IKEA as ARG project at HASTAC conference
On Friday April 16 as part of the HASTAC Grand Challenges and Global Innovations virtual conference, I will be “presenting” (live via pre-recorded video) a project from my class last semester titled “Interactive Experience and World Design: IKEA as ARG” in which graduate students from USC’s Interactive Media program infiltrated an IKEA retail outlet to analyze the spatial and narrative design of the store as part of an Alternate Reality Game experience. The video offers a summary of the course context and project assignment, focusing on the concept of “scripted spaces,” drawn from Norman Klein’s book The Vatican to Vegas. This video also marks the first time I have had content automatically removed from my YouTube account due to the inclusion of copyrighted material. In representing the transmedia context for this project, the video includes clips of television programs, feature films, advertisements and popular music, at least one of which was flagged by YouTube’s copyright-filtering system on behalf of the Fox/News Corp. media conglomerate. I have filed a counter-takedown notice with YouTube in the hopes of having the video reinstated for public viewing, but for now, it is viewable as a Quicktime file or on Vimeo.
Planned Obsolescence published in CommentPress
Kathleen Fitzpatrick of Pomona College has posted her most recent book, Planned Obsolescence: Publishing, Technology and the Future of the Academy online as a CommentPress text, allowing readers to publish comments and engage in dialogue with the author. Fitzpatrick’s book is an especially fitting text to open up to this kind of public exchange because, among other things, it offers a meta-analysis of the state of contemporary academic publishing including questions of authorship, peer review, electronic publication and shifting models of scholarship. The book is also slated for conventional publication through NYU Press in 2010, but in the mean time you can access the full text of the project and participate in the emerging discussion. Through her work with the Institute for the Future of the Book and the online journal and scholarly network MediaCommons, Fitzpatrick has been a central figure in rethinking publishing and its place in the academy for many years, and not just as an outside observer/commentator but as someone who models her own work on the very ideals she espouses and, perhaps most importantly, building an online architecture to encourage others to do the same.
Johanna Drucker on design in the digital humanities
The NEH-Vectors seminar “Broadening the Digital Humanities” just wrapped up at USC’s Institute for Multimedia Literacy last week. One of the highlights for me was Johanna Drucker’s talk on the role of design in the digital humanities. Drucker has been an inspiration to me for many years via her work with SpecLab at the University of Virginia and their work with computational literature that goes far beyond conventional text encoding to imagine literary game spaces (e.g., the Ivanhoe project). This video presents Drucker’s setup to a much longer talk about the potentials of creating an online research and publication space that would take advantage of all the affordances of networked scholarship.
Technologies of History
My book manuscript Technologies of History: Film, TV, Digital Media, and the Eccentricity of the Past is currently under contract for publication in fall 2010 with the University Press of New England. The book examines alternative forms of visual history as constructed through film, television and digital media over the past 30 years. Integrating theory, historical research and textual criticism, I explore issues of cultural memory, textuality and the impact of digital technologies on our understanding of the past, focusing on works that challenge the conventions and forms of traditional historiography. My goal is to broadly reconsider the range of practices that should be regarded as visual history, drawing special attention to voices and forms of practice that have been left out of mainstream historical discourse. Overall, I argue that the primary aspirations of visual history need not be limited to the production of illusionist narratives but may include the creation of new critical contexts in which viewers simultaneously interrogate the past and rethink the entangled relations of history, memory and media. As an intervention in prevailing discourses of media and history, my aim is to rethink our fundamental relationship to history in response to a diverse and rapidly evolving media landscape that includes online video, science fiction, games and digital networks.
In conjunction with the book, I have also created a rich-media interactive history project of the same title that expands upon a single case study drawn from the book. This project allows for an in-depth exploration of the extraordinary diverse ways the John F. Kennedy assassination has been mediated and reinterpreted, ranging from the Zapruder footage to machinima videos captured from the game JFK Reloaded. For me, these two projects represents an ideal conjunction of scholarly modes, with the book allowing for the in-depth development of a more or less conventional academic argument in linear form. However, the project examines a genuinely diverse range of media texts, so that no reader could reasonably be expected to be familiar with all of the objects under examination. By creating a digital companion to the written text, I was able to perform a different kind of textual analysis, not simply through illustration of examples but by juxtaposing different threads of the argument with related media clips. The experience of navigating this database of critical and mediated works allows the user to experience the argument from multiple perspectives and in varying degrees of specificity.
A Pedagogy for Original Synners
What will the class of 2020 expect when we (the teachers) meet them for the first time? What should we expect of them? This chapter uses the science fictional device of a time-traveling machine to frame these questions. The aim is to provide a context for examining currently under-recognized styles of learning emerging from contemporary game and remix cultures. We will examine a range of educational practices and suggest three key elements that support learning as a process of critical and creative synthesis: 1) open source scholarship, 2) social networking and 3) youth as cultural mediators.
Written with Anne Balsamo.
Published in Digital Youth, Innovation, and the Unexpected edited by Tara McPherson for the MacArthur Foundation series on Digital Learning (MIT Press 2007)
Introduction to Memory issue of Vectors
We stand, as always, on the brink of history: an African-American president-elect, an economy suffering the most precipitous free-fall since the Great Depression, a war in Iraq that shows no signs of abating – all historic events, to be sure. The question is not whether they will they be remembered, but how and by whom. Too often memory is conceived in binary terms that obscure its entangled relationship to social and cultural practices. In truth, memory is in a constant state of flux and contestation, continually being rescripted and regenerated to conform to the needs of any given present. Indeed, it would not be too much to argue that memory is what is at stake in the writing of history. As Michael Frisch claimed, “What matters is not so much the history that is placed before us, but rather what we are able to remember and what role that knowledge plays in our lives.” Yet memory continues to occupy a marginal space, somewhere between an evil twin and a neglected stepchild, in relation to History proper.
It has been nearly twenty years since Ronald Reagan delivered his farewell address to the nation after two terms in office. In his speech, Reagan warned against losing our collective memory, and with it, our sense of national identity. “If we forget what we did, we won’t know who we are. I’m warning of an eradication of the American memory that could result, ultimately, in an erosion of the American spirit.” Reagan’s call for national pride and unity seemed anachronistic even 20 years ago but he pulled it off with an avuncular wink that would have been unimaginable from any of his successors. The world seemed closer to apocalypse in those days but it’s hard not to look around and feel that things are so very much worse now.
Like our own century’s George Bush, Reagan’s immediate successor had been in office only a short time when the bombardment of Iraq began. The elder Bush characterized the war in terms of healing the national psyche, “By God, we are going to kick the Vietnam syndrome once and for all.” By “Vietnam Syndrome,” he meant the nation’s aversion to wars in far-off lands with dubious goals and no viable exit strategy, not the human toll of post-traumatic stress taken on a generation of this nation’s youth. Of course, the first Gulf War resulted in its own syndrome, a combination of chronic fatigue, loss of muscle control, headaches, dizziness, and yes, memory loss. As the death toll continues to rise in Iraq, the illusion that we are simply watching a more expensive but less competently produced sequel have given way to painful reminders of Vietnam. The mendacious revenge narrative of 9/11, it seems, has finally worn thin. The war in Iraq has brought the Vietnam syndrome full-circle as those memories “lost” in the first Gulf War come back to the surface with a vengeance. A lesson, perhaps, that is worth remembering.
This issue of Vectors spins uneasily around the conjoined axis of memory and history without attempting the impossible – and arguably undesirable – task of reconciling the two. What draws the projects in this issue together is the interplay between objects of study that are both concrete and ephemeral and investigations that bleed across disciplinary bounds to explore the relevance of memory to questions of time, media, narrative, politics and space. More so than for many Vectors themes, Memory seems to have inspired a range of formal and methodological experiments that stretch our comfortable definitions of scholarly practice. This issue of the journal also includes a final project designed by Vectors‘ longtime Creative Director, Raegan Kelly, who worked with Mark Hansen on shi jian: time. Her very first project for Vectors was Alice Gambrell’s Stolen Time Archive, a prototype that that sought to prove the concept behind Vectors, and which has rarely been surpassed as an exemplar of what we hope to achieve in terms of depth, nuance and genuine collaboration between designer and scholar. Throughout her five-year association with Vectors, Raegan brought passion, intellect and rigor to every aspect of the design process. Her influence on Vectors has been incalculable and we will miss her in ways we do not yet even realize.
In a few weeks, another transition will happen in this country and with it, a new set of historical narratives will be written; memories will be conjured, contested, scripted and contained. Personal memories will grow entangled with cultural ones and the past will increasingly seem to explain the inevitability of the present. We will remind our now three-year-old daughter that the first time she watched television was the live broadcast of Obama’s acceptance speech. No matter how clearly etched this moment may be in her mind, it is not the event itself she will remember, but our retelling of it, inextricably woven with her own imagination and the narratives of anticipation – dare I say hope? – that we invest in a future that has the decency, at least for the moment, to be not yet written.
Introduction to Ephemera issue of Vectors
The images and sounds that pervade our world, indeed the excited electrons that illuminate this screen are, by definition, evanescent — we perceive and make meaning from them in fractions of a second before they flicker, fade or are replaced. Likewise the computer you are now using will one day crash or become obsolete, perhaps taking its prodigious memory with it, an eventuality that suggests the alarming impermanence of digital media while it hints mischievously at our own mortality. There is very little in today’s culture — except perhaps for the copyright of Disney characters — that can be counted on to survive the 21st century. Indeed, those of us who study the artifacts and stories of cultural and artistic production may be in the midst of a new dark age, inundated with such a profusion of information that we can never hope to organize or digest it, much less sensibly preserve it for the future.
But there is something more at stake here than the planned obsolescence of the technology industries. The environmental destruction and increasing toxicity of our planet during the past half-century is symptomatic of a seeming inability to look beyond the next quarter’s profit-loss reports. It is this tendency toward short-sightedness that prompts The Long Now Foundation to carry the year out to five numerical places (e.g., 02006), a subtle reminder of our own decidedly transient role in the history of this planet. Do we dare take comfort in the notion (mixing equal parts Nietzsche and Andy Warhol) that our fifteen minutes of “world history” are nearly up? Since the previous issue of Vectors launched, the average age of justices on the U.S. Supreme Court dropped from 72 to 66. All indications suggest that the Roberts court, like the current administration’s “war on terror,” will be with us for a very long time. Many of the beliefs that once seemed most deeply etched in our national psyche — ideologies of freedom and privacy, for example — may be the very things that must be asserted most vigorously in the decades to come.
This issue of Vectors is not intended as a celebration of ephemerality, but rather a gesture of respect for the fleeting nature of the present and the material consequences of the past. Historical investigations, as Carlo Ginzburg argues, are sometimes most productive when they look for meaning in the least likely places. Each of the projects in this issue attempts to take seriously the significance of cultural artifacts that would otherwise be forgotten or overwhelmed by more official documents and discourses of history. The voices that reach us via things that were meant to be forgotten may in fact speak most eloquently to the imperatives and contradictions of our present historical moment. It is with equal degrees of irony and hopefulness that we present these works of excavation, rumination and preservation in a form that will soon confront its own likely disappearance.
Introduction to Evidence issue of Vectors
For as long as we have been thinking about, designing, and programming this inaugural issue of Vectors, a war has been taking place half way around the world. Every day, that war is waged and information about it is disseminated using the very technologies that made conceiving this journal possible. How do we know what is really happening in that place? For those whose only exposure to the war is through streams of data mediated by screens like this one, it may be possible to suspect, as Jean Baudrillard famously declared some fifteen years ago, that none of it is really taking place at all.
For some time now, postmodern culture has comforted itself with the thought that our age is defined by unstable relations between signifier and signified; by delirious uncertainty not only about the past but our own access to events in the present. When words like evidence and reality begin to seem naked without quotation marks around them, it’s hard not to wonder if we aren’t simply playing into the hands of those who have the most to hide. With images of American soldiers torturing their captives fresh in our minds, those sanitized relays from smart missiles and satellites no longer hold the video game allure they once did. The creeping sense, articulated by Michael Moore, that “we are living in fictitious times” somehow no longer rings true. The times we are living in seem all too real and, against all expectations, the best evidence seems to lie in a few dozen grainy digital photographs e-mailed from the other side of the world.
In exploring the theme of Evidence, this issue of Vectors suggests that something of particular significance is at stake in our current relationship to the traces that are left behind by human actions. We invite you to explore the projects in this issue, each of which stages its own articulation of the meaning, nature and significance of evidence as a central element of scholarly practice. And we humbly dedicate this issue to those who have been killed by the ongoing violence in Iraq, whose numbers will never be known, whose remains may never be found, but whose traces should not be lost to history.
Vectors Editorial Statement
It seems fitting that the editorial statement for a multimedia journal should itself be enacted in a dynamic form. Yet text continues in many ways to provide us with the means for our clearest form of expression. Thus, we commend this editorial statement to you as a hybrid introduction and metaphor for beginning to experience some of the ideas and pathways that weave their way throughout Vectors. This editorial “statement” attempts in part to represent the multiple collaborations and conflicts that take place in interactive and computational media, highlighting not only the virtual dialogue between creator and producer, but also the tenuous alliance of human and machine intelligence.
One of the primary and ongoing tensions in an academic multimedia journal is the question of how to deal with text. This is not a new question nor is it one that is peculiar to electronic publishing. One of the ways of dealing with text in a screen-based vernacular is to think of it as an instance of images. Usually this is marked by the shift from plain text to typography, which broadens the expressive palette to include fonts, layout, color, composition, contrast, opacity, dynamism, etc. Instead of treating text as images, we decided to explore — through our collaboration with Vectors Creative Director Raegan Kelly — what happens when we treat written text as an instance of code – more rather than less like the way the computer understands it.
The statement thus became a three-way conversation between us, Raegan, and the computer, seeking to create an environment where the words that we wrote were not necessarily privileged over Raegan’s programming or the output generated by the computer. The three output windows thus reflect the parallel “thought” processes of writer, designer, and processor. Finally, the system requires user collaboration in the form of keyword input and selection, patience, curiosity and a willingness to assemble meaning from diverse forms of human- and computer-generated lexia. We believe it is in this interplay of thinly veneered binary arrays that some of the most suggestive potentials of allographic composition may be found.
-Tara + Steve
Introduction to Jennifer Terry’s Killer Entertainments
Jennifer Terry’s Killer Entertainments presents challenges to both designers and users on many levels. How to critically address videos shot by soldiers engaged in combat without sensationalizing, decontextualizing or trivializing them? How to provide access to such a diverse and extensive range of work? How to insert commentary, context and background information while preserving the raw power of the original videos? In response to these challenges, author Jennifer Terry and designer Raegan Kelly developed a rhetoric of connection and accretion which resists linearity and the seductiveness of a single argument illustrated with evidence. Users are led toward no single interpretation; no replacement ideology takes over from that of the Administration’s party line. Indeed the text allows for and even encourages responses based in idiosyncracy and uncertainty. The source material presented here all comes from “the Internet,” but what does that mean? What can it mean? Which of the sites hosting these materials are “real” and which are run by counter-intelligence agencies hoping to track usage patterns among potential dissidents via IP addresses?
Terry’s text also refuses the screen-media convention of text that has been reduced to digestible lexia. The micronarratives, profiles and backstories that make up Terry’s analysis, like the unedited videos themselves, insist on a certain investment of time, thought and connection-making. Curiosity and patience are rewarded with a rare feeling that one is not simply the conduit for one of several predetermined responses being called up by mainstream media or academic commentary. In an age when the Google search engine can claim to return over 6 million references to “iraq war” in “(0.11 seconds),” the issue no longer seems to be gaining access to information so much as knowing what to do when we have it at our fingertips. Part of the power of Terry’s commentary lies in the flat understatement of her text. When she drops raw figures — such as the fact that coalition forces have fired more than 250,000 bullets for every “insurgent” killed in Iraq — the number seems to hang impossibly on the page. The point is not to dramatize, shock or dismay, but to suggest the importance of educating ourselves out of our narrowness of concern. The Iraq war is happening now — with men and women killing and dying in our names whether we like it or not. We owe it to them, at the very least, to watch, read, listen, think, and then decide for ourselves exactly how we intend to act.
Steve Anderson is an Assistant Professor of Interactive Media and Director of the Ph.D. program in Media Arts & Practice in the USC School of Cinematic Arts. He co-Edits the interdisciplinary online journal Vectors and is the creator of the fair use advocacy site Critical Commons. As a scholar-practitioner working at the intersection of media, culture and technology, his research interests include historiography, the theory and history of emerging technologies, documentary and experimental film and video, and interactive media design.