For Those Who Live in Boston...

MIT COMMUNICATIONS FORUM Why Newspapers Matter

Thursday, October 5, 5-7 pm, Bartos Theater, MIT Media Lab

Jerome Armstrong (Crashing the Gate), Pablo Boczkowski (Digitizing the News), Danta

Chinni (Project for Excellence in Journalism), David Thorburn, (MIT)

Working journalists, media critics and digital visionaries discuss the ongoing transformation and apparent decline of American newspapers. Topics to be addressed: the aging of the newspaper reader, the emergence of citizens' media and the blogosphere, the fate of local news and the local newspaper, news and information in the networked future.

This is the third in a series of forums that asks Will Newspapers Survive? Also in the

series: The Emergence of Citizens' Media (Sept. 19), News, Information and the Wealth of Networks (Sept. 21).

Series co-sponsor: Ethics and Excellence in Journalism Foundation

Forums are free and open to the public.

More information: http://web.mit.edu/comm-forum

A reception in the lower atrium of the Media Lab follows the forum.

"Random Acts of Journalism": Defining Civic Media

I have found myself this week struggling to put together my thoughts on the concept of civic media in light of a series of conversations and encounters I had last week: for one thing, there was the public conversation which the MIT Communications Forum hosted last Thursday between myself and Yochai Benkler (The Wealth of Networks) about how participatory culture was impacting how we access and process news and information. For those who'd like to hear the podcast of that conversation, you can find it here. For another, I listened to the earlier exchange which the Forum hosted involving Dan Gilmore (We The Media), Ellen Foley (The Wisconsin State Journal) and Alex Beam (The Boston Globe) on the rise of citizen journalism and its impact on established newspapers which can be found here. And finally, I got into a series of interesting conversations about the impact of new media on civic engagement as part of the planning process for a new series of books being put together by the MacArthur Foundation on Digital Media and Learning. Across all of these conversations, I found myself returning not to journalism as it has been traditionally defined but to something broader I want to call civic media -- that is, media which contributes to our sense of civic engagement, which strengthens our social ties to our communities -- physical and virtual -- and which reinforces the social contracts which insures core values of a democratic society.

Imagining New Kinds of Imaginary Communities

Newspapers and news broadcasts can certainly play that role and some of the speakers from traditional newspapers at the Forum events made powerful points about the important role that newspapers play at all levels -- from the micropublics of individual neighborhoods up through cities, states, regions, nations, and global cultures -- in forging a sense of connection between and within what Benedict Anderson calls "imagined communities." Anderson's point is that we feel a sense of emotional bond with people who we will never meet in part because media, like newspapers, continually remind us of what we have in common as citizens. Democracy depends not simply on informing citizens but also on creating the feeling that we have a stake in what happens to other members of our community. Such an attitude emerges in part from what the newspaper reports and the rhetorical structures it adopts; it also emerges through the perception of the editor's responsiveness to her readers and the notion that the op-ed page of the paper functions as a shared forum where community members can speak with an expectation of being heard. Part of what may be leaving young readers feeling estranged from traditional journalism is that they feel that these publications do not represent the most important experiences of their lives, do not care about the issues that matter to them, and do not value the kinds of communities which they inhabit. One need only point to the ways that news coverage of issues from games violence to MySpace and DOPA emphasize the adult's concerns but do not report or reflect young people's perspectives.

Players often experience a similar sense of social connection in regard to their guilds, for example, in multiplayer games. There are plenty of players who go on forays on nights when they are too tired to see straight because they don't want to let their virtual neighbors and comrades down. Such games are powerful introductions to civic engagement because they taught young people what it was like to feel empowered, what it was like to feel capable of making a difference within a world, and what it was like to feel a strong set of bonds with others with whom you worked to accomplish common goals. This is something radically different from Robert Putnam's argument that people who go online lack the deep social ties that emerged through traditional community life. Those people who form guilds in multiplayer games can scarcely be described as "bowling alone," to use Putnam's potent metaphor. This is a totally different ballgame. What ever we want to say about what they are doing -- they are doing it together.

Now, many concerned with civic engagement want to know how we could transfer those feelings and experiences from the game world to the "real world." And I am certainly interested in ways we might use games to strengthen ties to local communities. But this approach may discount the social and emotional reality these game worlds have for their players. Journalists and local governments have long seen sports franchises as enhancing community life: Is it any accident that so many multiplayer games are now developing their own local newspapers which report on important event and key figures within these alternative realities? Many young people who do not read the daily paper in their own towns and cities may read such publications and feel a greater sense of civic engagement, What would happen if local newspapers -- that is, traditional print publications -- reported on events which occurred within these game worlds -- as news events -- rather than as trends in the business section or more often, as simple the same old story about video game violence?

Creating the Daily Us

Other forms of participatory culture may foster this kind of civic engagement simply because they welcome our participation and reward our sense of affiliation. Think about wikipedians protecting the integrity and quality of information in the entries they have helped to create. Think about bloggers linking to others with whom they are having ongoing conversations. Think about the various social networks that are emerging at MySpace or Facebook or the kinds of lively and neighborly exchanges that take place on Live Journal. Think about the text message communities that emerge in a world where most people are carrying around mobile phones and using them to maintain recurring if not constant contact with their closest friends throughout the day.

During his remarks at the MIT Communications Forum, Dan Gilmour suggested we move away from thinking of citizen journalists as publishing the "daily me" and think of them as instead publishing the "daily us." I like this phrase because it speaks to a movement within networked culture away from personalized media and towards communal media. This shift is what I mean by civic media.

Think about people recording things they see around them on their phones and transmitting them via Flickr. I would argue for example that it was the availability of photographs by everyday people which circulated outside of official channels which more than anything else highlighted the inefficiencies and inequalities of the Bush administration's response to hurricane Katrina. We read those images differently because they came from people like us than we would receive the more polished images produced by traditional photojournalists. They spoke truths that were much closer to the ground because these phone cameras went places that journalists never bothered to go. Indeed, a small tool of journalists could never be everywhere at once and suck in as many impressions as a large community armed with their own information appliances.

Here, I am struck by Gilmore's phrase, "random acts of journalism." Gilmour is talking about the ways that average citizens may suddenly take on a responsibility of reporting back to their communities something they saw because they happened to be at the right place at the right time and not because they had a professional responsibility to do so. The knowledge they bring back is situated, shaped by their personal stakes and interests in the topic, and thus makes no gesture towards objectivity or indifference, yet for that very reason, we will learn to read it critically -- as a partial and subjective truth, rather than as, ahem, fair and balanced.

Slashers for a More Democratic Society

I am also finding myself thinking about the ways that average people appropriate, transform and recirculate news content -- such as the Photoshop collages which function, like editorial cartoons of the past, to encapsulate complex political debates into evocative composite images, or the use of digital sampling in hip hop music to speak truths to power that might not otherwise circulate within the culture, or the use of video mashups that mix together elements of popular culture and news to express something about the politics of our age.

It is interesting that such mash-ups figured prominently at both of the Communication Forum events: Dan Gilmour shared this fan-made video which borrows some of the rhetoric of slash to signal the close and uncritical relationship between Bush and Blair; and William Uricchio shared this video which uses dialogue and images from V for Vendetta to speak about the politics of terror in the Post-9/11 world.

Neither of these works might be called journalism -- citizen or otherwise. They don't involve reporting and they don't involve the exercise of news judgment. Yet, they depend for their power on the viewer's pre-existing awareness of events in the real world and they offer some powerful new metaphors for comprehending the importance and impact of those events. These videos work because they avoid the rhetoric of traditional politics and appeal to us as fans even as they ask us to act as citizens.

Newspapers in Network Culture

Civic Media doesn't try to displace the work of traditional journalists per se -- though increasingly, the editors and journalists who do their job best remain aware of these other kinds of civic media and use them to draw insights into the communities that they cover. Blogs spring up at those points where there is a public which demands kinds of information that is more likely to be scattered across many different websites than to be found well represented in the local paper. A good editor might well look at what blogs are tapping their information to figure out how to produce more information which will better serve the needs of those various constituencies and communities. These communities may search the planet for the information they want and yet they will return, as several participants at the Forum events suggest, to those sources which reliably provide them with information sources they value.

My colleague, David Thorburn, tried across both forums to get people outraged over the prospect that young people might stop reading newspapers and that print publications might not survive much longer. Yet, in both conversations, participants seemed more concerned about threats to participatory culture than they were about threats to traditional journalism.

I love newspapers and would hate to see them disappear. But I honestly don't think that this is going to happen -- not if journalists learn to respect the new kinds of civic connections which are felt by young people and find ways to tap them through their publications. I don't think we live in a world where blogs and podcasts are going to totally displace newspapers -- print or digital --but rather one where we will have a more complex ecology of information than we have seen before.

Professional journalists have real advantages in such a world because they have different kinds of resources, training, and access to information, because they have more time to devote to data collecting, and because they have built up a reputation -- for better or worse -- over time which allows us to evaluate their performance, unlike the citizen journalist who pops up, delivers information, and disappears again. Yet, participatory culture also brings something to the table -- a more diverse set of expertise and experiences, the ability to disperse responsibility over processing large bits of data (as in the example Benkler likes to use of citizens responding to information about the reliability of electronic voting machines).

More and more, these different forces will be correcting each other: the grassroots will innovate and experiment in ways that commercial media or traditional journalism can not; traditional journalism will monitor those experiments, test their reliability and heighten their visibibility; and yet these grassroots media efforts will also challenge the blinders that the traditional journalists develop as they become too close to some sources and too removed from others.

Who Gets to Participate in Participatory Culture?

I am more concerned by the issue of who gets to participate in an era of participatory culture and who gets excluded. Bill Ivey and Steven J. Tepper raised these questions about participatory media in the May 19 2006 issue of the Chronicle of Higher Education:

Increasingly, those who have the education, skills, financial resources, and time required to navigate the sea of cultural choice will gain access to new cultural opportunities....They will be the pro-ams who network with other serious amateurs and find audiences for their work. They will discover new forms of cultural expression that engage their passions and help them forge their own identities, and will be the curators of their own expressive lives and the mavens who enrich the lives of others....At the same time, those citizens who have fewer resources -- less time, less money, and less knowledge about how to navigate the cultural system -- will increasingly rely on the cultural fare offered to them by consolidated media and entertainment conglomerates...Finding it increasingly difficult to take advantage of the pro-am revolution, such citizens will be trapped on the wrong side of the cultural divide. So technology and economic change are conspiring to create a new cultural elite -- and a new cultural underclass. It is not yet clear what such a cultural divide portends: what its consequences will be for democracy, civility, community, and quality of life. But the emerging picture is deeply troubling. Can America prosper if its citizens experience such different and unequal cultural lives?

This is what I call the participation gap. It is a problem newspapers have faced from the very start -- and speaks to the contrast we see here in Boston between the Boston Globe (which has always been preferred by the educated elites) and the Boston Herald (which has always targeted the working class). The papers cover different content in different language and make different demands on their readers. Unfortunately, newspapers may be losing that battle to serve these different publics as we've seen the consolidation of urban dailies until there is only one paper left per major metropolis and most often, that paper per force aims somewhere in the middle -- no longer serving the expectations of the educated elites and no longer reaching out to the underclass at all. The new and more participatory forms of journalism do seem to reach some readers that newspapers have left behind, but are still niche products that don't touch the lives of most Americans.

Anyway, I hope these somewhat rambling remarks are enough to get you interested in listening to the podcasts of these two events. There's lots of thoughtful discussion around all of these issues and many more.

Cory Doctorow as Exemplar

Throughout the fall term, I am going to be sharing with readers more of the work we have been doing for the MacArthur Foundation on new media literacies, building up to the release of a significant new white paper in late October which makes the case for a new set of social skills and cultural competencies which we need to be incorporating into American education. We are already hard at work putting these ideas into practice, developing curricular activities and supporting materials that will help teachers and after school programs respond in more meaningful ways to the challenges and opportunities of the new participatory culture. One of our core projects is the development of an exemplar library. When we spoke with teachers and after school programs, it was clear that they recognized that their students were interested in new forms of cultural production that are enabled by new media technologies and new forms of cultural distribution supported by the web. They knew that their students were fans, bloggers, and gamers. But they faced a number of issues: they had no standards by which to evaluate work produced in these new and emerging media; they didn't know enough themselves to give good advice to student media makers; the students lacked role models to help them understand future opportunities in this space; and the students were facing ethical issues that their teachers and parents didn't really understand.

We decided to respond to these challenges by producing a library of short digital films focused around media-makers and the craft and ethical choices they face in producing and distributing their work. For each media maker, we may produce 5-10 short (4-5 minute) video segments addressing different points in their creative process. A teacher or after school program might show one or more of those segments to kick off a discussion about media production processes. They may decide to work horizontally -- fleshing out one form of media making -- or vertically -- looking at storyboarding or interviewing techniques across a range of artists and media. These videos will be accompanied by supporting materials -- vocabulary sheets, charts showing the various tools the artists use, and potential production activities that can be brought into the classroom. We also imagine that as students get engaged with the videos they will seek out more content on their own via our website and thus dig deeper into the whole world of media production than can be accomplished within the constraints of the school day.

Long term, we expect to make this an open library where anyone can insert their own content and thus provide an incentive for teachers and students to engage with media production projects around artists in their own local community. In the short run, we are producing these videos in-house -- working with Comparative Media Studies graduate students and with our new production coordinator Anna Van Someren, who was until recently part of the Youth Voice Collaborative here in Boston.

We are just now putting the first crop of exemplars out on the web and I figured I would showcase them here as they go up. One of the first will have special interest to readers of this blog, many of whom found this site because of some early shout outs by Cory Doctorow over at Boing Boing. When Doctorow was speaking at MIT last year, CMS graduate student Neal Grigsby grabbed some time with him to talk about blogging, science fiction writing, and online communications. The documentary was produced for middle and high school students but we think it will engage many adult viewers as well.

Here are some highlights:

Doctorow was until recently an advocate for the Electronic Frontier Foundation: he is someone deeply committed to the concept of the Creative Commons, so it is fitting that the opening film starts with him reading aloud the Creative Common license that grants us permission to share his words with the world. He explains elsewhere in the opening segment:

My first novel was the first novel to use a Creative Commons license. Down and Out in the Magic Kingdom was released in stores on January 9, 2003 and, on the same day, it was released as a Creative Commons download that came with a license that allowed you to noncommercial redistribute it and make reuse of it as much as you wanted. The novel has been distributed from my website at least 650,000 times and from other people's websites some unknown number of times, and it's in its 6th printing. And that's because for most people an electronic book is not a substitute for a print book it's an advertisement for a print book. And, for me, my biggest problem isn't piracy, its obscurity. And it really seems to me that the more you give away, the better it is. That seems to be the conclusion that I've come to.

Doctorow went on to talk about why he choose Disneyworld as the setting for his first novel and in the process shared something of his own fannish relationship to popular culture:

It's a great fictional setting, for starters. I mean, there's so much great detail. And it's got both a lot of familiarity and a lot of foreignness for people. A lot of people have been to Disney World, it gets more visitors every year than the United Kingdom. But it also has all this rich detail, that if you spend a lot of time playing around with it, you can find all these interesting little factoids and trivioids that you can drop in and really excite people.

I love putting pop culture into the work I do. It lets you be a fan with a giving up authorship. You can be a drooling fanboy without surrendering your position at the top of the geek hierarchy by working in these fanboy references

in your stuff as you go, you know? And it's also, I think, a nice way to pay homage to your literary ancestors and your peers. And it's a little naughty, too, to drop in the occasional visit from someone else's characters or the

occasional moment from someone else's world. I think that pop culture references and references to other works in my own works give them a kind of a richness, a depth. You can import an entire other narrative just by dropping a couple of references to it in your book or in your short story, and that, think, is pretty exciting.

The other great advantage, of course, of writing a novel set in theme park is that it makes your trips to Disney World tax-deductible. And so I had a couple of very fine years of tax-deductible trips to Disney World.

Doctorow offers some pragmatic advice about writing in general (which are sure to earn jabs in the elbow from composition teachers around the country):

The most important thing, I think, that any writer can do is: when you're learning your writing habits, eschew all ceremony. Don't be one of those writers who needs to light a candle, and clean the cat, and wash the dishes, and vacuum the house, and put away all the books, and do 20 minutes of yoga, and go for brisk walk, and contemplate your navel before you can set a word down on the page. When you go back and reread your work, you won't know which pages you wrote on days when you were feeling completely uninspired, and which

pages you wrote on days when you were having a great time. And by not letting yourself get trapped into ceremony, and the myth of the Muse that has to visit you before you can commit to writing, you will be a writer. Because a writer is someone who writes not someone who complains about writing. And if your job is to be a writer you have to be able to write. Garbagemen never talk about having garbagemen's block. Doctors never say, "I can't do surgery today, I'm just not in the mood." If it's your job you have to be able to write when it's

time to write.

The interview also serves our mandate to offer teachers some standards for thinking about what constitutes good writing in the digital media. Here's what Doctorow has to say about the art of blogging:

A blog succeeds, I think, on the basis of how good your headline and your lead is. There's a tendency among bloggers to want to repeat the privilege and sin of newspaper writers, which is to write the clever, silly headline that draws its strength from its place on the page and the context that surrounds it. So you write a headline like "Britain Weeps!" And it's 72 point bold, and beneath it is a big photo of someone crying. And that's intriguing. But if you do that in a blog, and your headline is syndicated to an RSS reader, and it turns up among 2000 other undifferentiated headlines, and all it says is "Britain weeps," or "OMG LOL," or "funniest thing I've seen this week, can't describe it, you gotta see it," all that stuff goes right into the round file; all that stuff just gets pitched out.

If you want to write stuff that carries, you have to really focus on these clean headlines that eschew all cleverness for memorability, the ability to be remembered. And then you have to follow it on with a lead, a nut graph, that grabs everything that's in the story and sums it up in three sentences. And it's really hard to do that. Everyone wants to give some background. They want to say, "for the last several weeks we've all noticed that something, something, something, and then, subsequently, dumpty, dumpty dum, which brings me to today's point." Again, when people are skimming headlines and just the first sentence, that stuff is just noise. You have to open, and then move back to it.

It's like writing copy for a wire service. Because that's, in effect, what you do when you blog. The primary method for consumption of any blog these days is through an RSS reader, at least as the initial path in. BoingBoing, for example, has about 1.1 million unique RSS readers per day, and about 350,000 unique web page readers per day. So it's wildly disproportionate, by far the majority of people read it in headlines. So, if you're a wire service customer at a newspaper, what you do all day is go in and read thousands and thousands of headlines, and figure out which one of these is relevant to you, and pick them up for your newspapers. So, if you're a wire service writer, you've got to write to that audience. And I think that what the Internet has done is turn all those of us who read through our headline readers into wire service editors, and all of us who write blogs, and who are conscious of wanting to spread the material in our blogs, into wire service writers.

And finally, Doctorow talks extensively about science fiction writing as a mode of social commentary and activism:

The job of the technology activist and the job of the science fiction writer are pretty comparable in that both are meant to try to investigate and try to articulate what the consequences of technology policy changes will be. To say, "if you do X the outcome might be Y." And certainly in civil liberties that's always been a tricky one. To say, "well, to regulate the speech of these neo-Nazis, you will end up regulating the speech of these other people in this

way that would cause harm. Popular speech never needs defending, so if we're only going to allow people who agree with us to speak then this is what the outcome can look like."

Science fiction tells you how the present should be, it tells you what's wrong with today, and what the future could be.... Science fiction is the most didactic literature, I think, going. It's kind of infamous for the soliloquy. You know, the author who breaks off to have a character... You know, Heinlein's characters sit there and give 25 minutes of watered-down Ayn Rand in the middle of their space adventure.

1984 is the sterling example. I went back and reread that just a month or two ago, this being a good time in the history of the western world to reread 1984, and it's remarkable not just as a piece of political fiction, as it's remembered, but as a piece of science fiction. He does all the skiffy stuff that science fiction readers love to find in their books. He's a great shallow extrapolator; he extrapolates just enough to give you that frisson of the future, and then uses that to hold a warped mirror up to the present. And it works really well....

One of the nice things about writing fiction that has some didactic elements, or that has a mission and is intended to educate as well as entertain, is that it's very hard to rebut a short story. If you write an essay, someone can come along and write another essay that says your essay is rubbish. The number of people who can write a short story to rebut your short story is much smaller.

Special thanks to Margaret Weigel, the research director on the New Media Literacies Project.

City Blogging in Beirut

Part of the pleasure of starting this blog has been building closer contact with my existing students as I develop posts around some of their research and hearing back from former students who tip me about media developments in their part of the world. A little while ago, I got e-mail from a former undergraduate student Rania Khalaf. She had been a student in my Introduction to Media Studies class years ago and was reminded of the class by recent developments involving digital media in her native country of Lebanon. In this case, I wanted to share with you the story in her own words and through the images being produced by artists in the Middle East but circulated around the world.

Here's what she wrote to me:

I have been thinking a lot about that class lately and was thinking you'd find the blogging about the Lebanese-Israeli war, especially by the art community, to be an interesting phenomenon... Now, the blogs are seeping onto the walls of cities.

Here's what happening:

First, the usual first Web blogging is happening by people on both sides of the conflict. Well - since I'm Lebanese and my family's all there ... I'm a pretty stressed out - so I've mainly been following the blogs from/about lebanon. And now, as Paul Keller puts it, they're moving into the 'urban fabric' and becoming 'city blogs' .

A couple of these blogs that I like best are chronicling the war, not the politics of it but the day-to-day of it, using sketches. Maybe a few song lyrics. Maybe a few paragraphs of text. A song here and there, and one song using the falling bombs for bass.

Here are the two blogs I've been mostly checking out

beirut%201.jpg

beirutnight.jpg

There's even one that uses annotated pics of Arabic Superman comics .

superman%20cries.jpg

Having grown up in the middle east and through one civil war, well .. let's just say political analysis of that region turns into wacky conspiracy theories and goes back thousands of years into a blame game that wastes precious time (and in turn, precious lives) .. making it so very sick that sometimes it makes me laugh a little filling the room with a nasty cynicisim .. So I tend to veer to the blogs that are about the human condition , about common sense, about staying alive and moving forward. Me, I'm still holding out for eternal peace and love and all that cheese.

Lately, some of the sketches started appearing on the streets of Amsterdam. Then, in New York, I (heart) Beirut stickers started appearing as 'love from new york to beirut' . Both have started to slowly creep their way throughout the cities of the world. I wonder whether people will notice.

And here are Mazen's pictures - on the walls of Amsterdam (city blogging).

beirut%204.jpg

Here are I heart Beirut stickers in NYC:

iloveherdeepbluesea-copy.0.jpg

I thought you'd find this interesting from the digital community point of view, forgetting for a moment the bombs and the whats and wheres and whodroppedthefirstones.

For those who would like to know more about the role that digital media is playing in this current conflict, I would recommend checking out Morph, the blog of the Media Center, which has been having an ongoing discussion about blogging in the middle east written from people living and working across the region. Here, for example, is a discussion of blogs from an Iranian perspective:

The very first thing that I do every morning is to check my emails. It is always a great pleasure to see that people have posted comments on my blog. Even forgetting those who try to show their extreme hatred toward the Iranian regime, I am not used to reading comments like "stop offending my dear president". Many times I think everybody agrees with me; that the Iranian administration is naive and that the political atmosphere in Iran is so corrupt and inefficient. Sometimes when I find an interesting point about Iran I wonder if I should post it in my blog. I think, everybody knows this and everybody agrees with me. The problem is who this everybody is....

t seems that the world is divided into two very distinct islands. In one island intellectual people read our blogs and post nice comments. Some even blame us for being too nice to the regime. On the other island there are people whom applause when Ahmadinejad talks about "defeating the nation's enemies". Obviously, this is nothing new. People have always been separated over many issues, one of them politics. But I am afraid there is no bridge between the two islands, even if we think there is one. Internet, blog, comment, to some of us these are the great sounds of change and democracy. Freelance reporters, transparency, question. I am sorry folks we are living in our closed circle....

What I am trying to show is that basically the power of blogs is limited because of obvious barriers. I should be very optimistic to assume that an Iranian teenager in a small town will quit the national television, the only source of entertainment, and look for my interpretation of the events. I am more and more convinced that the fancy world of blogging, and arranging hunger-strikes, has no meaningful connection to the real world. People are not willing to change their perspective because Lisa tries to show them a nice picture from a "cruel Zionist Israeli". Nor they care if Mansour Osanlo is in prison because he has spoken out for a non-political demand; to have better working conditions. I am not blaming anyone. If I had to wake up seven at the morning to go to work everyday and then pass the last week of each month with virtually no money left I do not think I could afford writing in my good-looking blog. This is how I see all this. We are a community of internet freaks sharing a common positive sense for attractive words such as democracy and freedom. We talk to each other and have fun. This is fine. We are hanging out, blaming this government and that religious identity. This is all fine. But, folks, please do not make it bigger that it actually is.

And here is how Gloria Pan responded to Arash Kamanger's post:

But Arash, there are people who blog and people who read blogs. Yes, the writers are a small circle, their core audiences a larger though still select circle. But beyond that, who can say? If you look at the readership of some of the really active (not necessarily big) blogs, it's very clear that many commenters are not regulars, who just happened to come across a discussion or interesting post. My point, I guess, is that while we can't determine how widespread Internet usage and involvement is, what we can definitely see is a change in the overall public discourse. Is it freer? Are more people getting used to speaking out? Are more people getting used to hearing alternative views -- maybe not directly from the Internet, but from the cousin of the guy down the street who happens to be studying computer science? All this is definitely happening and happening faster all the time. But the question still remains: Will it be for good or evil? The new ideas out there can be from either side. I'm an optimist, and I believe that ultimately, the good ideas will prevail.

I find myself wondering whether the street media practices that Rania Khalaf described in her e-mail to me might represent a response to Kamanger's concerns -- a kind of bridge between the digital world and the people in the streets who have little access to digital media. Khalaf was not the first person living in the west to share with me the remarkable cartoons being produced in Beirut. Indeed, these artists have been able to use the web to get their impressions of the war into global circulation and their images -- whether created from scratch or appropriated -- leave vivid impressions of what it feels like to live in a wartorn country. They speak to the heart. I am thankful that digital media allows us to hear directly from people in other parts of the world and often brings us part of the story we are not receiving through the news media.

Yet, reproducing them and getting them out beyond the digital sphere seems like an important act. I am reminded, for example, of the ways that immigrant workers in turn of the century New York used to pay one member of their community to read to them while they worked -- allowing a broader number to benefit from the literacy skills of a few and maintain a connection to print culture. I am also reminded of the early days of internet fandom when people would print out all of the posts on a discussion list and share them with people who weren't online.

Here's how the man who posted the cartoons on walls and lamp posts in Amsterdam explained his thinking:

What are drawings if not posters-in-waiting that can easily been printed out and stuck against the walls of the city? clearly one only has to print them out, copy them a couple of times, get wallpaper-glue and head out into the night (ok, first wait some 10 hours for night). so i spend some of sunday night sticking a4 sized mini-posters all over the walls of my neighborhood (the pijp) in amsterdam....

yesterday evening i did a second round (around Leidseplein in the center), and i am planning to continue for the next couple of nights. hopefully these relatively small posters will catch some eyeballs and make more people think and start expressing their outrage.

Apart from the obvious advantage of making me feel like i am doing something about the situation, i also like this little action on a symbolic level. it feels like translating a blog (something normally contained to the internets) into something that is part of the urban fabric. i like the idea of images leaking from my screen into the streets of amsterdam and would probably be even more beautiful if people in other cities started doing the same...

We might think of these practices as a low tech form of grassroots convergence -- people taking up the responsibility to transmit information, stories, and images from one medium to another and in the process, broaden their circulation. If, as was suggested above, our differing access to media technologies means that we inhabit different worlds even when we share the same physical spaces -- then the answer surely must start by using appropriate media to bridge between those media sectors.

America's Most Powerful Fan Boys

So, what happens when Supreme Court Justice Clarence Thomas, Vice President Dick Cheney, Secretary of Defense Donald Rumsfeld, talk show host Rush Limbaugh, political operative Mary Matalin, and Secretary of Homeland Security Michael Chertoff get together? Maybe they talk about what Jack Bauer did to get out of the latest scrape this week on their favorite television program, 24.

Rush Limbaugh moderated and Chertoff participated in a special discussion last week of 24, hosted by the Heritage Foundation, and featuring some of the program's writers, producers, and stars. Clarence Thomas and his wife was in the audience. And along the way, Limbaugh outed a number of other high powered fans of the series.

Limbaugh, who says he hasn't become obsessed with a prime time drama since Dallas, described one marathon viewing session with Matalin on a fact-finding trip to Afghanistan:

So a friend went out and got the first two seasons on DVD and I stopped in Washington and picked Mary up, and I said, "You ever heard of this show 24?"

She said, "Ah, people have told me about."

I said, "You ever watched it?"

She said, "No."

I said, "Well, I've got the first two seasons on DVD. Let's pop a DVD of season one in and see what happens."

Sixteen hours later we landed in -- (Laughter.) Sixteen hours later landed in Dubai, having watched 18 episodes of season one. We did not sleep. After the first four or five episodes, I said, "Mary, let's just watch one more. We've gotta get some sleep. We're going to Afghanistan."

"Okay."

We kept on after every episode, "We'll just watch one more." (Laughter.) And the only reason we stopped is because we landed in Dubai, and the whole week we're in Afghanistan -- which was another story itself, and it was an amazing trip -- the whole week we can't wait to get back to finish the final six episodes of season one and watch season two on the way back. .

That's how I became familiar with it. I came back from that experience, and I was telling everybody on my radio program about it. I like to share my passions and the things that I enjoy, and the co-creator of the program, unbeknownst to me, is a huge fan of my program. I'm not surprised, but -- (Laughter.) (Applause.) ...Joel Surnow called and thanked me for plugging the show and so forth. I can't believe that. So this relationship started. I've been out there twice, once a set visit while they were actually filming the last two weeks of the previous season.

Most of us who have started watching a good television series on DVD have had similar experiences -- it's really hard to stop after only one episode ... even if the fate of the free world is in your hands.

Personally, I stopped watching 24 after the second season but I learned a long time ago that you should never knock someone else's fandom. I may have some questions, though, about the reasons why these powerful fanboys like this particular program. Here's Limbaugh again:

I don't think a majority of the American people, but it's active in the minds of many in what I call the Drive-By Media, trying to stir things up -- that's "Club Gitmo," I call it. Abu Ghraib. The program 24 routinely portrays what people would consider torture. The ticking- time-bomb scenario happens in 24 sometimes multiple times an episode. The aspect of torture as portrayed on the program versus the way the media in this country en masse is trying to portray us as evil.

The comment is a little jumbled but I think Rush is saying that he likes the show because Jack gets to torture people without having to feel bad about it.

The program's producers were quick to discount Rush's interpretation -- suggesting that the show was a little more ambivalent about torture than he was -- but they seemed pleased as punch to have these kinds of friends in high places. After all, these guys know how to stay on the air despite some really low ratings and that knowledge might come in handy one of these days.

As for Chertoff, here's what he had to say about the resemblances and differences between his agency and 24's Counter Terrorism Unit:

Typically, in the course of the show, although in a very condensed time period, the actors and the characters are presented with very difficult choices -- choices about whether to take drastic and even violent action against a threat, and weighing that against the consequence of not taking the action and the destruction that might otherwise ensue.

In simple terms, whether it's the president in the show or Jack Bauer or the other characters, they're always trying to make the best choice with a series of bad options, where there is no clear magic bullet to solve the problem, and you have to weigh the costs and benefits of a series of unpalatable alternatives. And I think people are attracted to that because, frankly, it reflects real life. That is what we do every day. That is what we do in the government, that's what we do in private life when we evaluate risks....Sometimes acting on very imperfect information and running the risk of making a serious mistake, we still have to make a decision because not to make a decision is the worst of all outcomes.

Chertoff went on to suggest that what he envied about the characters on the show is that they got to deal with problems in 24 hours and didn't have to face the long term political fallout.

It would be easy to make fun of these powerful people and their pop culture consumption habits. How much fun would it be to tell the Vice President to "get a life?" But it sounds like these guys are using media more or less the same way the rest of us do. We all want to have a larger than life escape from the problems we face in our everyday lives at work and at home. We all fantasize about transgressing social norms and stepping outside of the law. Some of my readers enjoy playing first person shooters. These guys enjoy imagining a world where the battle against global terrorism doesn't have to slow down and wait for congressional approval and where the newspapers don't report on all the things they do that step outside the law. Pretty much the same thing, wouldn't you say?

Thanks to CMS alum Zhan Li for bringing this transcript to my attention