suffering in American life. Reading with Sharpe, Saidiya Hartman, Nicole Fleetwood, Shaka McGlotten, Eyal Weizman, and others, Richmond argues that what is at stake in #blacklivesmatter is a Black political form that is also an emphatically network form, operating below, beyond, and to the side of what can be practiced, grasped at the level of the individual, of intention, and of representation.
Scott C. Richmond is assistant professor of cinema and digital media at the University of Toronto, where his teaching and research focus on avant-garde cinema and experimental media, film theory and media theory, and phenomenology and critical theory. His work has appeared, among other places in World Picture, Discourse, and the Journal of Visual Culture. He is coeditor, with Elizabeth Reich, of a special issue of Film Criticism entitled “New Approaches to Cinematic Identification.” His first book, Cinema’s Bodily Illusions: Flying, Floating, and Hallucinating, is published by the University of Minnesota Press. He is currently completing a second book entitled Find Each Other: On Encountering Others in Media.

Imperial Arrangements: South African Apartheid and the Force of Photography
2018-05-10 17:00 - 18:30 | MIT Building 56, Room 114, Access via 21 Ames Street, Cambridge, MA, 02139, United States
Kimberly Juanita Brown, MLK Visiting Assistant Professor at MIT, Assistant Professor of English and Africana Studies at Mount Holyoke College
This talk by Kimberly Juanita Brown will consider the prominence of graphic photographic images during the decades of apartheid in South Africa. Specifically, she is interested in an archive of indifference that permeates the era and orchestrates the viewer’s relationship to black subjectivity. For the talk she will focus on US news media coverage of apartheid in the last year of its existence, and the images that anchored viewers’ interpretation of the event.
Kimberly Juanita Brown is Martin Luther King Jr. Visiting Assistant Professor for 2017-2018, hosted by MIT Literature and MIT Women’s & Gender Studies. She is an Assistant Professor of English and Africana Studies at Mount Holyoke College and author of The Repeating Body: Slavery’s Visual Resonance in the Contemporary.

Civic Arts Series: Erik Loyer
2018-09-13 17:00 - 18:30 | MIT Building E15, Room 001 (“The Cube”), 20 Ames Street, Cambridge, MA, 02139, United States
Erik Loyer – Illustration by Mauricio Cordero
Erik Loyer‘s award-winning work explores new blends of game dynamics, poetic expression and interactive visual storytelling. From his best-selling Strange Rain story-playing iPad/iPhone app, to his visually stunning digital fiction The Lair of the Marrow Monkey (powered by Shockwave software animation), and his interactive explorations of post-Katrina racial politics in Blue Velvet, Loyer’s interactive artistic hybridizations of music, new narratives and algorithmic play have won numerous awards, been exhibited widely, and found their way into permanent museum collections.

The Civic Arts Series, which is part of the CMS graduate program Colloquium, features talks by four artists and activists who are making innovative uses of media to reshape the possibilities of art as a source of civic imagination, experience and advocacy. Using a variety of contemporary media technologies–film, web platforms, game engines, drones–the series presenters have opened up new pathways to artistic expression that broaden public awareness around compelling civic issues and aspirations of our time.

Thomas Allen Harris: "Collective Wisdom" Keynote
2018-09-20 17:00 - 18:50 | MIT Media Lab, Bartos Theater, 20 Ames Street, Cambridge, MA, 02139, United States
Video livestream starting at 5pm.

Thomas Allen Harris
Thomas Allen Harris is a critically acclaimed, interdisciplinary artist who explores conceptions of family, identity, environmentalism, and spirituality in a participatory practice. Graduate of Harvard College with a degree in Biology and the Whitney Independent Study Program, member of the Academy of Motion Pictures Arts and Sciences, and published writer/curator, Harris lectures widely on the use of media as a tool for social change with a keen recognition for its potential to organize social movements and impact the biological body. He currently holds a position at Yale University as a Senior Lecturer in African American and Film & Media Studies, where he is teaching courses titled “Family Narratives/Cultural Shifts” and “Archive Aesthetics and Community Storytelling”. He is also working on a new television show, Family Pictures USA, which takes a radical look at neighborhoods and cities of the United States through the lens of family photographs, collaborative performances, and personal testimony sourced from their communities.
Family Pictures USA uses methodologies Harris and his team developed with Digital Diaspora Family Reunion, LLC (DDFR), a socially engaged transmedia project that has incorporated community organizing, performance, virtual gathering spaces, and storytelling into over 60 unique audio-visual events in over 50 cities. Harris will talk about his trajectory as a media artist that led to DDFR and his documentary film work, including Through A Lens Darkly: Black Photographers and the Emergence of a People, his 2015 film that was developed in tandem with DDFR. Through A Lens Darkly features leading Black cultural figures, scholars, and photographers sharing their archives with Harris in an exploration of the ways photography has been used as a tool of representation and self-representation in history, garnering an NAACP Image Award for Outstanding Documentary film, the Fund for Santa Barbara Social Justice Award, and an Africa Movie Academy Award, among others.
In conversation with MIT Professor Vivek Bald, Harris will reveal his process, experiences, and unexpected outcomes working with communities in online and offline shared spaces and places. Immediately following a Q&A, participants will be invited to share images that represent their conceptions of family and engage in a collaborative workshop highlighting the impact of new technologies in community archiving practices.

Civic Arts Series: Daniel Bacchieri
2018-10-04 17:00 - 18:30 | MIT Building E15, Room 001 (“The Cube”), 20 Ames Street, Cambridge, MA, 02139, United States
Daniel Bacchieri – Illustration by Mauricio Cordero
Daniel Bacchieri is an award-winning Brazilian journalist, documentary film maker and collaborative web developer/curator, whose visually inspiring StreetMusicMap platform has been widely praised for its curation of street performers from across the globe. Combining a documentarian vision with a trans-cultural appreciation of the public art of vernacular musicians, the StreetMusicMap collaborators are exploring the creative possibilities of collective story-telling through performance. The StreetMusicMap Instagram channel has more than 41,000 followers and 1,300 artists documented on videos in 97 countries, all filmed by more than 700 collaborators.

The Civic Arts Series, which is part of the CMS graduate program Colloquium, features talks by four artists and activists who are making innovative uses of media to reshape the possibilities of art as a source of civic imagination, experience and advocacy. Using a variety of contemporary media technologies–film, web platforms, game engines, drones–the series presenters have opened up new pathways to artistic expression that broaden public awareness around compelling civic issues and aspirations of our time.

Civic Arts Series: Marisa Morán Jahn
2018-10-18 17:00 - 18:30 | MIT Building E15, Room 001 (“The Cube”), 20 Ames Street, Cambridge, MA, 02139, United States
Marisa Morán Jahn – Illustration by Mauricio Cordero
Marisa Morán Jahn is a multi-media artist, writer, educator and activist, whose colorful, often humorous uses of personae and media create imaginative pathways to civic awareness of urgent public issues. Working collaboratively, her projects include a classic American road trip, CareForce One, in a 50-year-old station wagon, advocating issues concerning care workers that became a PBS film series; and Bibliobandido, a story-telling initiative for Honduran children featuring a masked bandit who devours stories. Jahn, winner of numerous awards, is co-founder of Studio REV-, a non-profit organization of artists, technologists, media makers, low-wage workers, immigrants and teens who producing creative media and public art about the issues they face.
She will be sharing Snatch-ural History of Copper (working title), an art project, book, and feature-length film initiated by artist Marisa Morán Jahn that investigates copper, an element found in electrical wires, computers, lightning rods, and the IUD (intrauterine device) implanted in Jahn’s own ‘snatch’ (womb). Jahn interviews a range of experts in search of otherworldly answers that trammel the boundaries of myth, literary studies, science, alchemy and political controversy. Interviewing scientists in Saint Petersburg Florida who use rockets outfitted with a copper nose to trigger (and capture) lightning, Jahn asks, “Do you think that when the lightning goes off I’ll feel it in my cooch?” She visits a shrine on the island of Cyprus, home of the earliest copper mines dating to 8700 BCE as well as the pre-Christian god, Venus of Aphrodite who share the same symbol (♀) most familiar to us today as the symbol for women, females, and a movement for women’s liberation. Throughout these real-world investigations, Jahn seeks access to the top of a building and solder her copper IUD on top of a copper lightning rod, raising its height by an imperceptible inch. “I can’t wait for the moment when a bolt of lightning hits this thing — just imagine my little IUD radiating. It might even be sizzled into a thousand little parts distributed and distended into the atmosphere.” Poetically and playfully weaving the issues into a new cosmology, the film touches upon timely issues such as planetary sustainability, labor, and reproductive self-determination during a moment when both sides of the spectrum mount all-offensive campaigns.
Also featuring…
Sasha Costanza-Chock (pronouns: they/them or she/her) is a scholar, activist, and media-maker, and currently Associate Professor of Civic Media at MIT. They are a Faculty Associate at the Berkman-Klein Center for Internet & Society at Harvard University, Faculty Affiliate with the MIT Open Documentary Lab and the MIT Center for Civic Media, and creator of the MIT Codesign Studio (codesign.mit.edu). Their work focuses on social movements, transformative media organizing, and design justice. Sasha’s first book, Out of the Shadows, Into the Streets: Transmedia Organizing and the Immigrant Rights Movement was published by the MIT Press in 2014. They are a board member of Allied Media Projects (AMP); AMP convenes the annual Allied Media Conference and cultivates media strategies for a more just, creative and collaborative world (alliedmedia.org).
Jane M. Saks is a creative collaborator, arts producer, writer, and educator who has worked to challenge and champion issues of gender, sexuality, human rights, race and power within the worlds of arts and culture, politics and civil rights, academia and philanthropy. She is Founding President and Artistic Director of Project& (projectand.org), an organization that creates new models of cultural participation and experience with social impact. Previously, she was the founding Executive Director at the Institute for the Study of Women and Gender in the Arts and Media where she created the award-winning Fellowship program, developing and launching works that went on to win Pulitzer Prizes, MacArthur Genius Awards, Obie Awards and Guggenheims. She is an invited lecturer at civic, cultural and educational institutions internationally, a visiting critic at Yale University, Regional Judge for the White House Fellows, and will be a visiting Professor at Harvard University. A published poet, Saks has been the Creator, Author, Producer, Co-Producer, Creative Advisor and Series Producer on many original creative works in various media and art forms.
Steve Seidel holds the Patricia Bauman and John Landrum Bryant Chair in Arts in Education at the Harvard Graduate School of Education. He is Faculty Director of the Arts in Education program and a former director of Project Zero (2000-2008). His current research includes Talking with Artists who Teach, a study of working artists’ ideas and insights into the nature of artistic development and learning. Before becoming a researcher, Seidel taught high-school theater and language arts in the Boston area for 17 years. He has also worked as a professional actor and stage director.

The Civic Arts Series, which is part of the CMS graduate program Colloquium, features talks by four artists and activists who are making innovative uses of media to reshape the possibilities of art as a source of civic imagination, experience and advocacy. Using a variety of contemporary media technologies–film, web platforms, game engines, drones–the series presenters have opened up new pathways to artistic expression that broaden public awareness around compelling civic issues and aspirations of our time.

#MoreThanCode: Practitioner-led Research to Reimagine Technology for Social Justice
2018-10-25 17:00 | MIT Building 56, Room 114, Access via 21 Ames Street, Cambridge, MA, 02139, United States
Our society is in the midst of an extremely urgent conversation about the benefits and harms of digital technology, across all spheres of life. Unfortunately, this conversation too often fails to include the voices of technology practitioners whose work is already focused on social justice, the common good, and/or the public interest. This talk by Sasha Costanza-Chock explores key findings and recommendations from #MoreThanCode (morethancode.cc), a recently-released field scan based on more than 100 practitioner interviews.
* The report was produced by the Tech for Social Justice Project (t4sj.co), co-led by Research Action Design (RAD) and the Open Technology Institute at New America (OTI), together with research partners Upturn, Media Mobilizing Project, Coworker.org, Hack the Hood, May First/People Link, Palante Technology Cooperative, Vulpine Blue, and The Engine Room. NetGain, the Ford Foundation, Mozilla, Code For America, and OTI funded and advised the project.
Sasha Costanza-Chock (pronouns: they/them or she/her) is a scholar, activist, and media-maker, and currently Associate Professor of Civic Media at MIT. Their work focuses on social movements, transformative media organizing, and design justice. Sasha’s first book, Out of the Shadows, Into the Streets: Transmedia Organizing and the Immigrant Rights Movement was published by the MIT Press in 2014. More info: schock.cc.

2018 Graduate Admissions Information Session
2018-11-01 14:00 - 16:00 | MIT Building E51, Room 095, 70 Memorial Drive, Cambridge, MA
Meet faculty and research managers, learn about the program, and ask questions. The event is twofold: there will be a presentation and Q&A from 2-4. In addition, attendees are invited to attend Colloquium, which will feature our own CMS Alumni. Those who can’t attend in person are welcome to follow the live stream on our YouTube channel: https://www.youtube.com/c/MITComparativeMediaStudiesWriting.
Information Session 2-4PM
E51-095
CMS Colloquium, featuring CMS Alumni talking about their careers
56-114
Register now for CMS Info Session

2018 CMS Alumni Panel
2018-11-01 17:00 | MIT Building 56, Room 114, Access via 21 Ames Street, Cambridge, MA, 02139, United States
On the heels of the day’s graduate program information session, join us for our annual colloquium featuring alumni of CMS, discussing their lives from MIT to their careers today.
Nick Seaver, Assistant Professor of Anthropology at Tufts University and a 2010 graduate of Comparative Media Studies, is an anthropologist of technology, whose research focuses on the circulation, reproduction, and interpretation of sound. He holds a Ph.D. from the University of California, Irvine. His dissertation research examined the development of algorithmic music recommendation, and at CMS, he wrote a thesis on the history of the player piano.
Colleen Kaman is a user experience strategist at IBM Interactive Experience, skilled in storytelling, user research, learning design, and persuasive technologies. Her expertise is in developing products, services, and campaigns that help users make better decisions and accomplish tasks more effectively and efficiently.
Sean Flynn is the Program Director for the Points North Institute, a Maine-based organization supporting nonfiction storytellers through artist development initiatives and, most prominently, the Camden International Film Festival and Points North Forum. He received his master’s degree in Comparative Media Studies in 2015 and worked as a researcher at the MIT Open Documentary Lab. Sean began his filmmaking career as a producer and cinematographer working on two feature-length documentaries, both of which had their premiere at the Tribeca Film Festival and aired on national television.

Screening of Awake: A Dream from Standing Rock
2018-11-14 19:00 - 21:00 | MIT Building 32 (Stata Center), Room 155, 32 Vassar Street, Cambridge, MA, 02139, United States
The Dakota Access Pipeline is a controversial project that would bring fracked gas from the Bakken Shale in North Dakota through South Dakota, Iowa and eventually to Illinois. The Standing Rock Nation and people all over the world oppose the project because the pipeline would run under the Missouri river, a source of drinking water for over 18 million people. There are thousands of miles of pipelines in the United States and they leak every single day. Since 2010 over 3,300 oil spills and leaks have been reported.
Tens of thousands of people gathered at Standing Rock to join the peaceful prayer actions. Filmmakers Myron Dewey, Josh Fox and James Spione spent months on the front lines documenting North Dakota’s violent response to the peaceful water protectors. These artists risked their own safety to capture images of police firing mace, pepper spray and rubber bullets at peaceful water protectors, journalists and medics at point-blank range. This film is not only shows a very brutal police repression of a peaceful protest, it is also a compilation of emotional interviews with members of the camp responding to having their civil liberties trampled on. In addition, this film is a cautionary tale, as these kinds of battles against the oil industry are becoming more prevalent in the United States and the World.
https://awakethefilm.org/

Civic Arts Series: Myron Dewey
2018-11-15 17:00 - 18:30 | MIT Building E15, Room 001 (“The Cube”), 20 Ames Street, Cambridge, MA, 02139, United States
“Protecting the Water in Solidarity and Unity”
Myron Dewey – Illustration by Mauricio Cordero
Myron Dewey is an indigenous journalist, educator, documentary filmmaker and the developer of Digital Smoke Signals, a social networking and filmmaking initiative, emerging out of the Standing Rock Sioux Reservation protests against the Dakota Access Pipeline project of 2016-17. Using a full range of contemporary media, including drone technologies, Dewey has pioneered the blending of citizen monitoring, documentary filmmaking, and social networking in the cause of environment, social justice and indigenous people’s rights; he co-directed the 2017 award-winning documentary, Awake: A Dream from Standing Rock.
Introduction by Lisa Parks, Professor, Comparative Media Studies; Director, Global Media Technologies & Cultures Lab and recently awarded MacArthur Fellow.
Respondents
Nicholas A. Brown, Artist, Cultural Geographer, Assoc. Teaching Prof, Northeastern University
Marisa Morán Jahn, Visiting Artist, MIT Art, Culture, Technology
Recent MacArthur Fellow (2018) Lisa Parks is a media scholar whose research focuses on satellite technologies and media cultures; critical studies of media infrastructures; and media, militarization and surveillance. Parks has held visiting appointments at the Institute for Advanced Study (Wissenschaftskolleg) in Berlin, McGill University, University of Southern California, and the Annenberg School of Communication at the University of Pennsylvania. She is committed to exploring how greater understanding of media systems can inform and assist citizens, scholars and policymakers in the US and abroad to advance campaigns for technological literacy, creative expression, social justice, and human rights.
Nicholas A. Brown is a scholar and artist based in Boston, MA and La Farge, WI. He teaches in the School of Architecture and Department of History at Northeastern University. His work examines the production of cultural landscapes and the politics of connectivity in settler colonial contexts. Recent and ongoing projects include: Kickapoo Conversations, A People’s Guide to Firsting and Lasting in Boston, Re-Collecting Black Hawk: Landscape, Memory, and Power in the American Midwest, The Vanishing Indian Repeat Photography Project, and Ni-aazhawa’am-minis Spur.
An artist, filmmaker, and creative technologist of Ecuadorian and Chinese descent, Marisa Morán Jahn’s artworks redistribute power, “exemplifying the possibilities of art as social practice” (ArtForum). Her work has been presented in a range of venues including Obama’s White House, Museum of Modern Art, ITVS/PBS, and worker centers. An awardee of Creative Capital, Sundance, and Tribeca Institute, Jahn is the founder of Studio REV, an art and social justice non-profit organization, an Assistant Professor at The New School, and a Visiting Artist at MIT Art, Culture, Technology.

The Civic Arts Series, which is part of the CMS graduate program Colloquium, features talks by four artists and activists who are making innovative uses of media to reshape the possibilities of art as a source of civic imagination, experience and advocacy. Using a variety of contemporary media technologies–film, web platforms, game engines, drones–the series presenters have opened up new pathways to artistic expression that broaden public awareness around compelling civic issues and aspirations of our time.

The Language of Civic Life: Past to Present
2018-11-29 17:00 - 18:30 | MIT Building 56, Room 114, Access via 21 Ames Street, Cambridge, MA, 02139, United States
Roderick Hart, University of Texas at Austin and the founding director of the Annette Strauss Institute for Civic Life
When everyday citizens interact about politics today, they often do so (1) anonymously and (2) in digital space, which results in a kind of aggressive chaos. But what happens when people identify themselves to one another in place-based communities as they do, for example, when writing letters to the editor of their local newspaper? How does that change public discussion?
This talk by Roderick Hart operationalizes the concept of “civic hope” and reports the results of a long-term study of 10,000 letters to the editor written between 1948 and the present in twelve small American cities. Hart’s argument is that the vitality of a democracy lies not in its strengths but in its weaknesses and in the willingness of its people to address those weaknesses without surcease. If democracies were not shot-through with unstable premises and unsteady compacts, its citizens would remain quiet, removed from one another. Disagreements – endless, raucous disagreements – draw them in, or at least enough of them to sustain civic hope.
Roderick Hart is the Allan Shivers Centennial Chair in Communication at the University of Texas at Austin and the founding director of the Annette Strauss Institute for Civic Life. He is the author of twelve books, the most recent of which is Political Tone: How Leaders Talk and Why. He is also the author of DICTION 7.0, a computer program designed to analyze language patterns. Dr. Hart has been inducted into the Academy of Distinguished Teachers at the University of Texas and has also been designated Professor of the Year for the State of Texas from the Carnegie/C.A.S.E. Foundation.

Civic Arts Series, “Bringing the War Home”: Visual Aftermaths and Domestic Disturbances in the Era of Modern Warfare
2019-02-20 17:00 | MIT Building 4, Room 270, 182 Memorial Drive (Rear), Cambridge, MA, 02139, United States
Caren Kaplan, Professor of American Studies at the University of California, Davis
At the close of the First Gulf War, feminist architectural historian Beatriz Colomina wrote that “war today speaks about the difficulty of establishing the limits of domestic space.” That conflict of 1990-91 is most often cited as the first to pull the waging of war fully into the digital age and therefore into a blurring of boundaries of all kinds. Yet, most modern wars have introduced technological innovations that transform social relations and modes of communication and representation. In this paper Caren Kaplan focuses on a period that includes the Vietnam War (1955-1975) and extends into the “War on Terror” through a consideration of Martha Rosler’s photo collage series “House Beautiful: Bringing the War Home” (1967-2004). The technique of collage reinforces the artist’s emphatic effort to bring together seemingly incommensurable elements—images of exquisite domestic interiors, glamorous consumer commodities, and landscapes and bodies damaged by warfare. Literally bringing wars waged by the United States throughout this long durée into the hyper commodified environment of fashion layouts and magazine advertisement, Rosler demonstrates the impossibility of limiting domestic space, an impossibility that challenges representation across genres and practices—televisual, photographic, cinematic, social media, analogue, digital, etc. Such disturbances of “here” and “there,” “now” and “then,” resonate as powerful “aftermaths” of wars visible and invisible, always already underway.
Caren Kaplan is Professor of American Studies at the UC Davis. Her research draws on cultural geography, landscape art, and military history to explore the ways in which undeclared as well as declared wars produce representational practices of atmospheric politics. Recent publications include Aerial Aftermaths: Wartime from Above (Duke 2018) and Life in the Age of Drone Warfare (Duke 2017).

“The Good Stuff”: The Intersections of Work, Leisure, and Relational Bonding on Tumblr and Patreon
2019-02-27 17:00 | MIT Building 4, Room 270, 182 Memorial Drive (Rear), Cambridge, MA, 02139, United States
Nicholas-Brie Guarriello
Although the Pokémon GO phenomenon of 2016 has waned, the economies of internet fame and content production remains robust. Drawing from their dissertation, Nick-Brie will discuss the forms of relational work and bonding that occur on YouTube and Twitter as well as Tumblr and Patreon, the latter two will be the focus of the talk. Drawing from two years of Internet ethnographic and participant observational work, Nick-Brie will be discussing the political economies and labor demands of micro-celebrity and Influencer culture across social media platforms regarding the Pokémon GO community. This talk suggests that the unpaid, affective labor done on Tumblr serves as a stepping stone to build relationships with one’s audience and fans before garnering support for additional, sustained income. From there, this talk argues that relational bonding work on Patreon is sustained through the various creator-patron interactions and rewards-based system to foster a system of compensation through crowdfunding, yet precarious work under global neoliberal gig economies.
[Accessibility: For those who are low hearing, access copies can be distributed prior to the talk. It is requested that they are given back afterwards. Since this presentation relies heavily on artwork, pictures, and some video, alt-text and alt-audio for those with low or no vision can be made available, if requested. Please contact nbguarr@mit.edu with any other accessibility questions.]
Nicholas-Brie (Nick-Brie) Guarriello joins CMS/W from the University of Minnesota where they are a 4th year Ph.D. Candidate. Their work focuses on audience and fans, Internet celebrity, and digital economies across social media platforms. Currently, their dissertation, titled “A Heart So True?: Relational Labor and Gig Economies in the Pokémon GO Fandom”, specifically focuses on the growth of creative workers within various forms of gig economies on social media platforms. They look at the inter-relations between YouTube and Twitter as well as Tumblr and Patreon to theorize what forms of work and labor are now the norm on specific platforms. Since the Pokémon fandom is understudied, they are trying to also think about the potential access gaps or colonial hauntings where some folks are sponsored by industries and partnered with social media platforms whereas others are continually exploited for their labor. Nick-Brie is also a competitive Pokémon Trading Card Game player and you can usually catch them at your local league or a regionals!

Civic Arts Series: Opeyemi Olukemi
2019-03-06 17:00 - 18:30 | MIT Building 4, Room 270, 182 Memorial Drive (Rear), Cambridge, MA, 02139, United States
Introduction by Sarah Wolozin, Director, MIT Open Doc Lab
Opeyemi Olukemi is Executive Producer of POV Spark—the innovation arm of the iconic independent nonfiction film program POV—and Vice President of American Documentary’s Interactive unit. Throughout her career as an interactive producer, funder and public programmer, Opeyemi has created spaces and pipelines for interdisciplinary artists, communities, and creative teams to experiment with and create meaningful innovative content. She is a fierce advocate of technological equity, eliminating bias from social innovation and is deeply invested in the Fourth Industrial Revolution. Before joining POV, Opeyemi was the Senior Director of Interactive Programs for Tribeca Film Institute, produced for ScrollMotion and has served as an assistant professor of Integrated Media at Brooklyn College’s Barry R. Feirstein Graduate School of Cinema. Opeyemi has served on numerous festival juries and has mentored through the IDFA’s Doc Academy, New Museum’s NEW INC and Oculus’ VR for Good. She is a proud Rockwood (Ford Foundation) JustFilms Fellow.
Respondent: Marisa Morán Jahn, Visiting Artist and Lecturer, ACT

Stuart Cunningham and David Craig: "Social Media Entertainment"
2019-03-13 17:00 | MIT Building 4, Room 270, 182 Memorial Drive (Rear), Cambridge, MA, 02139, United States
In a little over a decade, competing social media platforms, including YouTube, Facebook, Twitter, Instagram, and Snapchat, and their Chinese counterparts, have formed the base for the emergence of a new creative industry: social media entertainment. Social media entertainment creators have harnessed these platforms to generate significantly different content, separate from the century-long model of intellectual property control in the entertainment industries. This new screen ecology is driven by intrinsically interactive viewer- and audience-centricity. Combined, these factors inform a qualitatively different globalization dynamic that has scaled with great velocity, posing new challenges for established screen industries, screen regulatory regimes, as well as media scholars. Social Media Entertainment: The New Industry at the Intersection of Hollywood and Silicon Valley maps the platforms and affordances, content innovation and creative labor, monetization and management, new forms of media globalization, and critical cultural concerns raised by this nascent media industry. Media scholars Stuart Cunningham and David Craig propose challenging, revisionist accounts of the political economy of digital media, the precarious status of creative labor and of media management, and the possibilities of progressive cultural politics in commercializing environments, while offering a new take on media globalization debates.
About Stuart Cunningham and David Craig
Stuart Cunningham is Distinguished Professor of Media and Communications, Queensland University of Technology. He has authored over a dozen academic titles including Media Economics (Terry Flew, Adam Swift), Screen Distribution and the New King Kongs of the Online World (Jon Silver), Hidden innovation: Policy, industry and the creative sector.
David Craig is a Clinical Associate Professor at USC Annenberg’s School for Communication and Journalism and a Fellow at the Peabody Media Center. Craig is also a veteran media producer and executive nominated for multiple Emmy Awards and responsible for over 30 critically-acclaimed films, TV programs, and stage productions.

Machine Visions
2019-03-19 18:00 - 20:30 | MIT Building 10, Room 150, MA, 02139, United States
Machine Visions is a grad student-run event series focused on developing cross-department connections around topics related to computer vision at MIT. We are interested in workshopping questions and gathering resources around collaboration between the general public, artists/humanists, research scientists, and other technologists.
The event series starts with a workshare/workshop on March 19, 6:00 to 8:30 pm in building E15, dinner provided. We want to start building a resource repo for a Collaboration Starter Kit around machine vision projects. The aim is to build a strong base of questions, resources, and conversation starters towards an on-site installation at the Media in Transition conference in May. Our first workshare/workshop will provide an opportunity to meet and collaborate with students and affiliates from departments across campus, including Comparative Media Studies, Art Culture and Technology, and the Media Lab.
The exact topic will be flexible depending on interest, but we are coming to the table with an emphasis on artistic applications, environmental impact, ethics, surveillance, and accessibility. We aim for participants to walk away with ideas about how to collaborate with others outside their discipline to explore these topics in their own work.
If you have related projects/ideas you would be willing to discuss/workshop at any of these events, are interested in collaborating on a computer vision installation, or are generally interested in conversation around these topics—and can make it to the first meeting—please let us know.
RSVP to machinevisions-contact@mit.edu

Civic Arts Series, "Gaming the Iron Curtain: Computer Games in Communist Czechoslovakia as Entertainment and Activism"
2019-03-20 17:00 - 18:30 | MIT Building 4, Room 270, 182 Memorial Drive (Rear), Cambridge, MA, 02139, United States
Jaroslav Švelch, Postdoctoral Researcher, University of Bergen
Based on the recent book Gaming the Iron Curtain, this lecture will outline the idiosyncratic and surprising ways in which computer hobbyists in Cold War era Czechoslovakia challenged the power of the oppressive political regime and harnessed early microcomputer technology for both entertainment and activism. In the 1970s and 1980s, Czechoslovak authorities treated computer and information technologies as an industrial resource rather than a social or cultural phenomenon. While dismissing the importance of home computing and digital entertainment, they sponsored paramilitary computer clubs whose ostensible goal was to train expert cadres for the army and the centrally planned economy. But these clubs soon became a largely apolitical, interconnected enthusiast network, where two forms of tactical resistance could be identified. First, the clubs offered an alternative spaces of communal hobby activity, partially independent of the oppression experienced at work or at school. The club members’ ambitious DIY projects often substituted for the deficiencies of the state-controlled computer industry. Hobbyists not only built joysticks and programmed games, but also introduced new standards for data storage and ran large-scale bottom-up education programs. Second, especially in the late 1980s, local authors started making games that were openly subversive. Several anti-regime text adventure games were made in 1988 and 1989, including The Adventures of Indiana Jones on Wenceslas Square, January 16, 1989, which pitted the iconic Western hero against riot police during an anti-regime demonstration. These games rank among the world’s earliest examples of activist computer games.
About Jaroslav Švelch
Jaroslav Švelch is a postdoctoral researcher at the University of Bergen and assistant professor at Charles University, Prague. He is the author of the monograph Gaming the Iron Curtain: How Teenagers and Amateurs in Communist Czechoslovakia Claimed the Medium of Computer Games (MIT Press, 2018). He has published research on history and theory of computer games, on humor in games and social media, and on the Grammar Nazi phenomenon. His work has been published in journals including New Media & Society, International Journal of Communication, or Game Studies, and in anthologies published by Oxford University Press, Bloomsbury and others. He is currently researching history, theory, and reception of monsters in games.

The Battle of Algiers as Ghost Archive: Specters of a Muslim International
2019-04-03 17:00 - 18:30 | MIT Building 4, Room 270, 182 Memorial Drive (Rear), Cambridge, MA, 02139, United States
The Battle of Algiers, a 1966 film that poetically captures Algerian resistance to French colonial occupation, is widely considered one of the greatest films of all time, having influenced leftist and anti-colonial struggles from the Palestine Liberation Organization, to the Black Panther Party and the Irish Republican Army amongst others. But the film is more relevant and urgent than ever in the current “War on Terror” – having been screened by the Pentagon in 2003 and taught in Army war colleges as a blueprint for U.S. counterinsurgency doctrine. This talk will examine the film as a “ghost archive” of competing narratives, a battleground over the meaning and memory of decolonization and Western power, and a site for challenging the current imperial consensus. As the “War on Terror” expands and the threat of the Muslim looms, the films’ afterlives reveal it to be more than an artifact of the past but rather a prophetic testament to the present and a cautionary tale of an imperial future, as perpetual war has been declared on permanent unrest.
Co-Sponsored by Global Studies & Languages’ French Program.
About Sohail Daulatzai
Sohail Daulatzai, author and founder of Razor Step
Sohail Daulatzai’s is the founder of Razor Step, an L.A. based media lab. His work includes scholarship, essay, short film/video/installation and the curatorial. He is the author and co/editor of several books, including of Fifty Years of “The Battle of Algiers”: Past as Prologue; Black Star, Crescent Moon: The Muslim International and Black Freedom beyond America; With Stones in Our Hands: Writings on Muslims, Racism and Empire; Return of the Mecca: The Art of Islam and Hip-Hop; and Born to Use Mics: Reading Nas’s Illmatic. He is the curator of the celebrated exhibit Return of the Mecca: The Art of Islam and Hip-Hop and Histories Absolved: Revolutionary Cuban Poster Art and the Muslim International. His video/installation work includes short film essay pieces with Yasiin Bey, a ciné-geography with Zack de la Rocha, as well as an installation piece entitled cas·bah /ˈkazˌbä/noun, 1. A place of confinement for the natives, yet reclaimed. He wrote liner notes for the Sony Legacy Recordings Release of the 20th Anniversary Deluxe Box Set of Rage Against the Machine’s self titled debut album, the liner notes for the DVD release of Freestyle: The Art of Rhyme, the centerpiece in the museum catalog Movement: Hip-Hop in L.A., 1980’s – Now, as well as an essay in iconic photographer Jamel Shabazz’s retrospective Pieces of a Man. His other writings have appeared in Artbound, The Nation, Counterpunch, Al Jazeera, Souls, and Wax Poetics, amongst others. He teaches in Film and Media Studies, African American Studies, and Global Middle East Studies at the University of California, Irvine. More of his work can be found at openedveins.com.

Civic Arts Series: “Thumbs Type and Swipe” featuring DIS's Lauren Boyle
2019-04-10 17:00 - 18:30 | MIT Building 4, Room 270, 182 Memorial Drive (Rear), Cambridge, MA, 02139, United States
Lauren Boyle – Illustration by Mauricio Cordero
Introduction by Amy Rosenblum Martín, Independent Curator and Educator, Guggenheim

DIS (est. 2010) is a New York-based collective composed of Lauren Boyle, Solomon Chase, Marco Roso, and David Toro. Its cultural interventions are manifest across a range of media and platforms, from site-specific museum and gallery exhibitions to ongoing online projects.
In 2018 the collective transitioned platforms from an online magazine, dismagazine.com, to a video streaming edutainment platform, dis.art, narrowing in on the future of education and entertainment.
DIS Magazine (2010-2017); DISimages (2013), DISown (2014), Curators of the 9th Berlin Biennale for Contemporary Art, The Present in Drag (2016); DIS.art (2018–); Exhibited and organized shows at the de Young Museum, San Francisco; La Casa Encendida, Madrid; Plug In Institute of Contemporary Art, Winnipeg; Baltimore Museum of Art; and Project Native Informant, London. DIS has also been included in group exhibitions at MoMA PS1, Museum of Modern Art, and the New Museum all in New York; and Musée d’Art Moderne de la Ville de Paris; ICA Boston; Museum of Contemporary Art Chicago; and Kunsthal Charlottenborg, Copenhagen, among others.
The material presented by DIS today is the result of a change in attitude towards the present and aims to meet the demands of contemporary social, political, and economic complexity at eye level.

Introducer Amy Rosenblum Martín is a bilingual (English/Spanish) curator of contemporary art, committed to equity and community engagement. Formerly a staff curator at the Pérez Art Museum Miami (when it was MAM) and The Bronx Museum, she has also organized exhibitions, written and/or lectured independently for la Colección Patricia Phelps de Cisneros, MoMA, The Metropolitan, MACBA in Barcelona, the Reina Sofía, and Kunsthaus Bregenz as well as the Sugar Hill Children’s Museum. Her 20 years of interdepartmental museum work include 10 years at the Guggenheim. Rosenblum Martín’s expertise is in Latin America, focusing on transhistorical connections among Buenos Aires, Montevideo, Rio de Janeiro, São Paulo, Caracas, Havana, Miami, and New York.
She has worked with Janine Antoni, Lothar Baumgarten, Guy Ben-Ner, Janet Cardiff, Eloísa Cartonera, Consuelo Castañeda, Lygia Clark, Willie Cole, Jeannette Ehlers, Teresita Fernández, Naomi Fisher, Marlon Griffith, Lucio Fontana, Dara Friedman, Luis Gispert, Felix Gonzalez-Torres, Adler Guerrier, Ann Hamilton, Quisqueya Henríquez, Leslie Hewitt, Nadia Huggins, Deborah Jack, Seydou Keita, Gyula Kosice, Matthieu Laurette, Miguel Luciano, Gordon Matta-Clark, Ana Mendieta, Antoni Miralda, Marisa Morán Jahn, Glexis Novoa, Hélio Oiticica, Dennis Oppenheim, Nam June Paik, Manuel Piña, Miguel Angel Ríos, Bert Rodriguez, Marco Roso, Nancy Rubins, George Sánchez-Calderón, Beatriz Santiago Muñoz, Tomás Saraceno, Karin Schneider, Regina Silveira, Lorna Simpson, Valeska Soares, Javier Tellez, Joaquín Torres García, and Fred Wilson, among many other remarkable artists.

Civic Arts Series, "Do-it Yourself Cinema: Portable Film Projectors as Media History"
2019-04-17 17:00 - 18:30 | MIT Building 4, Room 270, 182 Memorial Drive (Rear), Cambridge, MA, 02139, United States
Haidee WassonIllustration by Mauricio Cordero
Hosted with MIT Arts, Culture, and Technology and The Boston Cinema/Media Seminar.
Introduction by Lisa Parks, Professor, CMS/W
Haidee Wasson’s talk will explore the long and vibrant place of portable film devices in the history of small media, repositioning the ‘movie theatre’ as the singular or even central figuration of film presentation and viewing. From its earliest days, film was – in a sense – born portable. Yet, our attention to and affection for the movie theater has obscured our view to the parallel and paradigmatic development of a far more numerous and arguably more significant development: the international, post-war proliferation of portable projectors. These small devices were used widely and for a sizable range of purposes: political, industrial, artistic, cultural. They fundamentally changed the conditions in which films could be seen — and ultimately imagined — as complex projected, often interactive and highly applied, forms. Drawn from a book-length study, this paper will highlight the productivity of “portability” as a concept and practice for opening up our understanding of film history as media history, identifying key insights that expand our understanding of what cinema has long been, a highly iterative media form.
Haidee Wasson is Professor of Film and Media in the School of Cinema, Concordia University, Montreal. She is author or editor of four books, including the award-winning Museum Movies, Inventing Film Studies (with Lee Grieveson) Useful Cinema (with Charles Acland) and Cinema’s Military Industrial Complex (with Lee Grieveson). She is the founder of Fieldnotes, an oral history project on the history of film and media studies, and the recent recipient of the Distinguished Service Award, Society for Cinema and Media Studies. Her current research investigates the design and expansive use of film projectors by industrial, military and government sectors, exploring the transformation of cinema from an entertainment machine into a highly diversified display and performance device.

POSTPONED: “No Yankee Rule for Us”: Annexation Rumors and the Interwar Circum-Caribbean Black Press
2019-05-01 17:00 - 18:30 | MIT Building 4, Room 270, 182 Memorial Drive (Rear), Cambridge, MA, 02139, United States
We hope to reschedule this event for the 2019/2020 academic year.

Reena N. GoldthreeAssistant Professor of African American StudiesPrinceton University
In the aftermath of World War I, rumors that the United States was planning to annex the islands of the British West Indies swept across the Caribbean, sparking panics in Trinidad, Jamaica, Barbados, Grenada, and elsewhere. Annexation rumors were transmitted by sailors and migrants as well as by the cosmopolitan circum-Caribbean black press, which reprinted stories from throughout the Americas. In this talk, Reena N. Goldthree, Assistant Professor of African American Studies at Princeton University, examines how Caribbean newspapers–published in the islands and in the diaspora–both facilitated the spread of annexation rumors and provided a crucial platform for West Indians to challenge U.S. imperial expansion.

Media in Transition 10: A Reprise – Democracy and Digital Media
2019-05-17 - 2019-05-18 | Massachusetts Institute of Technology
Save the date! An official call for papers will be distributed in early September 2018.
In 1998, MIT’s Comparative Media Studies program held the first Media in Transition (MiT) conference and inaugurated a related book series. Research from that first MiT conference appeared in Democracy and New Media, Jenkins & Thorburn, eds., (MIT Press, 2003). Now, twenty years later, we are organizing the 10th iteration of the event. Much has changed over these two decades, but the theme “democracy and digital media” is as urgent as ever. Twenty years ago there was no Facebook, Twitter, or Netflix. iPhones and Samsung Galaxies had not yet hit the shelves. And Siri and Alexa were still in development. Since 1998, media have undergone major transition. We have witnessed a shift from Napster to Spotify, from Web 1.0 to 2.0, from console games to Twitch TV, and beyond. We have experienced the rise of social media, civic media, algorithmic cultures, and have seen ever greater concentration of media ownership. The events of 9/11 catalyzed intensified state surveillance and privatized security using various media technologies. Undergirding these shifts have been major transformations in global media infrastructure, the platformization of the Internet, and the ubiquity of themobile phone.
In the US, we also have seen changes in the news ecosystem with the likes of ProPublica and community engagement journalism. At the same time, public trust in media has dropped from 55% in 1998 to 32% in 2016, according to Pew. For better and worse, a growth of interest in media ritual and a decline in the more familiar transmission paradigm is underway. Given such changes concepts of participation, trust, and democracy are increasingly fraught, essential, and powerfully repositioned. How will our news media look and sound in the next decade? What can we learn from news media of the past? What can international perspectives reveal about the variability and fluidity of media landscapes?
We are interested in how these issues play out across media, whether as represented in television series and films, or enacted in rule set and player interactions in games, or enabled in community media, social media, and talk radio. We welcome research that considers these issues in public media and commercial media, with individual users and collective stakeholders, across media infrastructures and media texts, and embedded in various historical eras or cultural settings.
