Between Storytelling and Surveillance: American Muslim Youth Negotiate Culture, Politics, and Participation

Over the past several years, my Media, Activism, and Participatory Politics (MAPP) research group at USC has been doing case studies of innovative groups, organizations, and networks that have been effective at increasing youth engagement and participation within the political process. We've been sharing our preliminary research findings here as a series of white papers that have addressed the DREAMer movement to gain greater education and civic rights for undocumented youth, Students for Liberty and the movement of "Second Wave Libertarianism" more generally, and the forms of fan activism associated with the Harry Potter Alliance and the Nerdfighters. Today, I am proud to be releasing the final report in this series -- a study into the political and cultural lives that American Muslim youths have been defining for themselves within the context of post-9/11 America. This report was prepared by Sangita Shresthova, who serves as the Research Director for the MAPP project. This research has been funded by the MacArthur Foundation as part of the work of the larger Youth and Participatory Politics network. Having released all of our initial case study reports, the team is now turning to drafting a book which looks comparatively across these various examples of participatory politics, and seeks to address larger debates about the role of new media in contemporary political struggles.

The new report, which is shared below, centers on activists and community networks affiliated with the Muslim Youth Group (MYG) at the Islamic Center in Southern California and the Young Leaders Summits program at the Muslim Public Affairs Council (MPAC), but Shresthova casts a larger net, describing a range of participatory projects through which American Muslims have sought to reshape the ways they are represented through mainstream and grassroots media.

While she is attentive to the new possibilities for voice that these youth have found through new media, she also stresses the substantial risks they face as a consequence of both formal surveillance by governmental agencies (as part of the new security establishment whose scope becomes more alarmingly clear with each new revelation) and informally through the chastising responses they received from older Muslims about the ways they represent their personal and religious identities. As a consequence, the communities she describes here constitute precarious publics, ones that can be empowering or can put participants at risk, perhaps both at the same time.

As we've been doing this research, our research team was struck, for example, by the "chilling effect" these youths experienced in the aftermath of the Boston Bombings, as the participants felt a renewed risk of retaliation on the basis of the color of their skin, their national origins, or their faith. We hope you will share our sense that it is urgent for us to develop a deeper understanding of what it means to be an American Muslim and how these youths are battling against prejudices that have surfaced with greater intensity over the decade plus since September 11.

Shresthova between storytelling and surveillance-working paper report-sept11-2013 from amandafo

Sangita Shresthova's work focuses on the intersection between popular culture, performance, new media, politics, and globalization. She is the Research Director of Henry Jenkins’ Media, Activism & Participatory Politics (MAPP) project. Based at the University of Southern California, MAPP explores innovative youth-driven media-centric civic engagement and studies youth experiences through groups and communities that include Invisible Children, the Harry Potter Alliance, and American Muslim youth networks. Sangita holds a Ph.D. from UCLA’s Department of World Arts and Cultures and MSc. degrees from MIT and LSE. Bridging between dance, media and her Czech/Nepali heritage, Sangita is also the founder of Bollynatyam’s Global Bollywood Dance Project. (www.bollynatyam.com)

A Whale Of A Tale!: Ricardo Pitts-Wiley Brings Mixed Magic to LA

Last February, I announced here the release of Reading in a Participatory Culture, a print book, and Flows of Reading, a d-book extension, both focused around work my teams (first at MIT and then at USC) have done exploring how we might help educators and students learn about literary works through actively remixing them. Our central case study has been the work of playwright-actor-educator Ricardo Pitts-Wiley from the Mixed Magic Theater, who was successful at getting incarcerated youth to read and engage with Herman Melville's Moby-Dick by having them re-imagine and re-write it for the 21st century. You can read more about this project here. And you can check out the Flows of Reading d-book for free here. 

If you live in Los Angeles, you have a chance to learn more about Pitts-Wiley and his work first hand. I've been able to bring Ricardo for a residency at USC this fall, which will start with a public event at the Los Angeles Public Library on September 26. Ricardo is going to be recruiting a mixed race cast of high school and college aged actors from across the Los Angeles area and producing a staged reading of his play, Moby-Dick: Then and Now, which will be performed as part of a USC Visions and Voices event on Oct. 11th. You can get full details of both events below. I hope to see some of you there. We are already hearing from all kinds of artists here in Southern California who have sought creative inspiration from Melville's novel and used it as a springboard for their own work. But you don't have to love the great white whale to benefit from our approach to teaching traditional literary works in a digital culture, and we encourage teachers and educators of all kinds to explore how they might apply our model to thinking about many other cultural texts.

For those who live on the East Coast, our team will also be speaking and doing workshops at the National Writing Project's national conference in Boston on Nov. 21.

Thursday, September 26, 2013 7:15 PM

Mark Taper Auditorium-Central Library

Thu, Sep 26, 7:15 PM [ALOUD]

Remixing Moby Dick: Media Studies Meets the Great White Whale 

Henry Jenkins, Wyn Kelley, and Ricardo Pitts-Wiley

Over a multi-year collaboration, playwright and director Ricardo Pitts-Wiley, Melville scholar Wyn Kelley, and media expert Henry Jenkins have developed a new approach for teaching Moby-Dick in the age of YouTube and hip-hop. They will explore how "learning through remixing" can speak to contemporary youth, why Melville might be understood as the master mash-up artist of the 19th century, and what might have happened if Captain Ahab had been a 21st century gang leader.

* Part of the Library Foundation of Los Angeles and Los Angeles Public Library’s month-long citywide initiative "What Ever Happened to Moby Dick?"

Henry Jenkins is Provost's Professor of Communication, Journalism, and Cinematic Arts at the University of Southern California. He has written and edited more than fifteen books on media and popular culture, including Spreadable Media: Creating Meaning and Value in a Networked Culture with Sam Ford and Joshua Green. His other published works reflect the wide range of his research interests, touching on democracy and new media, the “wow factor” of popular culture, science-fiction fan communities, and the early history of film comedy. His most recent book, Reading in a Participatory Culture: Remixing Moby-Dick for the Literature Classroom was written with Wyn Kelley, Katie Clinton, Jenna McWilliams, Erin Reilly, and Ricardo Pitts-Wiley.

Wyn Kelley teaches in the Literature Section at the Massachusetts Institute of Technology, and is author of Melville's City: Literary and Urban Form in Nineteenth-Century New York and of Herman Melville: An Introduction. She also co-author Reading in a Participatory Culture: Re-Mixing Moby-Dick in the English Classroom with Henry Jenkins and Ricardo Pitts-Wiley. She is former Associate Editor of the Melville Society journal Leviathan, and editor of the Blackwell Companion to Herman Melville. A founding member of the Melville Society Cultural Project, she has collaborated with the New Bedford Whaling Museum on lecture series, conferences, exhibits, and a scholarly archive. She serves as Associate Director ofMEL (Melville Electronic Library), an NEH-supported interactive digital archive for reading, editing, and visualizing Melville’s texts.

Ricardo Pitts-Wiley is the co-founder of the Mixed Magic Theatre, a non-profit arts organization dedicated to presenting a diversity of cultural and ethnic images and ideas on the stage. While serving as Mixed Magic Theatre’s director, Pitts-Wiley gained national and international acclaim for his page-to-stage adaptation of Moby Dick, titled Moby Dick: Then and Now. This production, which was presented at the Kennedy Center for the Arts in Washington, DC, is the centerpiece of a national teachers study guide and is featured in the book, Reading in A Participatory Culture. In addition to his work as an adapter of classic literature Pitts-Wiley is also the composer of over 150 songs and the author of 12 plays with music including:Waiting for Bessie Smith, Celebrations: An African Odyssey, andThe Spirit Warrior’s Dream.

Reservation Policy for Free Programs: As most [ALOUD] at Central Library programs are free of charge, it is our policy to overbook. In the case of a FULL program your free reservation may not guarantee admission. We recommend arriving early. Space permitting, unclaimed reservations will be released to standby patrons at 7 PM. 

Book signings ALOUD is one of the many free programs the Library Foundation makes possible at the Los Angeles Public Library. Most ALOUD author programs are followed by book signings.  To help sustain this valuable cultural exchange, at least one copy of the author’s book must be purchased from the Library Store if you wish to participate in the post-program book signing. Proceeds support the Los Angeles Public Library.  Library Foundation members receive a 15% discount on all Library Store purchases.

From Page to Stage: Moby-Dick: Then and Now Featuring Ricardo Pitts-Wiley and Mixed Magic Theatre Visions and Voices
	Friday, October 11, 2013 : 7:00pm University Park Campus Annenberg Auditorium (ASC) Reception to follow. Admission is free. Reservations required. RSVP at the links below beginning Tuesday, September 17, at 9 a.m. USC Students, Staff and Faculty: To RSVP,click here. General Public: To RSVP, click here.
The fateful voyage of the Pequod and its revenge-obsessed Captain Ahab is reimagined in Moby Dick: Then and Now. Alba, a young woman in contemporary urban America, is hell-bent on avenging the gang-related death of her brother Pip in this adaptation of Herman Melville’s classic American novel. Moby Dick: Then and Now emerged through Ricardo Pitts-Wiley’s work with incarcerated youth at the Rhode Island Training School, a juvenile prison. Pitts-Wiley, an actor, director, playwright and composer with Mixed Magic Theatre, encouraged the youth to read and rewrite this challenging novel in relation to their own realities. The 19th-century whaling trade became the 21st-century drug trade, and the young writers’ creativity inspired the stage production, which remixed Melville’s language with hip hop. Pitts-Wiley’s approach is featured in the new book Reading in a Participatory Culture: Remixing Moby-Dick in the English Classroom, co-written by USC professor Henry Jenkins. This staged reading will feature student actors from USC and local high schools. Henry Jenkins will moderate a post-show discussion with Pitts-Wiley and the cast. Organized by the USC Annenberg School for Communication and Journalism. Co-sponsored by the USC School of Dramatic Arts. For further information on this event: visionsandvoices@usc.edu

Building Imaginary Worlds: An Interview with Mark J. P. Wolf (Part Four)

You make an important observation about the nature of sequels here: “A trade-off between novelty and familiarity occurs: The world is no longer new to the audience, but the burden of exposition is lessened by what has already been revealed of the world.” So, one could argue that the creator of the sequel is freed to do different things than the creator of the original. If this is true, what are some examples of creators who have effectively exploited that freedom to do something interesting?

Contrary to the negative image many people have when it comes to sequels, some sequels are generally considered better than the original works they follow.  In my experience, anyway, people often say they like The Empire Strikes Back (1980) better than Star Wars (1977); The Lord of the Rings certainly builds interestingly on the world introduced in The Hobbit; and Riven (1997) is arguably better than Myst (1993).  In all three cases, the sequel expands the world a great deal, while carrying forth characters and situations established in the original.  Each also builds upon how the world works, extending the world logic from the original work (for example, the rules regarding the functioning of lightsabers, the One Ring, and linking books).

Authors may find it easier to develop an existing world than begin an entirely new one, and expansions can still introduce as much (or more) new world material as the original work.  Practically speaking, this can also have to do with economics; a longer book or a higher-budget movie is more of a financial risk to a publisher or studio, so original works that introduce a world may be more likely to be represented by shorter books and lower-budget movies, while sequels to a successful work will be given more investment (for example, Pitch Black (2000) had a budget of $23 million, while its sequel, The Chronicles of Riddick (2004) had a budget of over $100 million).  Whatever the case, world expansion is necessary for a sequel to continue to engage an audience, who wants to revisit the world they like, but at the same time, have new experiences in it.

The Star Trek film this summer was controversial precisely because of its ret-conning practices: it’s restaging and reimagining of the Wrath of Khan narrative seems to have been embraced by some new fans, but at the cost of much gnashing of teeth by veteran fans (myself among them). What does this example tell us about the challenges or opportunities in revising or revisiting familiar worlds within popular media?

 In the case of Star Trek, they wanted to have it both ways; a fresh start, while keeping continuity with what has come before.  Technically speaking, the 2009 film was not a reboot, due to the “alternate timeline” device (complete with “Spock Prime”, with a Nimoy cameo that may have been thrown in to suggest to fans that if Nimoy accepts this film enough to appear in it, then you ought to accept it, too), but most people still consider it a reboot.  Like you, I, too, found this recasting of Kirk, Spock, and McCoy annoying; why not move on to a new set of characters, as the TV shows did, and mostly successfully at that?  And the motive here is not the best, either.

Retconning, even when not taken to the extreme of a reboot, may be done for artistic or narrative reasons (as with Tolkien’s adjusting of The Hobbit so as to fit The Lord of the Rings better, or Lucas’s clean-up and added effects shots in the “Special Edition” re-releases), but when it’s done for purely commercial reasons, it may seem more suspect, since money, not art, is the motive.  Of course, the degree to which retcon occurs also makes a difference; cosmetic changes are more easily accepted than those which change the story or characters too directly or too much.It’s also usually easier to reboot a character-based franchise than a world-based franchise, because the background world is closer to the Primary world to begin with, and reboots are usually concerned with bringing things up-to-date more than anything else; changes in the Batman, Spider-man, and Superman franchises are a good example of this.

But in more world-centered franchises, like Star Trek and Star Wars, you don’t need to have the same characters present all the time (Star Trek shows remained on TV 1987 to 2005 without relying on Kirk, Spock, and McCoy); it’s the world, with all its designs, devices, locations, and logic, that keeps the audience engaged.  So one can only hope that Abrams doesn’t reboot Star Wars.

While as the book jacket informs us, you reference more than 1400 imaginary worlds across the book, certain worlds keep recurring, among them Oz, Middle-earth, and the worlds associated with Star Wars. What makes these worlds especially rich for your analysis?

Certain worlds are larger and better developed, so when it comes to discussions of infrastructures, internarrative theory, sequence elements, and so forth, there’s just more to work with and examine in larger worlds.  Their infrastructures have thousands of pieces, and some are still growing.  The worlds of Oz, Middle-earth, and Star Wars are also very influential ones, and ones that helped forge the imaginary world tradition.  And, when using them for examples, they are also worlds that the readers of the book will likely already be familiar with, and which require less explanation.  But there are so many interesting ones that are less known, and deserve more attention (like Defontenay’s Star and Dewdney’s Planiverse), and I try to highlight some of these in the book as well.

You revisit the familiar debate between interactivity and storytelling (or narratology and ludology as it is sometimes framed in game studies), which seems to be unresolvable. But, you suggest that there are ways to reconcile competing claims for game play and world building/exploring. Can you elaborate a bit? How might this focus on immersion offer us a way of reframing these core issues in Game Studies (which is a field where you have made many contributions already)?

Video games and the experiencing of imaginary worlds both involve such activities as world exploration and the learning of a set of intrinsic rules and how things work, and in many cases, piecing together a backstory and seeing how actions relate to consequences.  So interactivity is perhaps more compatible with the experiencing of a world than it is with the telling of a story.  It’s the difference between causality and a causal chain of events.  You can have causality built into a world, so that one kind of action results in a particular result, but due to choices made or chance, you don’t always get the same sequence of events.  A fixed causal chain of events, like that found in a novel, stays the same and doesn’t change.  But a world can accommodate either.

The interactivity vs. storytelling debate is really a question of the author saying either “You choose” (interaction) or “I choose” (storytelling) regarding the events experienced; it can be all of one or all of the other, or some of each to varying degrees; and even when the author says “You choose”, you are still choosing from a set of options chosen by the author.  So it’s not just a question of how many choices you make, but how many options there are per choice.  Immersion, however, is a different issue, I think, which does not always rely on choice (such as immersive novels), unless you want to count “Continue reading” and “Stop reading” as two options you are constantly asked to choose between.  And it isn’t just immersion, but what happens after it as well (that is, absorption, saturation, and overflow, which are discussed in detail in chapter one).  By focusing on worlds and the experience of them, video games studies will be better able to make comparisons between game experiences, and describe them in a more world-based fashion.

Your term, “deinteractivation” may be somewhat awkward, but it also provides the best explanation I’ve seen for why it has been so difficult to translate games into other kinds of media experiences -- for example, films or comics. Defiance represents an interesting recent experiment. To what degree do you think it has been successful at creating a world that bridges between games and television?

Although long, I believe “deinteractivation” is a morphologically-sound coinage, related as it is to words like “deactivation” and “interact”, and no more clumsy than the words one finds in polysynthetic languages like Ainu, Chukchi, or Yupik. Hopefully its etymology is clear enough to indicate that it means the removal of interactivity, something that occurs when a world or narrative makes a transmedial move from an interactive medium to a noninteractive medium.  (As a form of adaptation, it is something we will see more of as video games make transmedial moves into other media.)

In the case of Defiance, where both the TV show and the game were developed together, I would say that the world appears to have been designed with both media in mind already, rather than beginning as a game that was later adapted into a TV series.  But it will be interesting to see which survives longer, the game or the show, and how they influence each other.

Also, the fact that the game is an MMORPG means that it is more interactive than a stand-alone game, but also more vulnerable to the ravages of time; while a stand-alone game, just like a TV show, could be experienced in its entirety at some future date, an MMORPG can really only be experienced as it was during the time it is being run; once it ends, it’s over, and it cannot be re-experienced.  It may be too soon to know whether it successfully bridges the two medium, or creates a solid fan community around the show/game experience (will other media venues follow?)

Perhaps we can get some idea from the text on the Defiance website: “Players of the Defiance game will have the chance to cross over into the show in a new and bigger way: By seeing their avatar recreated as a character in the second season!” First, this conflates players and their avatars, and second, the avatar will be “recreated” as a character; so it appears all interactivity has been lost during these two removes.  One can imaging other ways an MMORPG and a TV show could be linked; for example, a TV show could be made from the events of the MMORPG as they occur, or perhaps the storyline of the TV show could be adjusted based on the events of the MMORPG (the game events could provide the ever-changing background for the TV characters’ lives; if a revolution is stirred up in the MMORPG, it occurs in the background of the TV show, affecting the characters, and so on).  If nothing else though, and despite the outcome, Defiance is an interesting experiment, its name perhaps referring to its attitude toward standard television fare.

Mark J. P. Wolf is a Professor in the Communication Department at Concordia University Wisconsin.  He has a B. A. (1990) in Film Production and an M. A. (1992) and Ph. D. (1995) in Critical Studies from the School of Cinema/Television (now renamed the School of Cinematic Arts) at the University of Southern California.  His books include Abstracting Reality: Art, Communication, and Cognition in the Digital Age (2000), The Medium of the Video Game (2001), Virtual Morality: Morals, Ethics, and New Media (2003), The Video Game Theory Reader (2003), The World of the D’ni: Myst and Riven (2006), The Video Game Explosion: A History from PONG to PlayStation and Beyond (2007), The Video Game Theory Reader 2 (2008), Before the Crash: An Anthology of Early Video Game History (2012), the two-volume Encyclopedia of Video Games: The Culture, Technology, and Art of Gaming (2012), Building Imaginary Worlds: The Theory and History of Subcreation (2012), The Routledge Companion to Video Game Studies (forthcoming), Mister Rogers' Neighborhood (forthcoming), Video Games Around the World (forthcoming), and LEGO Studies: Examining the Building Blocks of a Transmedial Phenomenon (forthcoming) and two novels for which he has begun looking for an agent and publisher.  He is also founder and co-editor of the Landmark Video Game book series from University of Michigan Press.  He has been invited to speak in North America, Europe, Asia, and Second Life, and is on the advisory boards of Videotopia and the International Journal of Gaming and Computer-Mediated Simulations, and on several editorial boards including those of Games and Culture, The Journal of E-media Studies, and Mechademia: An Annual Forum for Anime, Manga and The Fan Arts.  He lives in Wisconsin with his wife Diane and his sons Michael, Christian, and Francis.  [mark.wolf@cuw.edu]

Building Imaginary Worlds: An Interview with Mark J. P. Wolf (Part Three)

As you note, audiences often police the continuity of their favorite franchises, holding the creators accountable to seemingly impossible standards of consistency and coherence. What might your book tell us about the things that motivate this high level of fan investment in continuity?

Tolkien’s concept of “Secondary Belief” sums it up best.  It’s not so much a “suspension of disbelief”, as Coleridge supposed, but rather belief in the secondary world we are experiencing, that makes it compelling.  When one imagines the world, it needs a certain degree of consistency and coherence to produce secondary belief, and this is certainly not an impossible standard to achieve.  Once it is achieved, however, fans will attempt, and often work quite hard at, explaining away any consistencies that do occur; but of course these will be smaller ones that do not destroy secondary belief.

So how much consistency and coherence is enough?  And, of course, the amount of world detail is important as well; that’s why I argue that completeness (or, really, the illusion of completeness) is also necessary.  You can make a tiny world with very little invention or detail, and it will be consistent and coherent, but there won’t be enough there to evoke a sense of travelling to another place.  And the quality of the details matters as well; you can have huge amounts of detail, but still have an uninteresting world which no one will care about.

So if fans are making demands on a world and policing its continuity, it is a good sign, for it shows that they care about it enough to complain; world-makers should accept that as a compliment.  And world-makers should try to be clear as to what is canonical, and also try to be as consistent as possible; while this may hamper the growth of a world, I think it should be seen as a challenge to be met, and which can be met.  There are always ways of expanding a world that do not disrupt its consistency.

 You trace the origins of many of today’s fictional worlds back to the traveler’s tales of the ancient and medieval worlds. What might we learn about contemporary fantasy and science fiction stories if we were to know more -- as you clearly do -- about those earlier traditions? What changes when we move from a world where there are unknown spaces within the real physical world to one where we have to map radical difference elsewhere -- in space, underneath the sea, at the center of the Earth? Are we still dealing with the consequences of that shift?

First, so many things have been done earlier than we realize.  Charles Ischir Defontenay’s novel Star (Psi Cassiopeia): The Marvelous History of One of the Worlds of Outer Space (1854), for example, is certainly ahead of its time in the world-building it does, with its alien cultures, world details, and story arc.  Second, it’s important to know your audience.  The Age of Exploration encouraged worlds to find new locations, and they did, but one can still find more traditional island worlds (like Isla Nublar in Jurassic Park (1990)).

The main difference is that today, audiences are geographically more savvy, and less likely to accept information that goes against what they already know.  A fictional island in the Pacific Ocean still works, since no one knows them all (or even how many there are; according to Wikipedia, there are between 20,000 and 30,000 of them).  But fictional U.S. states are much harder to believe in (at least for an American audience), because most people know them all.

Today, this extends even beyond the earth; most people know the planets of the solar system, making new planets in our solar system more difficult to propose, and conditions on these planets are well-known enough that earth-like civilizations on Jupiter or Pluto, for example, will be thought unrealistic.  Likewise, future settings set too close to our own soon become just alternate realities (for example, the worlds of Orwell’s Nineteen Eighty-Four (1949) or Clarke’s 2001: A Space Odyssey (1968)).  General audiences have more scientific and cultural knowledge as well, so means of traveling to worlds, and the workings of the worlds as well, are under greater scrutiny.

Just compare the original appearances of the Star Trek galaxy to its later additions, and you can see changes in what is considered acceptable.  So the level of the general knowledge of the audience (and not merely geographical knowledge) have propelled world-makers to a higher degree of sophistication, detail, and consistency, while the greater (and increasing) number of secondary worlds has also established traditions and conventions which also shape expectations.

In my own work on transmedia storytelling, I keep coming back to the idea that most transmedial extensions are designed to serve one of three tasks: explore the world, expand the timeline, or flesh out secondary characters. As I read your discussion of different ways of structuring our encounters with worlds, you suggest a range of different devices -- including maps, timelines, and genealogies -- but they seem to me to fall back on the same basic functions. Would you agree?

Those three things you mention coincide nicely with the three basic infrastructures that I discuss in chapter three; that is, maps, timelines, and genealogies, which correspond the three basic things you need to have a world (space, time, and characters).  Along with these three, other infrastructures (nature, culture, language, mythology, philosophy, and of course, narrative) also have the basic function of organizing world information into a coherent form, by providing  contexts for, and connections between, pieces of world data.  And, these are the structures that all new world information is attached to, and that determine what new material can be added.  So, in that sense, they have a similar function.  Ancillary works can extend a single infrastructure without adding narrative content; a dictionary for an invented language, for example.  This would be an example of a transmedial extension of a world that does not deal with maps, timelines, or characters (although it may provide etymologies for place-names and character-names), but it would still serve the function of organizing world data into a structure.

Mark J. P. Wolf is a Professor in the Communication Department at Concordia University Wisconsin.  He has a B. A. (1990) in Film Production and an M. A. (1992) and Ph. D. (1995) in Critical Studies from the School of Cinema/Television (now renamed the School of Cinematic Arts) at the University of Southern California.  His books include Abstracting Reality: Art, Communication, and Cognition in the Digital Age (2000), The Medium of the Video Game (2001), Virtual Morality: Morals, Ethics, and New Media (2003), The Video Game Theory Reader (2003), The World of the D’ni: Myst and Riven (2006), The Video Game Explosion: A History from PONG to PlayStation and Beyond (2007), The Video Game Theory Reader 2 (2008), Before the Crash: An Anthology of Early Video Game History (2012), the two-volume Encyclopedia of Video Games: The Culture, Technology, and Art of Gaming (2012), Building Imaginary Worlds: The Theory and History of Subcreation (2012), The Routledge Companion to Video Game Studies (forthcoming), Mister Rogers' Neighborhood (forthcoming), Video Games Around the World (forthcoming), and LEGO Studies: Examining the Building Blocks of a Transmedial Phenomenon (forthcoming) and two novels for which he has begun looking for an agent and publisher.  He is also founder and co-editor of the Landmark Video Game book series from University of Michigan Press.  He has been invited to speak in North America, Europe, Asia, and Second Life, and is on the advisory boards of Videotopia and the International Journal of Gaming and Computer-Mediated Simulations, and on several editorial boards including those of Games and Culture, The Journal of E-media Studies, and Mechademia: An Annual Forum for Anime, Manga and The Fan Arts.  He lives in Wisconsin with his wife Diane and his sons Michael, Christian, and Francis.  [mark.wolf@cuw.edu]

Building Imaginary Worlds: An Interview With Mark J. P. Wolf (Part Two)

There is a tendency for critics to dismiss sequels and prequels as being driven almost entirely by commercial motives. Yet, you show here that such structures have a much longer history. What does this history tell us about other motives that might drive such devices?

Sequels and prequels (and other kinds of sequence elements) are seen as commercially attractive in the first place only because there are other motives for wanting them to begin with; if not, then why would they be thought of as having commercial potential? I think the main reason for wanting them is the idea of returning for more visits to a world that you like, whether you are the audience or the author. That’s really the only reason there is; if you don’t like the world enough to want to go back, there’s no reason to make another work which is set there. One can experience the same work multiple times (as happens with works like Star Wars (1977) or The Lord of the Rings (1954-1955)), which may be rich enough in detail to require multiple visits in order to notice everything, but ultimately audiences will want new experiences within the same world.

Authors who world-build will often create a world to house the original story set there, but if they like world-building, they may go beyond the needs of the story, generating more and more of the world, eventually developing additional narratives set in the world, usually ones connected in some way to the original narrative. The same thing can happen with popular characters that people want to hear more about; a rather early sequel, the second part of Cervante’s Don Quixote (part one, 1605; part two, 1615), was written in response to the audience’s desire to read more of Quixote’s adventures, and particularly because a spurious sequel had appeared after the first volume was published (the spurious sequel is even mentioned within the second volume of Don Quixote, and is condemned by the characters as noncanonical).

So I think commercial potential can only exist if other motives already exist; although one could try to make a sequel to a failed work set in an unpopular world, such a work is also likely to be a commercial failure (even if it is better than the original, its success could actually be hurt by its association with the original, if the original is disliked enough).

You note throughout that world-building (and world-exploring on the part of the audience) can be an activity which is meaningful quite apart from its role in a particular story. There may well be films -- Avatar come to mind -- which are widely criticized for their stories but widely praised for their world-building, and there are certainly directors -- Tim Burton for example -- who consistently seem more interested in exploring worlds than in telling coherent stories. Why, then, do we tend to devalue world-building in favor of story-telling when we evaluate so many media and literary texts?

 In works set in the Primary world (which are arguably the dominant kind), world-building mainly exists to serve storytelling, not the other way around. Thus, world-building is seen as a background activity, something done not for its own sake, and something done only to the extent necessary for a story to be told. As such, most critics’ methods of analysis still center around story (and such things as character, dialogue, and events) as the way meaning is conveyed, and many are intolerant of anything that departs too far from the “realism” of the Primary world (Tolkien notes this when he points out how calling something “escapist” is considered by many as an insult, whereas he says this is confusing the “escape of the prisoner” with the “flight of the deserter”; but this is another issue altogether).

But, of course, character, dialogue, and events are not the only ways meaning is conveyed; only the most obvious ways.

A world’s default assumptions, which differ from the Primary world, can suggest new ways that something can be considered, and perhaps make an audience more aware of their own assumptions they normally take for granted. Just like encountering other cultures can help you become more aware of your own culture, and make you realize that there are other ways of doing things or other ways to live, imaginary worlds can comment on the Primary world through their differences, they can embody other ideas and philosophies, and convey meaning in a variety of ways beyond the traditional ways found in stories set in the Primary world.

But these effects are the most powerful when the worlds in question have a high degree of completeness and consistency, in order to be believable; when this is lacking, the world may be risk being rejected as too outlandish and merely silly. And enough worlds are that way, that critics may regard even good ones suspiciously. The popularity of The Lord of the Rings is still not understood by some literature faculty, and likewise, some critics of the Star Wars prequel trilogy wonder why the films were so popular.

Stories and Worlds are evaluated by different sets of criteria, and one cannot simply apply one to the other. Sometimes a story is only there to serve the purpose of providing a framework with which to experience a world, as is the case, I would argue in a movie like Titanic or a book like The Planiverse (1984). While we generally do not fault good stories which don’t involve much world-building (since one has the Primary world to fall back upon, when the author does not provide invention), worlds, even elaborate ones, are often faulted if they do not contain good stories.

Of course, a world is always more enjoyable if the stories set in it are good ones, but some stories are clearly vehicles to convey a vicarious experience of a world and nothing more; once this is realized, one can set aside narrative expectation and focus on the world for what it is. General audiences seem to be able to do this rather well, especially in cinema, where the experience of visiting a world is made vivid through concrete imagery and sound, or in literary genres like fantasy and science fiction. Now that worlds and world-building are more prominent in culture, and particularly in popular culture, and with the rise of media like video games in which the experiencing of a world can be done with little or no narrative, critical criteria may begin to change to recognize the merits of well-built worlds.

Given what we’ve said above, what might be the criteria by which we would evaluate a text based on its world-building capacity?

 Well, as I discuss in chapter three, one way to examine the depth to which a world has been built is to examine the degree to which its infrastructures (such as maps, timelines, genealogies, nature, cultures, languages, mythologies, and philosophies) have been developed, and the interconnections between these infrastructures (which involves examining their degree of invention, completeness, and consistency). The more developed a world is, with these criteria in mind, the more we have something which appears viable, and the more we can extrapolate a world’s logic to fill in missing details, making the world seem more complete than it actually is (a well-designed world makes it so easy to fill in missing details that we may do so without even consciously noticing that we are doing so).

And it is not simply a question of the quantity of details, but their quality as well; their aesthetics must be appealing, in one way or another (this does not always mean something is beautiful) and the ideas embodied within a world must be engaging as well. Good stories will still always help the enjoyment of a world, since vicarious experience relies on character identification to some degree; one can marvel at a work of world-building but not feel one is within a world; and one could argue that such vicarious experience need not be a criterion of greatness.

But most audiences will still want such experiences. When one looks at the worlds that have endured over the years, or have found great popularity, one will find many of these elements are usually present; although some excellent and well-built worlds, like those of Defontenay’s Star (1854) or Wright’s Islandia (1942) remain obscure despite their greatness, but will perhaps hopefully gain the respect they deserve, now that world-building is becoming more valued.

 As I am writing these questions, I just saw Pacific Rim. Here, the filmmaker sets himself a challenge in creating a totally new franchise in introducing the viewer into a fictional world and establishing its basic contours. In this case, of course, he is not creating in a vacuum, since he relies heavily on audience familiarity with conventions from Japanese popular media -- the Mecha and giant monster genres. Yet, it can still be challenging to make sense of what we are seeing on screen given the range of unfamiliar objects and creatures going at it at once. What might Pacific Rim teach us about the challenges of introducing new worlds to audiences?

While Pacific Rim does feature some futuristic cities and a single glimpse of a new planet (near the very end of the film), it is still mainly set in the Primary world (our world) and not all that far into the future, so the world-building that occurs is mainly on a more local level (like the Shatterdomes).  But as you say, there’s much in the way of new technologies and creatures appearing on-screen, combined with a rapid pace.  And I also found it interesting that the film was neither based on an existing franchise or constructed as a star vehicle; it seems to have been made and marketed strictly on its own merits (although special effects were highlighted as an audience draw).  Also, as you mention, most of what we need to learn to follow the story relies on established science fiction conventions, along with the film’s two new terms naming its combatants (Kaijus and Jaegers) literally defined up front.

So while I liked the fact that the film starts a new franchise, it seems as though doing so made the filmmakers (most likely, the producers) cautious to do anything too far removed from established conventions. As a result, the film has relatively little innovation and there seems to be little reason to see it a second time; everything seems clearly explained, leaving few, if any, unsolved enigmas.

While concentrating on making the story clear is fine, there could have been more extensions of the world beyond what was required to tell the story; there is not a lot of background detail and action that would warrant additional screenings, and very little world outside the activities surrounding the Kaijus and Jaegers themselves.  As the Star Wars films have shown, though developing and creating such additional background world material may raise the cost of a film, the richness that it adds to a world will make audiences want to return again, inviting speculation and perhaps even generating enigmas that need not be solved for the narrative to be complete.  The world of Pacific Rim, on the other hand, does not seem to extend far beyond the needs of the narrative.

Mark J. P. Wolf is a Professor in the Communication Department at Concordia University Wisconsin.  He has a B. A. (1990) in Film Production and an M. A. (1992) and Ph. D. (1995) in Critical Studies from the School of Cinema/Television (now renamed the School of Cinematic Arts) at the University of Southern California.  His books include Abstracting Reality: Art, Communication, and Cognition in the Digital Age (2000), The Medium of the Video Game (2001), Virtual Morality: Morals, Ethics, and New Media (2003), The Video Game Theory Reader (2003), The World of the D’ni: Myst and Riven (2006), The Video Game Explosion: A History from PONG to PlayStation and Beyond (2007), The Video Game Theory Reader 2 (2008), Before the Crash: An Anthology of Early Video Game History (2012), the two-volume Encyclopedia of Video Games: The Culture, Technology, and Art of Gaming (2012), Building Imaginary Worlds: The Theory and History of Subcreation (2012), The Routledge Companion to Video Game Studies (forthcoming), Mister Rogers' Neighborhood (forthcoming), Video Games Around the World (forthcoming), and LEGO Studies: Examining the Building Blocks of a Transmedial Phenomenon (forthcoming) and two novels for which he has begun looking for an agent and publisher.  He is also founder and co-editor of the Landmark Video Game book series from University of Michigan Press.  He has been invited to speak in North America, Europe, Asia, and Second Life, and is on the advisory boards of Videotopia and the International Journal of Gaming and Computer-Mediated Simulations, and on several editorial boards including those of Games and Culture, The Journal of E-media Studies, and Mechademia: An Annual Forum for Anime, Manga and The Fan Arts.  He lives in Wisconsin with his wife Diane and his sons Michael, Christian, and Francis.  [mark.wolf@cuw.edu]

Building Imaginary Worlds: An Interview with Mark J. P. Wolf (Part One)

This is the first of a series of interviews I am planning to run on this blog throughout the fall with authors, critics, and designers who are exploring the concept of world building through their work.  

The concept of world-building (or world-sharing, as Derek Johnson recently described it) has a long and varied history with roots in the popular discourse of science fiction and fantasy writers and in analytic and aesthetic philosophy. Increasingly, the concept of world building has become foundational to discussions of transmedia storytelling. As one long time screen writer told me some years ago, when he started, he pitched a story because you needed to have a great story to make a great film; then, he pitched a character because a compelling character can extend across a series of sequels; and now, he pitches a world, since a world can support multiple stories involving multiple characters across multiple media platforms. Yet, even without the kind of radical intertextuality represented by transmedia practices, world-building is central to a great deal of genre fiction writing. Indeed, some have complained that science fiction and fantasy often lacks compelling (or at least rounded) characters or classically constructed plots because it is more interested in building and exploring worlds than dealing with individuals.

For an example of how the concept of a world gets used in conversations around contemporary media franchises, check out  Travis Beacham's introduction to the graphic novel prequel to Pacific Rim:

“The story is in the world; not the other way around. That is to say, a world is big and hopelessly uncontrollable. It spills messily outside the edges of any one story. A world has books on its shelves and articles in its newspapers. It has ephemera and lore. It has slang and jargon. It has footnotes and obscure references to take for granted. It has a deep past and a far side. It has roads that fork away from the plot to some only hinted-at place. Just as ‘real world’ stories set themselves on this Earth, with all her richness and complexity, the challenge of genres like science fiction and fantasy is to not only spin a good tale, but to invent for that tale an imagined backdrop that seems to stretch clear into the horizon."

One of my favorite descriptions of the concept of the world comes from Dudley Andrew's book, Concepts in Film Theory:

"Worlds are comprehensive systems which comprise all elements that fit together within the same horizon, including elements that are before our eyes in the foreground of experience, and those which sit vaguely on the horizon forming a background. These elements consist of objects, feelings, associations, and ideas in a grand mix so rich that only the term 'world' seems large enough to encompass it....We step into a Dickens novel and quickly learn the type of elements that belong there. The plot may surprise us with its happenings, but every happening must seem possible in that world because all the actions, characters, thoughts and feelings come from the same overall source. That source, the world of Dickens, is obviously larger than the particular rendition of it which we call Oliver Twist. It includes versions we call David Copperfield and The Pickwick Papers too. In fact, it is larger than the sum of novels Dickens wrote, existing as a set of paradigms, a global source from which he could draw. Cut out from this source are anachronistic elements like telephones or space ships, and elements belonging to other types of fiction (blank verse, mythological characters, and even accounts of the life of royalty.) It should be clear that even such a covering term as 'the world of Dickens' has no final solidarity or authority. A young reader of David Copperfield and Oliver Twists might consider these texts to be versions of a world of education and family relations which concern him outside of literature. The Dickens scholar naturally would consider these texts to be part of the complete writings of Dickens. What they represented for Dickens himself, who lived within them during the years of their composition, no one can say. One goal of interpretation has always been to make coincide the world of the reader with that of the writer."

Andrew's comments already point to fault lines in our understanding of the concept of world-building. Mark J. P. Wolf's new book, Building Imaginary Worlds, uses as its foundation J.R.R. Tolkien's concept of "sub-creation," an approach he explains below. This approach values world building which expands beyond the world as we currently know it, which creates an imaginary world from scratch. Andrew's approach here sees all texts as building up worlds that help define what events may or may not occur there, what characters may or may not exist, what outcomes are or are not plausible, etc. Historical fiction or documentary fiction, by this definition, may require extensive amounts of research in order to build up a richly realized world and make it comprehensible to the viewer. I have, for example, been drawn into the world of women's prisons as mapped and explored by this summer's Orange Is the New Black: while this world looks very much like real institutions,  while this series is loosely based on a memoir, most of us knew little of this world before we started to watch the series, the author has gradually added more details and complicated our initial impressions of this world episode by episode, and we draw more and more on that expanded comprehension to make sense of what we are seeing. I often point to something like Martin Scorsese's Gangs of New York as a fantastic example of the role of world-building in historical fiction, even if, again, this world is being reconstructed rather than fabricated from scratch. Andrew's account suggests worlds are built as much by readers as by authors, that they emerge intertextually through the relationship between a range of different texts, and moving a bit beyond him, I would argue that worlds are performative -- that is, any given text seeks to evoke a world in the mind of the reader and may or may not successfully achieve that project. Perhaps there is no real conceptual disagreement between these different senses of a world, only a matter of emphasis: Wolf, for example, acknowledges that works that remain closer to the primary world of real experience may still engage in activities of world-building, while his own emphasis is on works that are "sub-created," that involve a higher degree of original creation on the part of their authors (and readers?).

This potential disagreement aside,  Mark J. P. Wolf's Building Imaginary Worlds is an extraordinary accomplishment --and a great starting point for an ongoing discussion of the concept of world-building.  Wolf starts with a core background in game studies and science fiction/fantasy and expands outward to develop an encyclopedic account of the place of imaginary worlds in contemporary narrative practice. I've known Mark for a long time and he's been working on this book as far back as I can remember, and it's exciting to see all of the pieces fall into place. He employs thousands of examples of fictional worlds to illustrate his core arguments, which include discussions of history as well as theory, going back to the earliest adventure stories and forward to contemporary experiments in transmedia storytelling. I have assigned this book for my Transmedia class this term and see it as essential reading for anyone interested in understanding the place of world-building in contemporary culture. Wolf is perhaps best known to my readers as a scholar who has written extensively about video and computer games, so games researchers may be interested to see how he uses theories of imaginary worlds here to revisit some of the core questions animating that field also.

The following conversation only scratches the surface. Today, we are going to try to map Wolf's basic model of "sub-creation" and "imaginary worlds," and over three more installments, we will get deeper into the implications of this model, looking at such contemporary examples as Star Trek: Into Darkness, Pacific Rim, and Defiance.

Let’s start with the key words in the book’s title. What do you mean here by “worlds” and how is it related to the concept of “subcreation”?

 As I explain in the first chapter, the term “world” is not used in the geographic sense (like planets), but in the experiential sense, meaning the sum total of a character’s experiences; therefore, an imaginary world could be a planet or galaxy, or more limited in scope, like a continent, a country, or even a city. The fact that it is an imaginary (or “secondary”, to use Tolkien’s term) world means that it is somehow set apart from the “real” (or “Primary”) world, with some boundaries between them, making the secondary world a thing of its own; and whereas some boundaries are physical or geographic in nature, such as mountain ranges, deserts, oceans, and so forth (or the surface of the earth itself, for underground worlds), some boundaries are temporal in nature (as in worlds set in the distant past or future, making them equally inaccessible to us in the present), or even conditional, such as in the alternate versions of the Primary world that some stories present. Tolkien separates the two by calling them the Primary world and Secondary worlds (borrowing terms from Coleridge’s discussion of the two types of imagination), and writes that the latter is dependent on the former, hence the term “subcreation” (literally, “creating under”); secondary worlds use material from the Primary world, reshaping and recombining elements from it, so that the end result is both recognizable but also new and different. So what the book examines, then, is how imaginary worlds depart from our world, and how they are created by authors.

Does the term, world-building, apply to works, such as, say, Gangs of New York, which reconstruct richly-detailed versions of actual historical worlds or does it only apply to works of the imagination?

 I would say the term “world-building” definitely applies, since in cases like Gangs of New York (2002) or Titanic (1997), the past is being meticulously built and recreated. But in both of these cases, and especially that of Titanic, it is something from the Primary World that is being recreated (even though some of the characters are fictional), whereas the kind of world-building that my book is mainly concerned with is the building of secondary (imaginary) worlds. So the term can apply to both.

Of course, it could be pointed out that even the version of the Primary world that each person carries around in his or her head involves a certain amount of imagination, since we fill in parts of the world we have not seen or have forgotten, so in a sense, both kinds of worlds involve the imagination; but secondary worlds are more clearly set apart from the Primary World.

As I point out in the book’s first chapter, there are varying degrees of what we could call “secondariness”, based on how much invention a secondary world contains; some, like the Star Wars Galaxy or Middle-earth, are very different from the Primary World, whereas others, like Lake Wobegon or More’s Utopia, have less invention but are still imaginary.

Then the question becomes, how much invention is needed to call something a “world”? Some fictional characters set in a real place isn’t really enough; to be a “world” you would, I would argue, need a fictional location as well, and one large enough that someone could live there (getting back to the experiential sense of “world”). So although it is a matter of degree, there is a point where you have enough that a secondary world can stand alone on its own, and that’s usually where most people would probably consider it a separate “world”.

In discussing Nelson Goodman's Ways of World-making, Dudley Andrew argues that the works of a single author -- his example is Dickens -- may add up to a single world, even if the author never signals any connection between these works. Would you agree?

 I suppose it is possible, though if no connection is indicated, then one would not be forced to conclude that the worlds are connected. Such connections are often made clear by the author, sometimes retrospectively, like L. Frank Baum’s tying together the various lands his stories take place in, which he did to connect them to Oz. Certainly if an author has a popular world, it is in the author’s interest to do so, as this adds canonical material to a world that an audience may be interested in (and sometimes such a link is the only reason an audience is interested, at least initially).

Dickens’ works are all arguably set in the Primary world, so I think it would be difficult to make the case that he’s creating a secondary world; in such a situation, transnarrative characters could signal ways that individual narratives are connected, but they can still be set together in the Primary world without creating a secondary world (if the amount of invention is low enough). So one could have connected stories set in the Primary World, which make no reference to a secondary world, even though they contain fictional characters and events. On the other hand, two or more series can take place in a linked universe in such a tenuous way that for all practical purposes the series are considered separately; for example Edgar Rice Burroughs’s Barsoom series (about Mars), his Amtor series (about Venus), and his Tarzan series all arguably take place in the same universe, but each has a different main character and occurs on a different planet, with only a little overlap between them.

Mark J. P. Wolf is a Professor in the Communication Department at Concordia University Wisconsin.  He has a B. A. (1990) in Film Production and an M. A. (1992) and Ph. D. (1995) in Critical Studies from the School of Cinema/Television (now renamed the School of Cinematic Arts) at the University of Southern California.  His books include Abstracting Reality: Art, Communication, and Cognition in the Digital Age (2000), The Medium of the Video Game (2001), Virtual Morality: Morals, Ethics, and New Media (2003), The Video Game Theory Reader (2003), The World of the D’ni: Myst and Riven (2006), The Video Game Explosion: A History from PONG to PlayStation and Beyond (2007), The Video Game Theory Reader 2 (2008), Before the Crash: An Anthology of Early Video Game History (2012), the two-volume Encyclopedia of Video Games: The Culture, Technology, and Art of Gaming (2012), Building Imaginary Worlds: The Theory and History of Subcreation (2012), The Routledge Companion to Video Game Studies (forthcoming), Mister Rogers' Neighborhood (forthcoming), Video Games Around the World (forthcoming), and LEGO Studies: Examining the Building Blocks of a Transmedial Phenomenon (forthcoming) and two novels for which he has begun looking for an agent and publisher.  He is also founder and co-editor of the Landmark Video Game book series from University of Michigan Press.  He has been invited to speak in North America, Europe, Asia, and Second Life, and is on the advisory boards of Videotopia and the International Journal of Gaming and Computer-Mediated Simulations, and on several editorial boards including those of Games and Culture, The Journal of E-media Studies, and Mechademia: An Annual Forum for Anime, Manga and The Fan Arts.  He lives in Wisconsin with his wife Diane and his sons Michael, Christian, and Francis.  [mark.wolf@cuw.edu]

Is School Enough?: Forthcoming PBS Documentary

If you live in the Los Angeles area, I invite you to join me for what promises to be an exciting screening and discussion on Sept. 5 of Is School Enough?,  a new documentary, produced for PBS, which deals with the concept of "connected learning" as it has been articulated by the MacArthur Foundation's Digital Media and Learning Initiative. Details are below. If you do not live in Southern California, I would encourage you to check online here and see when and where this documentary might be airing in your area. Here's a preview of the film.

Many of you will already know New Learners in the 21st Century, which aired a few years back.  You can check out this film online here. For my money, this is probably the best film produced on the new forms of learning that have emerged within a networked culture, one which explains why these approaches matter to educators, researchers, students, and parents, and one which moves far beyond the usual focus on "risks" and "dangers" that have dominated some other PBS documentaries on these topics. I was proud to have been included in the New Learners documentary and even more excited when the filmmaker, Stephen Brown, consulted with me about this new production. I was able to help connect him with the incredible work being done by the Harry Potter Alliance, which becomes a key segment of Is School Enough?, and I ended up being a talking head featured in this film. Indeed, I get the Aaron Sorkin-like final speech summing up the vision as a whole. :-) I've seen the film when an earlier cut was screeened earlier this year at the Digital Media and Learning conference, and I am looking forward to joining this discussion at USC.

SCA Events IS SCHOOL ENOUGH? Make Reservations » September 5, 2013, 7:00 P.M. The Ray Stark Family Theatre, SCA 108, George Lucas Building, USC School of Cinematic Arts Complex, 900 W. 34th Street, Los Angeles, CA 90007 Cinematheque108, The Pearson Foundation, and PBS invite you and a guest to a special screening of Is School Enough? Followed by a panel discussion with Stephen Brown, Producer/Director of Is School Enough?; Henry Jenkins, Provost Professor of Communication, Journalism, and Cinematic Arts, USC; Juan Devis, Public Media Producer, KCET; Sujata Bhatt,  Founder and Lead Teacher, the Incubator School, Los Angeles; and Abby Larus, Member, the Harry Potter Alliance and student at Duke University. 7:00 P.M. on Thursday, September 5th, 2013 The Ray Stark Family Theatre, SCA 108 900 W. 34th Street, Los Angeles, CA 90007 FREE ADMISSION. OPEN TO THE PUBLIC. Released to PBS stations on September 3, 2013. About Is School Enough? While policy-makers and educational experts try to determine the best “system” for delivering a world-class education to tens of millions of students across the country, many young people are finding their own ways of expressing themselves, pursuing interests, and participating in communities that are both on and offline. Largely unmediated by school and teachers, these young people, without really being aware of it, are connecting how they learn with what they care most about. Too commonly, young people are asked to solve problems in the classroom that have no relationship to the real world or relevance to their lives. Memorization and the measurement of what we know is the final basis for evaluating a students’ success; moreover, it’s the final evaluation of a teacher’s success as well. But in what ways do we ask our students to apply what they’ve learned in the classroom to something that’s happening in the world outside of it? In what ways do we reward the authentic learning and work that young people do that is not validated and evaluated by our educational institutions? In this highly connected world that is powered by what we need when we need it, is school really enough? Designed for parents and educators inside and out of the classroom, Is School Enough? – a one hour documentary - examines how young people are using everyday tools - including today's digital ones - to explore interests, connect with others, solve problems, and change the world around them. It is a call to action that moves the discourse away from how do we fix schools to how can we support, sustain and galvanize learning by helping students solve problems in their everyday lives. Is School Enough? is a production of tpt National Productions, in association with Mobile Digital Arts. Not rated. Running time: 60 minutes. Visit the Official Website: http://www.pbs.org/program/school-enough/ About the Guests Stephen Brown, Producer/Director of Is School Enough? Stephen Brown is President and Executive Producer at Mobile Digital Arts. Mobile Digital Arts uses film and video production as a way to showcase and advocate for innovative educational practices, digital media programs, and 21st century approaches to learning. Brown produced Reborn, New Orleans Schools, a feature documentary about the school reform movement after Hurricane Katrina; A 21st Century Education, a series of twelve short films about innovation in education; and Digital Media and Learning, eleven short films profiling the work of leading researchers, educators and thinkers on the impact that digital media is having on young learners. Mobile Digital Arts’ production – Digital Media, New Learners of the 21st Century – aired nationally on PBS in February 2011. He is also producing an on-going series of films with the OECD about the world’s best performing educational systems. Brown is currently the General Manager of the New Learning Institute for the Pearson Foundation. Henry Jenkins, Provost's Professor of Communication, Journalism, and Cinematic Arts at the University of Southern California Jenkins arrived at USC in Fall 2009 after spending the past decade as the Director of the MIT Comparative Media Studies Program and the Peter de Florez Professor of Humanities. He is the author and/or editor of twelve books on various aspects of media and popular culture, including Textual Poachers: Television Fans and Participatory Culture, Hop on Pop: The Politics and Pleasures of Popular Culture and From Barbie to Mortal Kombat: Gender and Computer Games. His newest books include Convergence Culture: Where Old and New Media Collide and Fans, Bloggers and Gamers: Exploring Participatory Culture. He is currently co-authoring a book on "spreadable media" with Sam Ford and Joshua Green. He has written for Technology Review, Computer Games, Salon, and The Huffington Post. Juan Devis, Public Media Producer, KCET Juan Devis is a Public Media producer, whose work crosses across platforms – video, film, interactive media and gaming. His work, regardless of the medium is often produced collaboratively allowing for a greater exchange of ideas in the production of media. Devis iscurrently the Director of Program Development and Production for the largest independent television station in the United States, KCET. Devis has charted the stations’ new Arts and Culture initiative, Artbound, consisting of a television series, an online networked cultural hub and the creation programmatic partnerships with cultural institutions in Southern California. In addition, Devis has spear headed a new slate of series that are either in production or development, some of these include the Presidential Japan Prize Winner Departures, Live @ the Ford among others. For over a decade, Devis has worked with a number of non-profit organizations and media arts institutions in Los Angeles serving as producer, director, educator and board member. Some of these include: The City Project - Outpost for Contemporary Art - PBS World - LA Freewaves - OnRamp Arts - Center for Innovative Education – Los Feliz Charter SchoolFor the Arts. Sujata Bhatt,  Founder and Lead Teacher, the Incubator School, Los Angeles Sujata Bhatt is the founder of the Incubator School, an LAUSD-Future is Now Schools, 6-12 pilot school that opened this August aiming to launch the entrepreneurial teams of tomorrow. Inc. reimagines the traditional school day as a mix of individualized computer-based learning and deep, collaborative engagement via design thinking, real world problem-solving, and game-based learning.  The schooldraws upon Bhatt's 12 years' experience working as a Nationally Board Certified teacher in a Title 1 school in LAUSD as well as her background in education reform, technology, and startups. She has developed 'big picture' educational policy as a Teaching Policy Fellow with Teach Plus and with Our Schools, Our Voice, and Future is Now Schools. She has written on education reform in The Los Angeles Times, The Huffington Post, The Washington Post, Education Week, Eduwonk, and The Impatient Optimist. She also serves on the Joan Ganz Cooney Center @ Sesame Workshop's Games and Learning Publishing Council and is a member of the founding team of Outthink Inc., a startup that produces gamified science iPad apps. Abby Larus, Member, the Harry Potter Alliance and student at Duke University Abby Larus is a second-year student at Duke University. She's been involved in the Harry Potter fan community online since middleschool, when she began working with the Harry Potter Alliance, an organization that encourages civic activism by relating real world problems to the issues in the Harry Potter books. Abby started her work with the HPA as a Chapter Organizer, applying the HPA’s campaigns locally in North Carolina. She later became a volunteer on the organization’s communications staff, before taking on the role of Assistant Campaign Director. Abby has since transitioned to a position outside of the HPA, where she is the Associate Director of Logistics for LeakyCon, the largest annual Harry Potter fan convention. But she hasn't forgotten her roots - a portion of LeakyCon's proceeds go towards the HPA every year. About The Pearson Foundation The Pearson Foundation is an independent 501(c)(3) nonprofit organization that aims to make a difference by promoting literacy, learning, and great teaching. The Foundation collaborates with leading businesses, nonprofits, and education experts to share good practice; foster innovation; and find workable solutions to the educational disadvantages facing young people and adults across the globe. More information on the Pearson Foundation can be found at www.pearsonfoundation.org. About Cinematheque108 Cinematheque108 is an alternative screening series sponsored by the Critical Studies Department at the University of Southern California's School of Cinematic Arts. The series offers a rare selection of events that highlight noteworthy experimental, documentary, and/or foreign films, many of which can not be seen anywhere else. Cinematheque108 is an educational forum that aims to expand understanding of alternative film and media. All screenings are free of charge and open to the pubic. Check-In & Reservations This screening is free of charge and open to the public. Please bring a valid ID or print out of your reservation confirmation, which will automatically be sent to your e-mail account upon successfully making an RSVP through this website. Doors will open at 6:30 P.M. All SCA screenings are OVERBOOKED to ensure seating capacity in the theater, therefore seating is not guaranteed based on RSVPs. The RSVP list will be checked in on a first-come, first-served basis until the theater is full. Once the theater has reached capacity, we will no longer be able to admit guests, regardless of RSVP status. Parking The USC School of Cinematic Arts is located at 900 W. 34th St., Los Angeles, CA 90007. Parking passes may be purchased for $8.00 at USC Entrance Gate #5, located at the intersection of W. Jefferson Blvd. & McClintock Avenue. We recommend parking in outdoor Lot M or V, or Parking Structure D, at the far end of 34th Street. Please note that Parking Structure D cannot accommodate tall vehicles such as SUVs. Metered street parking is also available along Jefferson Blvd.

Transmedia Storytelling and Entertainment: A New Syllabus

Last time, I shared the syllabus for a new course I am offering this fall focused on, basically, "how to be a public intellectual." Today, I am sharing the syllabus for the other class I am teaching this term. I have taught Transmedia Entertainment three times since coming to USC, each time I have more or less had to re-imagine and redesign the class to reflect shifts in media practice and especially the expanding body of scholarship about transmedia. You can see my first and second versions of the class as I shared them through earlier blog posts. You will see that recent scholarly publications have resulted in much richer models for thinking about the economic and cultural impact of the current franchise structure, the distinctive nature of "media mix" in Japan as a point of comparison with the ways transmedia has taken shape in Hollywood, and the nature and function of world-building. Alongside this class, I am going to be featuring in my blog this fall a series of interviews with the authors of many of these new books, starting soon with an in-depth exchange with Mark J. P. Wolf, author of Building Imaginary Worlds. As always, I am taking advantage of my Los Angeles location to bring into my classroom a rich array of guest speakers who are doing some of the cutting edge experimentation around transmedia.  

Transmedia Entertainment

We now live in a moment where every story, image, brand, and relationship plays itself out across the maximum number of media platforms, shaped top down by decisions made in corporate boardrooms and bottom up by decisions made in teenagers’ bedrooms. The concentrated ownership of media conglomerates increases the desirability of properties that can exploit “synergies” among different parts of the medium system and “maximize touchpoints” with different niches of audiences. The result has been a push toward franchise-building in general and transmedia entertainment in particular.

A transmedia story represents the integration of entertainment experiences across a range of media platforms. A story like Heroes or Lost might spread from television into comics, the web, alternate reality or video games, toys, and other commodities, etc., picking up new audiences as it goes and allowing the most dedicated fans to drill deeper. The fans, in turn, may translate their interests in the franchise into concordances and Wikipedia entries, fan fiction, vids, fan films, cosplay, game mods, and a range of other participatory practices that further extend the story world in new directions. Both the commercial and grassroots expansion of narrative universes contribute to a new mode of storytelling, one which is based on an encyclopedic expanse of information which gets put together differently by each individual, as well as processed collectively by social networks and online knowledge communities.

Each class session will introduce a concept central to our understanding of transmedia entertainment that we will explore through a combination of lectures, screenings, and conversations with industry insiders who are applying these concepts through their own creative practices.

In order to fully understand how transmedia entertainment works, students will be expected to immerse themselves in at least one major media franchise for the duration of the term. You should experience as many different instantiations (official and unofficial) of this franchise as you can and try to get an understanding of what each part contributes to the series as a whole.

REQUIRED BOOKS

• Derek Johnson, Media Franchises: Creative Licensing and Collaboration in the Creative Industries (New York: New York University Press, 2013)
• Andrea Phillips, A Creator’s Guide to Transmedia Storytelling (New York: McGraw-Hill, 2012)
• Michael Saler, As If: Modern Enchantment and the Literary Prehistory of Virtual Reality (Oxford: Oxford University Press, 2011)
• Mark J. P. Wolf, Building Imaginary Worlds: The Theory and History of Subcreation (London: Routledge, 2013)

All additional readings will be provided through the Blackboard site for the class.

AUTOBIOGRAPHICAL RESPONSE

For the first assignment, you are asked to write a 5-7 page autobiographical essay describing your relationship to a media franchise that you have found to be personally meaningful. You should use this essay to identify the cultural attractors that drew you to this franchise, to discuss which variants of the franchise you experienced, and to describe any cultural activators that encouraged you to more actively contribute to the fan community surrounding this franchise. Be as specific as possible in discussing moments in the transmedia story that were especially important in shaping your engagement with the property. Where possible, make explicit reference to ideas about transmedia and engagement from the readings. This assignment is partially about getting to know you as a transmedia participant and partially about getting you to experiment with the critical vocabulary we’ve introduced so far for talking about transmedia experiences. (Due September 23) (20 Percent)

EXTENSION PAPER

Write a 5-7-page essay examining one commercially produced story (comic, website, game, mobisode, amusement park attraction, etc.) that acts as an extension of a “core” text (for instance, a television series, film, etc.). You should try to address such issues as its relationship to the story world, its strategies for expanding the narrative, its deployment of the distinctive properties of its platform, its targeted audience, and its cultural attractors/activators. The paper will be evaluated on its demonstrated grasp of core concepts from the class, its original research, and its analysis of how the artifact relates to specific trends impacting the entertainment industry. Where possible, link your analysis to the course materials, including readings, lecture notes, and speaker comments. (Due October 25) (20 Percent)

FINAL PROJECT – FRANCHISE DEVELOPMENT PROJECT

Students will be organized into teams, which—for the purpose of this exercise—will function as transmedia companies. You should select a media property (a film, television series, comic book, novel, etc.) that you feel has the potential to become a successful transmedia franchise. In most cases, you will be looking for a property that has not yet added media extensions, though you could also look at a property that you feel has been mishandled in the past. You should have identified and agreed on a property no later than Sept. 13th. By the end of the term, your team will be “pitching” this property. The pitch should include a briefing book that describes:

1. the defining properties of the media property
2. a description of the intended audience(s) and what we know of its potential interests
3. a discussion of the specific plans for each media platform you are going to deploy
4. an overall description for how you will seek to integrate the different media platforms to create a coherent world
5. parallel examples of other properties which have deployed the strategies being described

For a potential model for what such a book might look like, see the transmedia bible template from Screen Australia, available here: http://www.screenaustralia.gov.au/filmmaking/digital_resources.aspx. Or visit: http://zenfilms.typepad.com/zen_films/2010/06/transmedia-workflow.html. If you use either as a model, include only those segments of their bible templates that make sense for your particular property and approach. You can also get insights on what a bible format might look like from the Andrea Phillips book.

The pitch itself will be a group presentation, followed by questions from our panel of judges (who will be drawn from across the entertainment industry). The length and format of the presentation will be announced as the term progresses to reflect the number of students actually involved in the process and thus the number of participating teams. The presentation should give us a “taste” of what the property is like, as well as lay out some of the key elements that are identified in the briefing book. Each team will need to determine what the most salient features to cover in their pitches are, as well as what information they want to hold in reserve to address the judge’s questions. Each member of the team will be expected to develop expertise around a specific media platform, as well as to contribute to the overall strategies for spreading the property across media systems.

The group will select its own team leader, who will be responsible for contact with the instructor/TA and who will coordinate the presentation. The team leader will be asked to provide feedback on what each team member contributed to the effort, while team members will be asked to provide an evaluation of how the team leader performed. Team members will check in with the TA on Week Six and with Prof. Jenkins on Week Ten and Week Thirteen to review their progress on the assignment. The instructor may request short written updates throughout the term to insure that the team is moving in the right direction.

Students will pitch their ideas to the panel of judges on December 2. They should expect to receive feedback from the instructor over the following few days, and then turn in the final version of their written documentation on the exam date scheduled for the class. (40 percent)

CLASS FORUM/PARTICIPATION

For each class session, students will be asked to contribute a substantive question or comment via the class forum on Blackboard. Comments should reflect an understanding of the readings for that day, as well as an attempt to formulate an issue that we can explore with visiting speakers. Students will also be evaluated based on regular attendance and class participation. (20 Percent)

Week 1, Monday, August 26

Transmedia Storytelling 101

• Henry Jenkins, “Searching for the Origami Unicorn: The Matrix and Transmedia Storytelling,” Convergence Culture: Where Old and New Media Collide (New York: New York University Press, 2006), pp. 93-130.
• Henry Jenkins, “Transmedia Storytelling 202: Further Reflections,” Confessions of an Aca-Fan, August 1, 2011,
• Nick DeMartino, “Why Transmedia Is Catching On Now,” Future of Film Blog, July 5-7, 2011. Part Two. Part Three.

• Mark J. P. Wolf, “Transmedial Growth and Adaptation,” Building Imaginary Worlds (London: Routledge, 2013), pp. 245-267.

Speaker: Geoffrey Long

Geoffrey Long is a media analyst, scholar, and storyteller exploring transmedia experiences, emerging entertainment platforms, and the future of entertainment. He is an alum of the MIT Comparative Media Studies program, a fellow with the Futures of Entertainment community, and a co-editor of the Playful Thinking book series from the MIT Press. He previously served as Lead Narrative Producer for the Narrative Design Team at Microsoft Studios. Find more at geoffreylong.com.

Week 2, Monday, September 2

No Class: Labor Day

Week 3, Monday, September 9

A Brief History of Transmedia

• Henry Jenkins, “Transmedia: A Prehistory,” in Denise Mann (ed.), Wired TV (Work in Progress)
• Michael Saler, “Living in the Imagination,” “Delight Without Delusion: The New Romance, Spectacular Texts, and Public Spheres,” As If: Modern Enchantment and the Literary Prehistory of Virtual Reality (Oxford: Oxford University Press, 2012), pp. 25-104.
• J.P. Telotte, Disney TV (Detroit: Wayne State University Press, 2004), pp. 61–79.
• Justin Wyatt, “Critical Redefinition: The Concept of High Concept,” High Concept: Movies and Marketing in Hollywood (Austin, TX: University of Texas Press, 1994), pp. 1-22.
• Jonathan Gray, “Learning to Use the Force: Star Wars Toys and Their Films,” Show Sold Separately: Promos, Spoilers, and Other Media Paratexts (New York: NYU Press, 2010), pp. 177-187.

Students will meet in their teams for the first time.

Friday, September 13

Teams should have picked media franchise

Week 4, Monday, September 16

Transmedia Engagement

• Christy Dena, “Emerging Participatory Culture Practices: Player-Created Tiers in Alternate Reality Games,” Convergence, February 2008, pp. 41-58.
• Ivan Askwith, “Five Logics of Engagement,” Television 2.0: Reconceptualizing TV as an Engagement Medium, Master’s thesis, Massachusetts Institute of Technology, 2007, pp. 51-150.
• Sam Ford, “True Blood Case Study” (Work in Progress)
• Andrea Phillips, “The Four Creative Purposes for Transmedia Storytelling,” “Interactivity Creates Deeper Engagement,” “Uses and Misuses for User-Generated Content,” “Challenging the Audience to Act,” and “Make Your Audience a Character, Too,” A Creator’s Guide to Transmedia Storytelling (New York: McGraw-Hill, 2012), pp.  41-54, 110-126,  137-148, 149-182..
• (Rec.) Ivan Askwith, “Deconstructing the Lost Experience,” Convergence Culture Consortium white paper,

Week 5, Monday, September 23

The Japanese Media Mix

• Otsuka Eiji, “World and Variation: The Reproduction and Consumption of Narrative,” Mechademia 5, 2010, pp. 99-116.
• Marc Steinberg, “Media Mixes, Media Transformations,” Anime’s Media Mix: Franchising Toys and Characters in Japan (Minneapolis, MN: University of Minnesota Press, 2012).
• Ian Condry, “Characters and Worlds as Creative Platforms,” The Soul of Anime: Collaborative Creativity and Japan’s Media Success Story (Durham, NC: Duke University Press, 2013).
• Mizuko Ito, “Gender Dynamics of the Japanese Media Mix,” in Yasmin B. Kafai, Carrie Heeter, Jill Denner, and Jennifer Y. Sun (eds.), Beyond Barbie and Mortal Kombat: New Perspectives on Gender and Gaming (Cambridge, MA: MIT Press, 2008), pp. 97-110.

Autobiographical response due

Speaker: Aaron Koblin

Aaron Koblin is an artist and designer specializing in data and digital technologies. Aaron's work takes real-world and community-generated data and uses it to reflect on cultural trends and the changing relationship between humans and the systems they create. His work is part of the permanent collection of the Museum of Modern Art (MoMA) in New York, the Victoria & Albert Museum (V&A) in London, and the Centre Pompidou in Paris. His projects have been shown at international festivals including TED, Ars Electronica, SIGGRAPH, OFFF, and the Japan Media Arts Festival. He received the National Science Foundation's first place award for science visualization and two of his music video collaborations have been Grammy nominated. He received his MFA in Design|Media Arts from UCLA. In 2010 Aaron was the Abramowitz Artist in Residence at MIT and he leads the Data Arts Team in Google's Creative Lab.

Week 6, Monday, September 30

Transmedia Learning

• Meryl Alper and Becky Herr-Stephenson, “T is for Transmedia,” Joan Ganz Cooney Center and Annenberg Innovation Lab white paper.

TA meets with franchise development teams to review progress.

Speaker: Erin Reilly

Erin Reilly is Creative Director for Annenberg Innovation Lab and Research Director for Project New Media Literacies at USC's Annenberg School for Communication & Journalism.  Her research focus is children, youth and media and the interdisciplinary, creative learning experiences that occur through social and cultural participation with emergent technologies. Having received multiple awards, such as Cable in a Classroom’s Leaders in Learning, she is most notably known for co-creating one of the first social media citizen science programs, Zoey's Room.  Her current projects include PLAY!, a  new approach to professional development that refers to the value of play as a guiding principle in the educational process to foster participatory learning and The Mother Road, a chance to explore collective storytelling through the development of the Evocative Places eBook series. Erin consults with private and public companies in the areas of mobile, creative strategy and transmedia projects for children.

Week 7, Monday, October 7

The Franchise System

• Derek Johnson, “An Industrial Way of Life,” “Imagining the Franchise: Structures, Social Relations, and Cultural Work,” “From Ownership to Partnership: The Institutionalization of Franchise Relations,” Media Franchises: Creative Licensing and Collaboration in the Creative Industries (New York: New York University Press, 2013), pp. 1-106.
• Sam Ford, “Glee Case Study” (Work in Progress).

Week 8, Monday, October 14

Producing Transmedia

• Brian Clark, “Transmedia Business Models,” Confessions of an Aca-Fan, November 7, 2011
• Henry Jenkins, Sam Ford, and Joshua Green, “Courting Supporters for Independent Media,” Spreadable Media: Creating Meaning and Value in a Networked Culture (New York: New York University Press, 2013), pp. 229-258.
• Henry Jenkins et al., “Kickstarting Veronica Mars: A Conversation about the Future of Television," Confessions of an Aca-Fan, March 26-29, 2013, Part Two, Part Three, Part Four

• Andrea Phillips, “How to Fund Production Costs,” “And Maybe Make Some Profit, Too,” A Creator’s Guide to Transmedia Storytelling (New York: McGraw-Hill, 2012), pp. 223-239..

Speaker: Andrea Phillips

Andrea Phillips (born 20 July 1974) is an American transmedia game designer and writer. She has been active in the genres of transmedia storytelling and alternate reality games (ARGs), in a variety of roles, since 2001. She has written for, designed, or substantially participated in the creation of Perplex City, the BAFTA-nominated Routes (a project of Channel 4), and The 2012 Experience, a marketing campaign for the film 2012. Phillips came to the genre in 2001, when she co-moderated the Cloudmakers mailing list, which served players of "The Beast", the ARG which revolved around the release of the movie A.I. Artificial Intelligence. Phillips in 2012 published A Creator's Guide to Transmedia Storytelling as a guide for current and aspiring modern storytellers.

Week 9, Monday, October 21

No Class: Meet with your teams

Friday, October 25

Extension Paper Due

Week 10, Monday, October 28

World Building

• Derek Johnson, “Sharing Worlds: Difference, Deference, and the Creative Context of Franchising,” Media Franchises: Creative Licensing and Collaboration in the Creative Industries (New York: New York University Press, 2013), pp. 107-152..
• Mark J. P. Wolf, “World Structures and Systems of Relationships,” Building Imaginary Worlds: The Theory and History of Subcreation (London: Routledge, 2013), pp.153-197.
• Michael Saler, “The Middle Positions of Middle Earth: J.R.R. Tolkien and Fictionalism,” As If: Modern Enchantment and the Literary Prehistory of Virtual Reality (Oxford: Oxford University Press, 2012), pp. 158-196.
• Henry Jenkins, “The Pleasure of Pirates and What It Tells Us about World Building in Branded Entertainment”, Confessions of an Aca-Fan, June 13, 2007
• If you have not already done so, please try to watch Oz, the Great and Powerful before this class session.

Prof. Jenkins check-in with teams

Speaker: Alex McDowell

Alex McDowell is one of the most innovative and influential designers working in narrative media today, with the impact of his ideas extending far beyond his background in cinema. McDowell advocates for an immersive design process that acknowledges the key role of world building in visual storytelling. Since moving to Los Angeles from London in 1986, McDowell has designed for directors as diverse as Terry Gilliam, Tim Burton, David Fincher, Zack Snyder and Steven Spielberg. Currently McDowell is production designer for Man of Steel with director Zack Snyder, produced by Chris Nolan. He recently completed In Time, directed by Andrew Niccol. With many awards for his film design work, McDowell was named a Royal Designer by the UK’s Royal Society of Arts in 2006. McDowell, who currently serves on the AMPAS SciTech Council, recently joined the faculty of the School of Cinematic Arts, where he will teach across several of the SCA divisions focusing on the role of world-building in the cinematic process. McDowell is co-founder and creative director of 5D | The Future of Immersive Design, a global series of distributed events and an education space for an expanding community of thought leaders across narrative media.

Week 11, Monday, November 4

Continuity and Multiplicity

• William Uricchio and Roberta E. Pearson, “I’m Not Fooled by That Cheap Disguise,” in Roberta E. Pearson and William Uricchio (eds.), The Many Lives of the Batman: Critical Approaches to A Superhero and His Media (New York: Routledge, 1991), pp. 182-213.
• Sam Ford and Henry Jenkins, “Managing Multiplicity in Superhero Comics,” in Pat Harrigan and Noah Wardrip-Fruin (eds.), Third Person: Authoring and Exploring Vast Narratives (Cambridge, MA: MIT Press, 2009), pp. 303-313.
• Shawna Kidman, “Five Lessons For New Media From the History of Comics Culture,” International Journal of Learning and Media 3.4 (2012): 41-54.

Speaker: Corniela Funke

During the late 1980s and the 1990s, Corniela Funke established herself in Germany with two children's series, namely the fantasy-oriented Gespensterjäger (Ghosthunters) and the Wilde Hühner (Wild Chicks) line of books. Funke has been called "the J. K. Rowling" of Germany. The first of her books to be translated into English was Herr der Diebe in 2002. It was subsequently released as The Thief Lord by Scholastic and made it to the number 2 spot on The New York Times Best Seller list. The fantasy novel Dragon Rider (2004) stayed on the New York Times Best Seller list for 78 weeks. Following the success of The Thief Lord and Dragon Rider, her next novel was Inkheart (2003), which won the 2004 BookSense Book of the Year Children's Literature award.  Inkheart was the first part of a trilogy which was continued with Inkspell (2005), which won Funke her second BookSense Book of the Year Children's Literature award (2006). The trilogy was concluded in Inkdeath (published in Germany in 2007, English version Spring 2008, American version Fall 2008). Funke has been working with Mirada to create a multimedia experience for the iPad based on her Mirrorworld book series.

Week 12, Monday, November 11

Immersion and Extractability

• Henry Jenkins, “He-Man and Masters of Transmedia, “ Confessions of an Aca-Fan, May 21, 2010,
• Henry Jenkins, “Harry Potter: The Exhibition, or What Location Entertainment Adds to a Transmedia Franchise,” Confessions of an Aca-Fan, December 14 2009.
• Mark J. P. Wolf, “Immersion, Absorption and Saturation,” Building Imaginary Worlds: The Theory and History of Subcreation (New York: Routledge, 2012), pp.48-51.
• Andrea Phillips, “Bringing Your Story Into the Real World,” A Creator’s Guide to Transmedia Storytelling (New York: McGraw-Hill, 2012), pp. 209-222.

Time to meet with teams

Speaker: David Voss, Vice-President of Design, Mattel Toys

David Voss is Vice-President of Design at Mattel Toys in Los Angeles. He is an alum of the Fashion Institute of Technology.

Week 13, Monday, November 18

Seriality

• Jason Mittell, “All in the Game: The Wire, Serial Storytelling, and Procedural Logic,” in Pat Harrigan and Noah Wardrip-Fruin (eds.), Third Person: Authoring and Exploring Vast Narratives (Cambridge, MA: MIT Press, 2009), pp. 429-438.
• Neil Perryman, “Doctor Who and the Convergence of Media: A Case Study in Transmedia Storytelling,” Convergence, February 2008, pp. 21-40.
• Mark J. P. Wolf, “More Than a Story: Narrative Threads and Narrative Fabric,” Building Imaginary Worlds: The Theory and History of Subcreation (London: Routledge, 2013) pp. 198-225.
• Sam Ford, “U.S. Soap Operas” (Work in Progress)
• Elena Levine, “’What the Hell Does TIIC Mean?’: Online Content and the Struggle to Save Soaps,” in Sam Ford, Abigail De Kosnik, and C.Lee Harrington (eds.) The Survival of Soap Opera: Transformations for a New Media Era (Jackson: University of Mississippi Press, 2012), pp. 201-218.
• Andrea Phillips, “Conveying Action Across Multiple Media,” A Creator’s Guide to Transmedia Storytelling (New York: McGraw-Hill, 2012), pp.  93-102.

Prof. Jenkins check-in with teams

Speaker: Katie Elmore Mota, Executive Producer, East Los High

Katie Elmore Mota is CEO of PRAJNA Productions: Stories with Social Relevance, a Los Angeles-based production company that is focused on creating cutting edge television/transmedia programming that is socially relevant for the Americas and beyond. PRAJNA specializes in the development and production of top-rated dramatic series that address a wide array of social and health issues. Prior to founding PRAJNA, Katie served as Vice President of Communications and Programs for Population Media Center, an international NGO
specializing in entertainment-education, for more than 6 years. At Population Media Center, Katie oversaw the design, development, and management of numerous programs using media for social change around the world. Katie was also Executive Producer for a cutting edge new series that takes place in East Los Angeles called, ‘East Los High’ that will go to air in 2013. She also produced a 70-episode novela with MTV for all of Latin America called ‘Ultimo Año,’ which will premier in the US in February 2013.

Week 14, Monday, November 25

Subjectivity And Performance

• Henry Jenkins, “‘We Had So Many Stories to Tell’: The Heroes Comics as Transmedia Storytelling,” Confessions of an Aca-Fan, Dec. 3, 2007
• M. J. Clarke, “Tentpole TV: The Comic Book,” Transmedia Television: New Trends in Network Serial Production (New York: Bloomsbury, 2013), pp.27-61.
• Andrea Phillips, “Online, Everything is Characterization,” A Creator’s Guide to Transmedia Storytelling (New York: McGraw-Hill, 2012), pp. 83-92.
• Sam Ford, “World Wrestling Entertainment: A Case Study,” (Work in Progress).

Time to work with teams

Week 15, Monday, December 2

Final Presentations

Public Intellectuals: Theory and Practice

Today's post represents my return from an extended summer hiatus with the blog, as well as the first day of classes for the new term. I wanted to share with you the syllabus for a new subject I am introducing at USC this fall, one intended to provide professional development for our graduate students. The class reflects my own vision of some of the different opportunities for public intervention within the fields of media and communications studies. I have often argued here that at a moment of profound and prolonged media change, which is impacting all aspects of our society, we have a professional obligation to lend our expertise to larger conversations that are going to impact our collective future, that we should be engaged in conversations with industry, journalists, policy makers, and the larger public, and that we should be taking advantage of the full range of affordances of networked media as vehicles for sharing our ideas beyond our own disciplinary enclaves.  

I am lucky to be at a place like the USC Annenberg School where so many of my colleagues, from the Dean on down, share such a vision, and so I am drawing on many of them to talk with the students about their work, to share their experiences and insights about what it means to be a public intellectual. I am also giving students a chance to practice and refine their skills at a range of other genres of scholarly writing which go beyond the peer-reviewed journal article and the university press monograph, and to reflect on what roles such modes of writing might play in their own careers as they envision them. And finally, I want to give students a chance to explore options for their future that involve working outside of the university. Too often, we treat graduate students who do not become professors as "failures" or "losses" when the reality is that the field can not absorb the number of students we are producing and there are many other places which do need the kinds of expertise and commitments they have developed. I want to look at the paths of some people who have chosen to do scholarship within non-academic contexts, as many of my best students are starting to consider. I have been delighted by the level of cooperation from my colleagues and staff, at USC and elsewhere, I have received in terms of making this experiment a possibility, as well as the amount of early interest in the class from students.

Some of my colleagues here have expressed concern that this class is adding to the pressure  students will confront as they enter into the job market, that many of them will end up at more conservative institutions that may not value the kinds of public activities that are prized here at USC. I certainly want students to make informed choices that feel right to them, personally and professionally. There's no question that anyone entering the field as an academic is going to be evaluated first and foremost as a scholar based on their academic writing and publishing. Publish or Perish remains the rule of the day. But, some of us are trying to make the case that a broader range of modes of writing should be valued for the purposes of promotion and tenure and we are seeing a much broader array of career trajectories than would have been common when I entered the field thirty years ago. I want my students to know what those options look like, to have some of the skills and knowledge they would need to pursue those paths if they choose them, and to understand why some of us believe that such work is essential for the field as a whole.

I hope to be sharing some more developments on this course as the semester goes along, but for today, I just want to offer this as a model (reflecting, as such a class must, our local particulars) of what such an approach to professional development might look like.

Public Intellectuals: Theory and Practice

COMM 620

Tuesdays, 6:30-9:20

This class is designed to help promote the professional development of graduate students pursuing research in the fields of media and communications. The class was inspired by three primary concerns:

1. USC faculty engage in a broad range of public-facing professional practices which are expected and rewarded through promotion and merit raise practices, yet—for the most part—graduate students are trained with a primary focus on producing academic monographs and essays for peer-reviewed journals and without deep focus on this public-facing role.
2. The digital era has created a much broader range of opportunities for actively engaging as intellectuals in important political and cultural conversations outside of academia, yet there are still relatively few academics who are participating in these dialogues or reacting to arguments that are shaping other realms of professional activity (policy, law, business, education, etc.)
3. There is a growing range of different professions and industries seeking expertise in media and communication at a moment of profound technological and cultural change, yet, for the most part, graduate students are encouraged to think of these other opportunities as afterthoughts as they are being prepared almost entirely for careers as academics.

My goals in this class are to expose you to the diversity of contemporary scholarly and intellectual practices, to encourage you to look closely at outstanding exemplars of work in these arenas, to create conversations with faculty members about their professional experiences, to help students think more deeply about their intellectual profile, and to offer some core advice and practical experiences. We will be exploring a broad range of theories of media and communication across the class, but the primary focus is going to be applied and practical, as students cultivate the skills and understanding required to make meaningful interventions as public intellectuals. For this reason, the class is structured around smaller, more focused assignments than would be typical for a more research-oriented PhD Seminar.

Required Books:

• Jason Haas and Eric Klopfer, The More We Know (Cambridge, MA: MIT Press, 2013).
• Brenda Laurel, Utopian Entrepreneur (Cambridge, MA: MIT Press, 2001).

All other readings will be via Blackboard.

Assignments (Description of each assignment embedded in class schedule below):

Short Personal Profile 10% (Due Sept. 3)

Blog Post 10% (Due Sept. 24)

Op-Ed Piece 10% (Due Oct. 1)

Written Interview 10% (Due Oct. 15)

Radio Interview 10% (Due Oct. 29)

Scalar Pages 20% (Due Nov. 19)

Personal Reflection 20% (Due Dec.  3)

Class Participation 10%

Tuesday, August 27

Introduction

• Course mechanics
• The historic mission of the intellectual and how it is changing in the digital era
• Developing your intellectual profile

Readings:

• Philip Marchand, “‘Canada’s Intellectual Comet,’ 1964-1967,” in Marshall McLuhan: The Medium and the Messenger (Cambridge, MA: MIT Press, 1998), pp. 181-203.
• Alan Lightman and Stephen Pinker, “Some Remarks on Becoming a ‘Public Intellectual’,” MIT, December 2, 1999.
• Joe Sartelle, “Public Intellectuals,” Bad Subjects, November 1992

Assignment: Draft a 1-2 page description of your profile as an intellectual that includes your core background, your primary and secondary intellectual interests, your current online activities, the core conversations to which you wish to contribute, and the primary networks/communities within which you participate. Finally, try your hand at writing an author’s blurb for who you want to be, circa 2020. (Due at the start of class on September 3.)

Tuesday, September 3

The Intellectual in the Public Sphere

• Ernest Wilson on W.E.B. Du Bois and the tradition of the black public intellectual (6:30-7:45 p.m.)
• Henry Jenkins and Karen Steinheimer on their experiences testifying before various governmental bodies about research into youth and media violence (8:00-9:30 p.m.)

Readings:

• Cornel West, “The Dilemma of the Black Intellectual,” in The Cornel West Reader (New York: Basic, 2000), pp. 302-315.
• bell hooks, “Black Women Intellectuals,” in Cornel West and bell hooks, Breaking Bread: Insurgent Black Intellectual Life (Boston: South End Press, 1991), pp.147-164.
• Cornel West, “Why I Left Harvard University,” The Journal of Blacks in Higher Education 47 (Spring 2005), pp. 64-68.
• Ernest J. Wilson, “Communication Scholars Need to Communicate,” Inside Higher Education, July 29 2013.
• Henry Jenkins, “Professor Jenkins Goes to Washington,” in Fans, Bloggers and Gamers: Understanding Participatory Culture (New York: New York University Press, 2006), pp. 187-197.
• Karen Steinheimer, “From Screen to Crime Scene: Media Violence and Real Violence,” in Connecting Social Problems and Popular Culture: Why Media Is Not the Answer (Boulder, CO: Westview Press, 2013), pp. 101-138.

Tuesday, September 10

The Policy White Paper

• Mimi Ito on the drafting of white papers for the MacArthur Foundation’s Connected Learning Initiative (6:45-7:45 p.m.)
• Michael Levine, Meryl Alper, and Becky Herr-Stephenson on the drafting and reception of “T is For Transmedia” (8:00-9:30 p.m.)

Readings:

• Mizuko Ito, et al., Connected Learning: An Agenda for Research and Design (MacArthur Foundation white paper), January 2013
• Meryl Alper and Becky Herr-Stephenson, T is For Transmedia (Annenberg Innovation Lab and Joan Ganz Cooney Center), March 2013.

Tuesday, September 17

The Blogosphere and the Performance of Self

• Elizabeth Losh on her project to write a graphic novel about political communication (6:30-7:45 p.m.)
• The Aca-Fandom Debate: The Academic Blogosphere at Work (8:00-9:30 p.m.)

Readings:

• Elizabeth Losh, Jonathon Alexander, Kevin Cannon, and Zander Cannon, “Spaces for Writing” and “Why Rhetoric?,” in Understanding Rhetoric (Boston: Bedford/St. Martin’s Press, 2013), pp. 1-65.
• Elizabeth Losh and Jonathon Alexander,  “‘A YouTube of One’s Own’: ‘Coming Out’ Videos as Rhetorical Action,” in Christopher Pullen and Margaret Cooper (eds.), LGBT Identity and Online New Media (Routledge, 2010), pp. 23-36.
• Maria Konnikova, “Why Grad Schools Should Require Blogging,” Scientific American, April 12, 2013.
• Jason Mittell, “On Disliking Mad Men,” Just TV, July 29, 2010, http://justtv.wordpress.com/2010/07/29/on-disliking-mad-men/.
• Ian Bogost, “Against Aca-Fans,” Ian Bogost Blog, July 29, 2010.
• Henry Jenkins, “On Mad Men, Aca-Fandom, and the Goals of Criticism,” Confession of an Aca-Fan, August 11, 2010.
• Anne Kustritz, Louisa Stein, and Sam Ford, “Aca-Fandom and Beyond,” Part One and Two, Confessions of an Aca-Fan, June 13-15, 2011, Part One, Part Two

• Henry Jenkins, Erica Rand, and Karen Helleckson, “Aca-Fandom and Beyond,” Part One and Two, Confessions of an Aca-Fan, June 20-23, 2011,

• John Edward Campbell, C. Lee Harrington, and Catherine Tosenberger, “Aca-Fandom and Beyond,” Part One and Two, Confessions of an Aca-Fan, July 28-29, 2011

Assignment: Write a blog post appropriate for sharing via Confessions of an Aca-Fan or another academic blog. The post should present some aspect of your research in a format that would be engaging to a non-specialist audience. Try to take advantage of the unique features of the web, such as the ability to embed videos or to link to other materials. (Due at the start of class on September 24.)

Tuesday, September 24

The Intellectual in the Court of Public Opinion

• Workshop student blog posts (6:30-7:45 p.m.)
• Jeff Brazil on advice for translating academic insights into op-ed pieces (8:00-9:30 p.m.)

Readings:

• selected op-ed pieces (TBD)
• Mary C. Francis (ed.), “In Focus: Scholarly Publishing,” Cinema Journal, Winter 2013, pp. 114-136.

Assignment: Students will write an op-ed piece about some aspect of their research targeted for a specific publication; the op-ed piece should follow basic formulas we were given in class. I am going to be working with the Annenberg news office to try to place as many of these op-eds as possible. (Due at the start of class on October 1.)

Tuesday, October 1

Translating Ideas for Media

• Jeremy Kagan and Alex Rotaru on translating your ideas into film production (6:30-7:45 p.m.)
• Drew Morton on the Digital Essay as a new scholarly mode (8:00-9:30 p.m.)

Reading: Students will spend time examining the Media Education Foundation’s Website. Be sure to watch some of the trailers or clips offered for their films.

Ben Sampson, F for Fake:  http://www.tft.ucla.edu/mediascape/Fall09_FForFake.html

Drew Morton, Transmedia Style, https://vimeo.com/59355775

Drew Morton, Free Will in THE SHINING, https://vimeo.com/64695910

Tuesday, October 8

The Interview

• Gordon Stables on the differences between formal debates and media crossfire programs (6:30-7:45 p.m.)
• Pacifica Radio’s Terrence McNally on interviewing academics (8:00-9:30 p.m.)

Readings:

• Henry Jenkins, “Coming Up Next! Ambushed on Donahue,” in Fans, Bloggers, and Gamers: Understanding Participatory Culture (New York: New York University Press, 2006), pp. 198-207.
• Read at least three interviews from the Figure/Ground Communications Series
• Listen to at least one episode of Aca-Media, .
• Terrence McNally, “Q&A: Jane McGonigal,” Stories of a World that Just Might Work, January 24, 2012, podcast. (Please allow time to listen to the podcast.)

Also recommended:

• Terrence McNally, “Q&A: Sherry Turkle,” Stories of a World that Just Might Work, February 15, 2011 and Terrence McNally, “Q&A: Cornel West,” Stories of a World that Just Might Work, October 15, 2009.

Assignment: Students will complete the interview questions from the Figure/Ground Communications Series. (Due at the start of class on October 15.)

Tuesday, October 15

Scholarship and Curation

• Joshua Kun on curation and publishing as extensions of his scholarship (6:30-7:45 p.m.)
• Workshop interviews (8:00-9:30 p.m.)

Readings:

Joshua Kun has asked us to explore some of the following links that illustrate different dimensions of his current projects:

• Popular Music Project overview:
  • http://usc.edu/PMP
  • Songs in the Key of Los Angeles (collaboration with Library Foundation, Los Angeles and LA Public Library, KCET Artbound, & BedrockLA)
    • http://www.lapl.org/collections-resources/visual-collections/collection-page/songs-key-la
    • http://www.kcet.org/arts/artbound/counties/los-angeles/songs-in-the-key-of-la.html
    • http://www.kcet.org/arts/artbound/counties/los-angeles/songs-in-the-key-of-la-aloe-blacc.html
    • http://www.kcet.org/arts/artbound/counties/los-angeles/songs-in-the-key-of-los-angeles-julia-holter.html
    • http://www.kcet.org/arts/artbound/counties/los-angeles/songs-in-the-key-of-los-angeles-petrojvic-blasting-company.html
    • http://www.latimes.com/news/columnone/la-et-ms-los-angeles-sheet-music-20130529-dto,0,4682948.html
    • Phillips Music Company (collaboration with Grand Performances)
      • http://phillipsmusiccompany.tumblr.com
      • Trouble in Paradise (Getty Foundation/Grammy Museum)
        • http://annenberg.usc.edu/News%20and%20Events/News/110502Kun.aspx
        • http://www.boomcalifornia.com/2013/03/sonic-turbulence/
        • Crossfader (ongoing live collaborations with J. Period & Toy Selectah)
          • http://www.scpr.org/programs/take-two/2012/10/17/28887/josh-kun-presents-the-art-of-the-crossfade/
          • http://rapgenius.com/Josh-kun-the-art-of-the-crossfade-excerpt-lyrics
          • At the Edge of Urban Identity (ongoing collaboration with Ozomatli)
            • http://www.youtube.com/watch?v=IxqlROnk7WY
            • Writing examples- journalism
              • http://www.laweekly.com/2006-02-16/news/the-island-of-jorge-hank-rhon/full/
              • http://prospect.org/article/death-rattle
              • http://goo.gl/5Abz8q

Assignment: Students will be interviewed by the Annenberg Radio News team about your research.

Tuesday, October 22

Students will be interviewed by members of the Annenberg Radio News Team.

Tuesday, October 29

Digital Scholarship

• Steve Anderson on electronic publishing and Critical Digital Archives (6:30-8:30 p.m.)
• Workshop interviews (8:30-9:30 p.m.)

Readings:

• Kathleen Fitzpatrick, “Peer Review” and “Texts,” in Planned Obsolescence: Publishing, Technology, and the Future of the Academy (New York: New York University Press, 2011), pp. 15-50, 89-120.
• Tara Mcpherson (ed.) “In Focus: Digital Scholarship and Pedagogy,” Cinema Journal, Winter 2009, pp. 119-159.
• Tara McPherson, “Scaling Vectors: Thoughts on the Future of Scholarly Communication,” Journal of Electronic Publishing, Fall 2010
• Steve Anderson and Tara McPherson, “Digital Scholarship: Thoughts on Evaluating Multimedia Scholarship,” Profession, 2011, pp. 136-151.
• Check out Critical Commons, http://www.criticalcommons.org.

Assignment: Students will write three pages in Scalar discussing a core concept from their research and using as many of the multimedia capabilities as makes sense in relation to their project. (Due at the start of class on November 19.)

Tuesday, November 5

Beyond the Academy: The Chief Culture Officer

• Sam Ford on Chief Culture Officers (6:30-7:45 p.m.)
• Brian David Johnson on doing scholarship embedded within a company (8:00-9:30 p.m.)

Readings:

• Grant McCracken, “How to Be a Self-Supporting Anthropologist,” in Riall Nolan (ed.), A Handbook of Practicing Anthropology (New York: Wiley-Blackwell, 2013), pp. 104-113.
• Sam Ford, "Listening and Empathizing: Advocating for New Management Logics in Marketing and Corporate Communications," in Derek Kompare, Avi Santo, and Derek Johnson (eds.), Intermediaries: Management of Culture and Cultures of Management (New York: NYU Press, 2014).
• Henry Jenkins, Sam Ford, and Joshua Green, “How to Read This Book,” in Spreadable Media: Creating Meaning and Value in a Networked Culture (New York: New York University Press, 2013), pp. ix-xv.
•  Brian David Johnson, “Do Digital Homes Dream of Electric Families?: Consumer Experience Architecture as a Framework for Design,” in Wolfgang Minker, Michael Weber, Hani Hagras, Victor Callagan, and Achilles D. Kameas  (eds.), Advanced Intelligent Environments (New York: Springer, 2009), pp. 27-39.
• James H. Carrott and Brian David Johnson, “A Futurist and a Cultural Historian Walks into a Bar,” “A Note from the Futurist,”  “We Want to Remember a Time When Our Lives Were Not Made of Plastic,” and “What’s Next?,” in Vintage Tomorrows: A Historian and a Futurist Journey Through Steampunk into the Future of Technology (New York: Make, 2013), pp. 1-14, 283-284, 359-376.

Assignment: Students should write a short five-page reflection sharing their current understanding of the concept of the public intellectual and discussing which models from the class they might choose to pursue in their own career. Be as specific as possible about how these ideas might apply to the intellectual interests you identified in the opening audit. (Due at the start of class on December 3.)

Tuesday, November 12

Risks and Rewards of Industry-Academia Relations

• Eric Klopfer, Alex Chisholm, and Jason Haas on the NBC IQue Project (6:30-7:45 p.m.)
• Sandra de Castro Buffington on Hollywood, Health and Society as an intervention into entertainment education (8:00-9:30 p.m.)

Readings:

• Jason Haas and Eric Klopfer, The More We Know (Cambridge, MA: MIT Press, 2013).
• Shiela T. Murphy, Heather J. Hether, Laurel J. Felt, and Sandra de Castro Buffington, “Public Diplomacy in Prime Time: Exploring Potential of Entertainment Education in International Public Diplomacy,” American Journal of Media Psychology 5(1-4), 2012, pp. 5-32.
• Sandra de Castro Buffington, “Entertaining Health: Inspiring Writers and Producers to Create Storylines that Change Knowledge and Behavior,” Sustain, Spring-Summer 2013, pp. 16-21.
• Charlotte Lapsansky, Janel S. Schuh, Lauren Movius, Paula D. Woodley, and Sandra de Castro Buffington, “Evaluating the ‘Baby Jack’ Storyline on The Bold and the Beautiful: Making a Case for Bone Marrow Donations,” Cases in Public Health Communication and Marketing 4, 2010, pp. 8-27.
• Janet Okamoto, Sandra de Castro Buffington, Heather M. Cloum, Brett M. Mendenhall, Michael Toboni, and Thomas W. Valente. “The Influence of Health Knowledge in Shaping Political Priorities: Examining HIV/AIDS Knowledge and Public Opinion about Global Health and Domestic Policies,” Global Public Health 6(8), 2011, pp. 830-842.

Tuesday, November 19

Innovation and Change

• Jonathan Taplin on the role of centers, labs, and think tanks in fostering innovation (6:30-7:45 p.m.)
• (tent.) Manuel Castells on the global scholarly community

Readings:

 TBD

Tuesday, November 26

Theory, Arts, and Politics

• Marsha Kinder on scholarly and artistic collaboration on the Labyrinth Project (6:30-7:45 p.m.)
• Debating feminist porn

Readings:

• Marsha Kinder, “Designing a Database Cinema,” in Jeffrey Shaw and Peter Weibel (eds.), Future Cinema: The Cinematic Imaginary After Film (Cambridge, MA: MIT Press, 2003), pp. 342-360.
• Marsha Kinder will also make some of her digital projects available for access in advance of her session.
• Editors, “The Politics of Producing Pleasure;” Constance Penley, “A Feminist Teaching Pornography?: That’s Like Scopes Teaching Evolution,” and Tristan Taormino, “Calling the Shots: Feminist Porn in Theory and Practice,” in Tristan Taormino, Celine Parrenas Shimizu, Constance Penley, and Mireille Miller-Young (eds.), The Feminist Porn Book: The Politics of Producing Pleasure (New York: The Feminist Press, 2013), pp. 9-22, 179-200, 255-265.
• Carole Cadwalladr, “Porn Wars: The Debate That’s Dividing Academia,” The London Observer, June 15, 2013.

Tuesday, December 3

Final Reflections

• The girls game movement as utopian entrepreneurship
• Students on their personal goals growing out of the class

Readings:

• Brenda Laurel, Utopian Entrepreneur (Cambridge, MA: MIT Press, 2001).
• Justine Cassell and Henry Jenkins, “Chess for Girls?: Feminism and Computer Games,” in Justine Cassell and Henry Jenkins (eds.), From Barbie to Mortal Kombat (Cambridge, MA: MIT Press, 2000), pp. 2-45.

"Sorry for Disturbing: We're Trying to Change Brazil": Brazilian Youth, Civic Media, and The Protests

This spring, my Civic Paths Research Group was lucky enough to be able to host a visit by Carla Mendonça, a journalist and a Doctoral candidate at the Research Center and Graduate Program on the Americas at the Institute of Social Sciences of University of Brasília in Brazil. Her primary research interest is in drawing comparisons between the roles new media is playing in the political lives of American and Brazilian youth. She sat in on our weekly research meetings and also participated actively in a PhD seminar I was running focused on Civic Media and Participatory Politics. She arrived back home just in time to see some significant political rallies across her country and she has been sharing via our group's discussion forum some of the kinds of new media practices that have been a part of this protest and reform movement. This story has been under-reported in the U.S. media, compared to really important stuff like what's been said inside the Big Brother House. :-) So, I wanted to share with you today her account of what's been happening on the ground there and her selection of some key examples of the memes and videos being produced and circulated by this mostly youth led movement.

"Sorry for disturbing: we’re trying to change Brazil":

Brazilian Youth, Civic Media and the Protests –

by Carla Mendonça 

Brazil is known for its cultural diversity. We have exciting music and spectacular dances. Our media is recognized for its tela novellas and advertisements. Nowadays, we are the second largest community – behind the United States -- on Facebook. We are known for our creativity, our warmth, and our diversity.

Throughout the last decades, Brazilians have also made progress in achieving formal democracy, in creating more jobs and providing better wages, and in expanding access to the education system.  For many, the World Cup and the Olympic Games represented the promise of increased global visibility and of bringing more foreign investments into our country.

This winter -- it's winter in Brazil now --  we have also gained visibility as another country which has used network communications to inspire a grassroots movement for social change. What’s happened in cities across Brazil show strong parallels to the Spanish Indignados, the Occupy Wall Street movement, the various Arab Spring uprisings: protests across our country have some of the same spirit as the world saw displayed in Egypt’s Tahrir Square.

As these protests have moved forward since June, we are seeing Brazilian youth demonstrate a great understanding of how to use the internet and transmedia for civic engagement purposes. As Henry Jenkins contends, civic media is “any use of any technology for the purposes of increasing civic engagement and public participation, enabling the exchange of meaningful information, fostering social connectivity, constructing critical perspectives, insuring transparency and accountability, or strengthening citizen agency”.

The polling institute Datafolha Research found that most of the protesters in the streets are 26-35 years old and don’t have any political party preference. More than 80% of them follow the movement through Facebook.

(Leave the couch and come to protest)

The movement started in March in the southern town Porto Alegre: the initial action was directed against a proposed increase in the public transportations’ fares. In June, 14th, in Sao Paulo, after weeks of tentative protests for the same reason, students tried again to protest in a main street of the biggest Brazilian city, where the buses' fares had increased R$ 0,20 – about US$ 0,10. Police violently repressed the protesters to make the traffic free.

Brazilian protests are brutally dispersed by the police

The following day, videos, photos and testimonies about the confrontation between undergraduate students and soldiers were spreading across the internet and social networks. The content was shocking, and even people that were not participating in the events started to support the movement. Police tried to control the protests, especially, in Sao Paulo, Rio and Brasilia, while the biggest Brazilian media corporation – Rede Globo – called the students “delinquents”.  To work around those obstacles, activists deployed transmedia practices to report what was happening in the streets and mobilize the public.

In the eye of the storm

That weekend, protests expanded from the South to the North. Millions of people went to the streets in big cities. Police retreated and media started to call the students “protesters” instead of “delinquents”.

.

A meme

(Sorry for disturb the traffic, we’re trying to change Brazil)

The increase of the public transportation's fares was the trigger, but other issues are being brought to the streets. Protesters are asking for change. They want better public services on education, health and public transportation, the jailing of corrupt politicians, and they don’t accept the huge amounts of public money that are being spent on the World Cup. People are saying they would prefer that money be focused on education and health systems rather than on stadiums.

No, I'm not going to the World Cup

A meme

(Kick Fifa – Mr. Politicians, the party is over – The State is made by the people, with the people and for the people)

As with other decentralized protest movements that have sprung up around the world, the absence of a strong leadership within the movement has made it difficult for them to negotiate with government authorities. On internet, some attempted to consolidate their agenda and make clear proposals.

19 de Junho de 2013 04 38

Translation:

We will be simple and direct!

The radio and television media say that we don’t have a specific cause.

It can weaken the movement.

The decrease of the public transportations’ fares is not enough for us,

but actually we need to know how to start a new Brazil.

So we are raising five straight causes without religious or ideological inferences,

without political parties’ flags or subjectivities.

We are going to raise moral causes that are unanimous accepted.

And we are going to raise few of them for a while in order to keep them strong.

We will call them The Five Causes!

The five causes are:

1)         Not to PEC 37 (an amendment to the Brazilian Constitution).

2)          The quick renunciation by senator Renan Calheiros of the presidency of the National Congress.

3)          Quick investigation by Federal Police and District Attorneys and punishment of illegalities in World Cup’s constructions.

4)           A law that defines corruption as a heinous crime.

5)          The end of the privileged forum for politicians because it is an offense to our Constitution.

Repeat, shout, retweet, and share.

Download this video and post on your social networks accounts before it is deleted from internet.

You will see that your son don’t give up the fight (sentence from the Brazilian anthem).

Despite some criticism of the movement by journalists and political analysts, all local governments decided don’t raise the public transportations’ fares anymore. Even so, protesters kept engaged, demanding better health and education systems, less corruption, and bringing more and more issues to the streets.

A Brazilian president Dilma Rousseff`s meme

(The Queen of the Cups)

A Congress meme (it is the Brazilian Congress shape)

(Don’t re-elect any congressman – The democratic way to give dignity to the Brazilian Congress)

After three weeks under pressure, the main political institutions started to announce some propositions. President Dilma Rousseff, for example, announced the intention to start a process to reform the country’s political institutions. Some of the quick answers from the political institutions included:

-       Mayors of 104 cities in 17 states (Brazil has 27 states) canceled increases in public transportation fares.

-       Federal Government: 1) called a meeting with mayors and governors to discuss an agreement for education, health and urban mobility; 2) called a meeting with some movements’ leaders; 3) announced the intention to start a political institutions' reform process in the country.

-       The Congress: 1) voted and didn’t approve an amendment to the Brazilian Constitution (PEC 37) that has been proposing restrictions to Ministério Público, an institution similar to the District Attorneys; 2) approved a law that defines corruption as a heinous crime; 3) approved that 100% of the money from oil royalties will be invested on education and health; 4) canceled the July recess.

-       Supreme Court ordered the arrest of a congressman judged guilty of corruption in 2010.

Signs are that the government is responding to this popular movement, and more is yet to come.

Brazilian Spring – Enough! Brazil is of the Brazilian people!

Things did not fall from the sky

The movement was organized by young people, creatively, via internet, working in networks, adding a Brazilian face to this global phenomenon. Young Brazilians used the communication via internet and transmedia exchanging meaningful information, they fostered social connectivity, they constructed real critical perspectives, and they strengthened citizen agency. Thus, they strengthened their social bonds and created a strong sense of civic engagement and collective empowerment.

Civic action is essential for democracy. Those young people have shown that they can know how to deploy civic media to push for a more democratic society and for policies that better represent their values.

Carla Mendonça is a journalist and a Doctoral candidate at the Research Center and Graduate Program on the Americas at the Institute of Social Sciences of University of Brasília, in Brazil. Last semester, Carla worked on her Doctoral dissertation research at Annenberg School for Communication and Journalism at University of Southern California thanks to a grant from Capes Foundation, an agency under the Ministry of Education of Brazil. She is comparing how young Brazilians and Americans use technology for civic engagement and participatory politics.

While we are on the subject of participatory politics, I also wanted to share with you today a powerful video on the George Zimmerman verdict, produced by the Black Youth Project. Cathy Cohen, who is a fellow member of the MacArthur Foundation's Youth and Participatory Politics Research Network, was hosting a convening of more than 100 black youth activists this weekend and they collectively decided to issue a statement about the Trayvon Martin Case and the issue of violence directed against black youth. The video is simple, direct, and poignant: it carries the moral weight of a new generation of political leaders as they grapple with some of the most difficult issues of our time. You will want to watch this.

"Decreasing World Suck": Fan Communities, Mechanisms of Translation, and Participatory Politics

Hi, guys. I have been taking some much needed down time this summer, putting the blog on hiatus, focusing on other writing projects, and putting in motion plans for new content in the fall. As a result, I am only posting when I have some major news to share. Today, I am releasing a report from the Media, Activism, and Participatory Politics research group in the USC Annenberg School of Communications and Journalism. We are part of the larger Youth and Participatory Politics Network, funded by the MacArthur Foundation, and led by Joseph Kahne (Mills College). Our team is doing interviews with young activists, as well as field observations and media audits, to better understand the practices that have enabled successful networks and organizations to draw youth into greater political and civic participation. Our previous reports have included case studies of the DREAMer movement and Students for Liberty; a report on civic learning within the Harry Potter Alliance and Invisible Children; and a special issue of Transformative Works and Cultures focused on the concept of fan activism.

This week, we are releasing "'Decreasing World Suck': Fan Communities, Mechanisms of Translation, and Participatory Politics," which shares insights about the Harry Potter Alliance, Imagine Better, and the Nerdfighters. The report is written by Neta Kligler-Vilenchik, an Annenberg PhD Candidate, who is doing her dissertation research on this topic.

We've written here about the Harry Potter Alliance before, so let me share a little of what she has to say about the Nerdfighters:

The Nerdfighters are an informal group, revolving around the YouTube channel of the “VlogBrothers,” two brothers in their thirties. John Green is a best-selling young adult author and Hank Green is a musician and entrepreneur, though both now engage in a wide variety of online projects. Inspired by video artist Ze Frank, the Green brothers launched the “Brotherhood 2.0” project in 2007, in which they pledged to cease all text-based communication for a year and keep in touch through publicly accessible vlogs (video blogs). In their vlogs, the brothers adopt the “talking head” format, facing the camera and chatting with the audience (and each other). Over time, they developed an elaborate repertoire of made-up jargon and inside jokes, which encouraged others to join their exchange. In 2007, YouTube featured Hank’s song “Accio Deathly Hallows” (calling for the release of the seventh Harry Potter book) on its front page, greatly increasing their visibility. The main focus for this case study is the community of Nerdfighters—the predominantly young followers of the VlogBrothers.

The name “Nerdfighter” emerged from one of the Greens’ vlogs; John encountered an arcade game called “Aero Fighters” and mistook its name for “Nerdfighters.”. The brothers’ followers adopted the term to describe themselves, and the VlogBrothers address many of their vlogs to Nerdfighters or “Nerdfighteria.” The Greens define a Nerdfighter as “a person who, instead of being made of bones, skin and tissue, is made entirely of awesome.” Over time, the Nerdfighter community reached significant proportions—the average Vlogbrother video has over 250,000 views.  The “barriers of entry” to Nerdfighteria are kept low. As the VlogBrothers quip: “Am I too young / old / fat / skinny / weird / cool / nerdy / handsome / tall / dead to be a Nerdfighter? No!! If you want to be a Nerdfighter, you are a Nerdfighter.”

Based on their sense of agency and their real-world engagement, Nerdfighters go beyond being a mere “audience” to the VlogBrothers, and can instead be conceptualized as a “public.”

The pronounced goal of Nerdfighters is to “decrease world suck.” When interviewed, John Green explained that, to him, this goal is:

Very much at the center of Nerdfighteria and I don’t think that there really is a community without that commitment to decreasing world suck or, as Hank likes to say, “increasing world awesome”. I don’t think there’s a community without its values.

As the VlogBrothers enigmatically define it, “World Suck is kind of exactly what World Suck sounds like. It’s hard to quantify exactly, but, you know, it’s like, the amount of suck in the world.” This broad definition leaves much space for individual Nerdfighters to interpret what “World Suck” (and decreasing it) means to them. Examples cited in interviews have ranged from personal acts, such as being a good person or cheering up a friend, to collective acts that fit within existing definitions of civic engagement. For example, Nerdfighters are very active on Kiva.org, a non-profit organization enabling individuals to make small loans to people without access to traditional banking systems.Kiva.org features communities of lenders, and Nerdfighters are the largest community on the website with 34,773 members, topping “atheists, agnostics and skeptics” (23,795 members) as well as Kiva Christians (10,652 members). For several months, Nerdfighters ranked highly in the amount loaned, with a total of $1,771,025 disbursed. The Nerdfighters also support Project for Awesome (P4A), an annual event in which members are encouraged to create videos about their favorite charity and non-profit organization and simultaneously post those on YouTube. The first year the project was launched, its goal was to take over YouTube’s front page with videos of charities and non-profits for one day. In the 2012 P4A, Nerdfighters uploaded hundreds of videos and donated impressive amounts of money to the “Foundation to Decrease World Suck” (a non-profit created by the VlogBrothers). Nerdfighters could then vote on which charities should receive the donation. Finally, Nerdfighters decrease World Suck by collaborating with the Harry Potter Alliance.

In particular, Kligler-Vilenchik is interested in what she describes as "mechanisms of translation" where-by these groups tap into the passions and social ties that bring these networks of fans together and providing means by which they can be connected to debates around social change and public policy. In the course of the report, Kligler-Vilenchik explores the strategies by which these groups deploy elements of their content worlds as analogies for thinking about political issues; the ways they encourage their supporters to actively produce and circulate media content, sometimes in the service of their larger campaigns; and the ways that they provide a social environment that encourages people to reflect on politics and which provide varying degrees of support for diverse perspectives. These kinds of fan groups are only one model of the ways that participatory culture might build the scaffolding needed to help young people enter into their new roles as politically-engaged citizens, and we are eager to see other case studies identify a range of other mechanisms that fulfill these bridging functions.

You can read the full report below.

Decreasing world suck working paper - mapp - june 25 2013 from amandafo

Raising Children in the Digital Age: An Interview with Lynn Scofield Clark (Part Three)

Your book is full of evocative phrases and concepts. One of my favorite is that of “emotional downsizing.” When and where does “emotional downsizing” occur and what does it tell us about the context in which contemporary parenting occurs?

I used the term "emotional downsizing" to talk about parental expectations regarding family life and how media fit into these expectations. This comes up in a specific example about a mother who talks about how she wishes that her family could do more activities together, but they don't due to the time pressures they face (the parents have demanding jobs and the teen and preteen children have school, activities, and for the younger child, time in child care rather than at home). The mother wished that they could engage in different kinds of activities together - like hiking or playing board games together - that would require them to be "unplugged." Yet sometimes, the pressures of everyday life meant that she needed to lower her expectations about what was realistic and possible. This is how "movie night," while not a preferred activity for this mom (and for many of the parents I interviewed), became nevertheless a positive instance of "family time." Doing something together, even if it's a less parentally approved activity, is still worthwhile and sometimes it's the best we can do in what can be an exhausting schedule of family life. Parents therefore lower their expectations of an "ideal" family activity, or engage in emotional downsizing, coming to see the up side of engaging in mediated activities together.

Incidentally I discovered after writing my book that I use this term in a way that differs from sociologist Arlie Hochschild's use of it, although I refer to her work on family life throughout my book (e.g., I use her term "emotion work" to talk about what parents go through when justifying the decisions they make in relation to emotions rather than rational decision-making). In her book The Time Bind, Hochschild uses the phrase "emotional downsizing" to refer to what happens when parents assume that their children need them less than they do, which is followed by "emotional outsourcing," or leaving children in the supervision of hired caregivers. I observed both of these, but I wanted to highlight how television, movies, YouTube sharing and other mediated leisure activities - often discussed as less desirable than other activities - come to be part of something that family members view positively as "family time."

At a time when many of us are writing about the values of “connected learning,” your book offers a “reality check.” What kinds of obstacles or challenges do you see in trying to create richer educational opportunities for youth through the informal learning sector or for connecting what takes place in the home with school-based learning?

That is a great question. U.S. families across the economic spectrum are so busy these days, whether that's due to work and activities in the best of situations, or due to the chronic health issues, doctor's visits, and inconvenient transportation and work schedules that tend to be part of the most challenging family experiences. I love the ideas involved in connected learning: the interest-powered, peer-supported, and academically oriented learning principles and the production-centered, openly networked, and shared purpose design principles. But I do see two key issues.

First, both parents and young people need to see how connected learning is in the interests of the young people themselves. This is obviously the point of developing case studies that demonstrate the effectiveness of learning in places like Quest2Learn and the Digital Youth Network. These will demonstrate that connected learning helps young people develop skills and literacies they will need to survive in education and beyond.

But secondly, both parents and young people need to see how connected learning is consistent with their goals as a family. How can programs of connected learning give parents opportunities to share their values and life experiences with their children? How can programs of connected learning help young people to feel that their experiences and perspectives are valued by their parents? Of course, connected learning isn't a "program" so much as an approach, but parents may need to see specific programs in order to recognize how it is that their child's school wants them to engage and will value their life experiences and familial goals in the process. I think that embracing a family-centric approach will move "connected learning" out of the headspace of "homework" or "youth after school activities" and into the space that I think the connected learning innovators want to go, which involves strengthening bridges between home and school life.

While the book is primarily descriptive of a range of different models of parenting in the digital age, you end with some normative advice about the ways parents might improve upon the quality of experiences they have with digital and mobile technologies. What philosophical commitments govern this advice for you?

I wanted to avoid giving very specific advice about hours spent in front of screens or with mobile devices. Instead, going back to your first question, I wanted parents to be able to think about the "parent app" that best fit their own situation and needs. For me, I think my primary philosophical commitments are to the inherent worth and dignity of every person and to the interconnectedness of all people and living beings of nature. I believe that we each need relationships of trust, mutuality, and compassion to survive, and we each have responsibilities to act in ways that foster those relationships. Maybe this is especially so in our primary relationships with our families. So I wanted to end the book with some suggestions rooted in the idea that all of us share a desire for meaningful relationships of mutuality and respect. I have a longer list in the conclusion, so here's the edited version:

1. Be clear and fair about expectations regarding digital and mobile media, but be willing to change as children grow older and their needs change 2. Model the behavior you want, which includes prioritizing time together 3. Let children take the lead in teaching you about their media lives

But I also didn't want to lose sight of the fact that for a lot of people, our experiences are related to and limited by not just what we can choose to do, but our cultural and social environment. So, I wanted to propose that collectively parents can work with others to shape an environment that better meets our desires for trust, mutuality, and compassion.

Thus, in relation to the bigger picture: 1. Change the situation for young people 2. Change the media to change the culture

As I write at the end of the book, the digital and mobile media that are so much a part of our lives may seem inevitable, but the particular forms they take and the organizational patterns governing the industries that make and distribute them are not. It is up to us to choose how these media will fit into our collective lives and how they will shape the lives of our children and families in the future.

Lynn Schofield Clark is Associate Professor, Director of the Estlow International Center for Journalism and New Media, and Interim Chair of the Media, Film, and Journalism Studies department at the University of Denver.  In addition to co-parenting two teens, she is author of The Parent App: Understanding Families in a Digital Age (Oxford U Press, 2012), From Angels to Aliens: Teenagers, the Media, and the Supernatural (Oxford U Press, 2005), and co-author with Stewart Hoover, Diane Alters, Joe Champ, and Lee Hood of Media, Home, and Family (Routledge, 2004).  She teaches qualitative research methods and journalism courses, and is currently involved in a community engaged youth participatory action study of news and story-sharing among high school aged recent immigrants to the U.S..

Raising Children in the Digital Age: An Interview with Lynn Scofield Clark (Part Two)

Another core theme running through the book has to do with different experiences and expectations about media depending on the economic class background of parents. How would you characterize those differences?

I describe two different ethics that guide family approaches to digital and mobile media: an ethic of respectful connectedness, and an ethic of expressive empowerment. I'm really building on a lot of work in sociology of the family in this area (see, e.g., Annette Lareau and Allison Pugh as well as Roger Silverstone, each of whom looks at how family economics shape everyday experiences). The term "ethic" is meant to signal that there are guiding principles that help parents and young people determine a course of action in relation to communication practices. I use the phrase "Ethic of expressive empowerment" to refer to those families that seek to use the media for education and self-development, and the phrase "Ethic of respectful connectedness" to refer to those families that want to use media in ways that honor parents and reinforce family and cultural ties.

The differences are most stark at the extremes. The ethic of expressive empowerment can lead parents to think of their children as in need of constant guidance and oversight. When parents assume that they need to ensure the most empowering activities and the most appropriate forms of expression for their children at all times, they can rather easily slip into using technologies for covert helicopter parenting.

On the other hand, parents who are very concerned about the ways that technology use might undermine respect for parents can be drawn to a sort of "tough love" approach, using their children's social networking accounts to engage in publicly humiliating their children as a means of demanding respect, or being quite restrictive and "strict" about technology use.

Most parents fall between these two extremes, but each approach seems in some ways related to class-based ways of thinking about risk and technology. Upper income families in my study worried that their child might miss some opportunity that would secure their ability to compete in the increasingly merciless economic environment, and this drives the desire to oversee appropriate uses of time spent with technologies (and hence also supports covert helicopter parenting). Lower income families worry about their children's futures as well, but because many in my study had experienced the failures of society's institutions, they place more trust in close relations - which is why undermining respect for one's closest family members can be so threatening (and why engaging in a "tough love" response of public humiliation or strong restrictions on technology seems appropriate).

I wanted to outline these different approaches not so much to tie one or another specifically to class, but to highlight the idea that not all families have the same concerns about how technologies are playing a role in the lives of their young people. I think that many of us in education tend to embrace an ethic of expressive empowerment and so we see the positive potential in technologies. But I wanted offer some clues as to how counselors, educators, and parent advocates might discuss technology and its risks in family life in relation to differing ethics that frame a family's course of action.

You try to challenge and complicate prevailing myths about cyber-bullying. What advice do you have for parents who are concerned that their children may be being bullied?

First of all, parents need to resist the urge to jump in and "save" the child. Ultimately, our goal as parents is to raise children who have resilience. We parents need to see ourselves as resources who can help our children solve their own problems. We do this when we talk with them about different strategies of response and tell our own stories of how we respond when we feel bullied or harassed.

Of course, some incidents escalate beyond what a young person might be able to address on his or her own.

I've been doing another study specifically on cyberbullying among teens, and one of the things I've found is that teens don't like the term "cyberbullying." "That's what happens to younger kids," as several high school students told me. They prefer the term cyberharrassment, which suggests the seriousness of the issue.

And so I also really like Common Sense Media's approach to cyberbullying and in my book I echo what they suggest. It's important for parents to encourage their children to stand up, not just stand by when they witness such harassment, and it's equally important for those who are victimized to seek sources of support so that they are standing with others in response to the perpetrator.

You acknowledge throughout the book that some of your findings push against your own values as a parent. What would be some examples where you were forced to question your own assumptions about good parenting?

Even though I think of myself as someone who loves to spend time with my children, writing this book made me realize that this often comes into conflict with my sense that part of being a good parent is balancing work and home life appropriately. When it comes to children, there's really no balancing or multitasking, there's just the attention you can focus on one thing or another at any given time. In other words, if I really want to spend time with my children, I've got to put away my laptop and phone. And I've also decided to be much more intentional about spending time doing media-related things with them. Fortunately, we all like the Just Dance 2 DVD we received from a grandparent over the holidays!

In your discussion of teen’s online play with identity, you introduce the concept of “interpretive reproduction.” Can you explain this concept and discuss what it helps us to see about teen’s strategies for using social media?

Sociologist William Corsaro introduces the term "interpretive reproduction" as a way of challenging our tendency as adults to think about children in terms of "socialization," or in terms of what they will become in the future rather than in relation to what they are doing presently. The term "interpretive reproduction" describes the process that young people go through as they interpret and then innovate as participants in society. They're not just internalizing and absorbing culture; they're actively contributing to how it is changing, even as they're doing so in relation to existing social processes. I used this term as I was trying to sort out what was "new" about the context of digital and mobile media in teen identity work, and what was pretty consistent with the way teens had been engaging in identity work for a long time.

I think the term helps to remind parents that parenting is a process that involves not only parental intentions but also the creativities of young people as they respond to their environments. As parents it's easy to feel nervous about the fact that we can't control a lot of what happens in new media environments. I think it's helpful for parents to look for patterns that relate to what came before, so that we can see that young people are using these new media to address needs that have remained remarkably similar from their generation to ours. At the same time, for sociologists interested in the role of media in social change, it's important to see that the innovations of young people do matter. They are contributors to culture, which is why it's important to look at their practices not just in relation to parental intentions but also in relation to how the collective uses of technologies among all generations are changing our social lives.

 Lynn Schofield Clark is Associate Professor, Director of the Estlow International Center for Journalism and New Media, and Interim Chair of the Media, Film, and Journalism Studies department at the University of Denver.  In addition to co-parenting two teens, she is author of The Parent App: Understanding Families in a Digital Age (Oxford U Press, 2012), From Angels to Aliens: Teenagers, the Media, and the Supernatural (Oxford U Press, 2005), and co-author with Stewart Hoover, Diane Alters, Joe Champ, and Lee Hood of Media, Home, and Family (Routledge, 2004).  She teaches qualitative research methods and journalism courses, and is currently involved in a community engaged youth participatory action study of news and story-sharing among high school aged recent immigrants to the U.S..

Raising Children in the Digital Age: An Interview with Lynn Schofield Clark (Part One)

A few posts back, I shared with you my interview with art historian Amy F. Ogata, author of Designing the Creative Child: Playthings and Places in Midcentury America. Ogata was nice enough to discuss with me her thoughts on the ways contemporary ideas about the digital child might have been informed by the thinking of the postwar era. Today, I want to push us to think even further about the nature of childhood and parenting in the digital age. My interviewee is Lynn Scofield Clark, author of the 2013 book, The Parent App: Understanding Families in the Digital Age. The Parent App builds upon a rich tradition of work on the intersection of media and the family, going back to early work in this space by writers such as James Lull, Roger Silverstone, and Ellen Seiter, as well as more recent work by scholars such as Sonia Livingstone in the UK or the Digital Youth Project in the United States. Clark is clearly familiar with this literature,  but she also pushes well beyond it -- not simply because of her central focus on digital and mobile technologies, but also because she is so attentive to the shifting conditions -- economic, social, technological -- which impact the lives of American families today. There is an admirable balance here between the broad view -- an account of significant shifts in the relations between work and family -- and a more focused attention to the specific narratives of the individual families she describes.

She has a particularly nuanced concern for notions of class, as they operate on much more ambiguous terms in Amercan culture than in the British tradition that informs her work. She helps us to understand how the choices which parents make about their children's access and use of new media technologies are strongly shaped by class -- in the literal sense, in terms of access to technologies, time, space, and cultural capital  and in the more figurative sense, in terms of very different ideologies of parenting that determine what value families attach to different kinds of activities within and beyond the home.

She is a gifted ethnographic storyteller: each segment offers a vivid portrait of the people involved, the choices they are making, the impact of the those choices on their lives, and the contexts within which these choices get made.  She does an admirable job here at moving between descriptive and normative agendas, being clear about her own stakes as a mother in researching and understanding how decisions get made about media in the context of family lives.  She makes it clear that some of the choices parents make clash with her own norms and expectations as a mother, but she looks at each of her subjects with sufficient sympathy and empathy that she can explain why these choices make sense to them, and she also observes that stricter regulation does not always result in estrangement between parents and children.

All told, this is important work, especially at a time when a growing number of scholars in the Digital Media and Learning field are seeking to understand the learning ecology -- the ways that informal and participatory learning opportunities outside of school may become part of a "connected learning" system that supports children's educational growth. She clearly understands the stakes behind this work, but she also brings a healthy dose of realism to the conversation, noting that even middle class parents who may buy into the ideology of participatory learning often do not devote much time to enhancing or contributing to these kinds of opportunities for their off-spring. She also offers us some insights into why lower income families suffer from diminished opportunities -- not simply because of constraints on resources, but also due to hostility from others in their immediate environment towards certain goals or norms  they might associate with social striving and upward mobility. Clark finds that even professional, college education, upper middle class parents often lack the skills and knowledge to meaningfully mentor their sons and daughters about their online lives; she finds that even in close families youth often involve themselves in activities behind their parent's backs, circumventing rules designed to protect them from exposure to risks. She suggests that parents still look upon their relationship to new media primarily in terms of regulating exposure, limiting time, and managing risks, much more than creating and sustaining opportunities.

What do you mean here by “parent app?” How does the title speak to parents' expectations about the ways that digital and mobile media devices are impacting their relationship with their children?

I used the phrase "the parent app" in a tongue-in-cheek way, as in, "wouldn't it be wonderful if there were an app that could provide parents with an answer to every possible dilemma that emerges in relation to parenting and technology?!"

The title also plays with the film title, "The Parent Trap," in that I found that parents do often feel trapped, or at least overwhelmed, by the fact that they think that their children are growing up in a digital culture that they may not fully understand and to which they think they have limited access. This parental anxiety drives us as parents to want some neat-and-tidy way to address technologies in family life. So, I used the title to signal that mine *wasn't* going to be a straightforward "advice" book, because I really believe that every parenting situation is unique and therefore I think it would be impossible to create such a book, let alone an app, that would address what is a constantly changing situation.

What I wanted to create was a book that was more like the kinds of conversations I participate in with parents and, less officially, with research friends, when we share stories and try to make sense of what they mean for our unique situations and dilemmas. So, the book itself is very story-driven in terms of its approach. My hope is that the stories help parents consider their own situations and to then build our own "apps."

Throughout the book, you are attentive not only to what teens and adults say about their relations to and through these media, but also the contexts in which your interviews were conducted. In what ways did both teens and parents use the interview process to deliver messages to other family members?

We all live in such busy times that in U.S. families, it's pretty easy to focus on the immediacies in our conversations with one another. The interviews for this book gave parents and young people a chance to sit together and discuss something important, and that in itself often made for a positive experience. The interview experience allowed parents to reinforce the message of how important it is to value the time we can spend listening to one another. Of course, this means that the parents who feel "too busy" to talk with their children didn't participate in the interviews, and I believe that this skewed the sample somewhat. But it also gave the study a chance to explore what happens when those families that do prioritize being together actually focus attention on the sometimes-contentious issues that arise in relation to digital and mobile media.

Risk is a central theme running through the book. How do parents and youth understand the “risks” of networked communications in different ways? Why are we as a culture so often pre-occupied by these risks and so often disinterested in the potential value of teens online lives?

In the U.S. we live in a culture of fear, as sociologist Barry Glassner has argued. In my book I discuss the role that the news media have played in relation to appealing to this fear, which in turn contributes to our sense of risk. TV news in particular highlights unusual yet poignant occurrences that their viewers will find troubling - they have to do this because they need to appeal to the lucrative audience of young parents in the 25 - 40 age category in order to stay on the air. So stories about children and Internet-related concerns, while important, receive attention that tends to magnify the sense of risk in a manner that's disproportionate to the actual risk.

I found that even though parents and teens voiced many of the same fears about potential risks that you see in the news, young people in their teens and preteens tended to recognize and know how to avoid the most-publicized risks, such as predators and encounters with strangers. The preteens and teens in my study were concerned about risks that they related to identity: what you might call dissing, drama, and disregard (or being ignored). This is consistent with a lot of research that's been done by Pew Internet & Microsoft's danah boyd (who spoke of "drama" as a word teens prefer to describe what adults might call cyberbullying).

I think you're right, Henry, that many parents are pre-occupied with potential risks and less interested than they might be in the value of their teens' online experiences. Parents tend to see safety as their first order of business, so I guess that orientation isn't surprising. Yet as digital and mobile media become more integrated into family life, parents are coming to see the benefits of such media, particularly in relation to parental goals of enhancing family connection in a time that's characterized by our sense that we're busier than ever.

Lynn Schofield Clark is Associate Professor, Director of the Estlow International Center for Journalism and New Media, and Interim Chair of the Media, Film, and Journalism Studies department at the University of Denver.  In addition to co-parenting two teens, she is author of The Parent App: Understanding Families in a Digital Age (Oxford U Press, 2012), From Angels to Aliens: Teenagers, the Media, and the Supernatural (Oxford U Press, 2005), and co-author with Stewart Hoover, Diane Alters, Joe Champ, and Lee Hood of Media, Home, and Family (Routledge, 2004).  She teaches qualitative research methods and journalism courses, and is currently involved in a community engaged youth participatory action study of news and story-sharing among high school aged recent immigrants to the U.S..

Hotspot3 -- Civic Kickstarters

The Civic Paths Research Group, based at USC's Annenberg School of Communication and Journalism, periodically issues "Hot-Spots," clusters of short blog posts on related topics, which bring together as many of the members of our team as possible. I have shared previous Civic Paths Hot Spots around the "Dark Side of DIY"and "Election Season Revisited". Today, I am able to share the third in this series -- this time focused around the civic implications of Kickstarter, a platform and process which has occupied a great deal of our attention this semester. The introduction is written by two of our PhD students, Andrew Schrock and Samantha Close. We hope that it will inspire further discussion among researchers. If it does, share what you are thinking with us. If you want to learn more about Civic Paths, you can do so here.

HOTSPOT3 -- CIVIC KICKSTARTERS

If you’ve ever wished for a trebuchet that could fire erasers at the cubicles across the aisle--or wished you had the capital to mass produce the one you made in your garage, crowdfunding wants to talk to you. The basic idea behind crowdsourcing, as coined by Jeff Howe in a 2006 article for WIRED, is that a large task can be accomplished by parceling it out among a "network of people in the form of an open call." Crowdfunding modifies this idea by making the “large task” the production budget of a project. People who answer the call for participation in crowdfunding, called backers, contribute small to large amounts of money so the crowd can collectively raise the needed sum. Yet, “crowds” are, ironically, probably the wrong way to think about what’s happening with crowdfunding in general and its most visible offspring, Kickstarter.com.  Rather, Daren Brabham, in his definitive book Crowdsourcing, links crowdfunding success to online communities, calling them "fertile sources of innovation and genius."

To understand how all of this works, we need to meet Kickstarter.  Kickstarter.com hosts projects and campaigns by independent creators, organizing project pitches and facilitating payments. They also lay down rules for what kinds of things can be pitched. Backing typically takes place over a month, overt charities are not allowed, and projects must have a finite endpoint: producing an iSomething accessory, printing a comic book, or turning an abandoned house in New Orleans into a ball pit. Many types of goals and endeavors are therefore collapsed together as projects. Project backers are kept appraised of a project's progress, consulted for key decisions, and get an exclusive channel to communicate with project creators through the Kickstarter site. Project creators become more committed to a project that they know has generated interest. This process is closer to co-creation, where  fans and producers come together with interest and enthusiasm around a shared culture.

Although a Kickstarter campaign invitation is open to anyone browsing the web, it takes a relatively small number of people to make a project successful: all funds donated (minus Kickstarter's 5% fee) go to the project creator rather than being funneled through a foundation, production company, PayPal, or other edifice of red tape.  Kickstarter’s “crowd,” then, is more often an activation of a community or subculture than a random assortment of people on the virtual street. Once we re-frame Kickstarter as invoking community interests rather than those of a faceless crowd, we can start to more clearly think through how crowdfunding works.

Kickstarter.com argues strongly that they are not a store and designs their policies and site to avoid the appearance of being an online storefront. These are obviously muddy waters, particularly as one of Kickstarter’s most notable additions to the traditional investment funding model is a system of “backer rewards.”  These rewards vary tremendously from material to immaterial to symbolic to somewhere in-between, and are set up by project creators to thank backers who contribute different tiers of money.  Rewards can become an unexpected burden for project creators, who deliver them later than expected over 75% the time. The best rewards are intrinsically linked to the project at hand, rather than being unrelated additions that create unnecessary work rather than deepening the excitement among backers and commitment by creators.

The one particularly dedicated fan who found $10,000 to donate to Rob Thomas’ Veronica Mars Movie campaign, for example, will get a small speaking role in the film.  The more modest $10 donation level (selected by a less modest 8,423 people) receive a smaller reward (a digital copy of the film’s shooting script), but one that is still tied to the making of the movie.  The Veronica Mars campaign raised the most money of any project, ever, on Kickstarter and ignited both controversy and a lot of useful debate about the crowdfunding model. Today’s hotspot* features Civic Paths members diving into the fray and continuing the crowdfunding conversation.

One theme across posts is to follow the money:  Where is it coming from?  Where is it going?  How does it get there?  Why does it go?  Kickstarter projects complicate a simple dichotomy of commercial goals vs. creative endeavors, which were previously compartmentalized and personalized by such terms as “fans” and “producers.” According to Samantha Close, Kickstarter lays bare tensions that were always there in the entertainment industry but hidden by layers of production and distribution. Liana Gamber Thompson unpacks the implications of the new Donald Trump-branded site, Fund Anything. In true Trump style, it’s an extreme caricature of crowdfunding where anything goes, from medical procedures to a party for kids displaced by Hurricane Sandy. Its emergence provokes difficult questions about what gets funded and why in the larger crowdfunding world. Despite the prominence of project hosting sites like Kickstarter, all crowdfunding also requires the backing of a payment system.  As Lana Swartz reveals, these systems can have politics of their own, resulting in funds being frozen, reducing trust in crowdfunding platforms, and frustrating all participants.

Spreadability, discussion, and debate that bridges communities is another theme of interest. Unlike Surowiecki's Wisdom of Crowds, where the number of jellybeans in a bowl can be most accurately estimated by taking an average across a large number of observers, there isn't necessarily a best solution to find in crowdfunding. Rather, projects spark conversations and debates that take place elsewhere, often necessarily as Kickstarter has a fairly strict moderation policy on the site’s discussion sections that, for example, frowns on negative comments. Kevin Driscoll connects projects focusing on saving media with the politics of preservation, noting how debates about stuff are also difficult conversations about what should be archived, how, and by whom. Mike Ananny questions how crowdfunding is being incorporated into news.  It troubles existing dynamics of journalism that evolved to promote the spread of meaningful information at the same time as some have taken the cue to openly and explicitly focus on underserved communities. Benjamin Stokes makes the point that feelings of community affiliation are imagined as well as geographically-proximate.  Thus, online projects can also directly impact offline civic well-being. However, both Stokes and Ananny point out that there remain significant participation gaps on Kickstarter that affect how networks of privilege are connected to isolated communities, exacerbating the politics of financial support. Andrew Schrock provides examples of success stories in the spread of Hacker and Maker Spaces (HMSs) that act as centers for informal learning and creativity in geographically-situated communities. These democratically-run collective organizations buck the stereotype of HMSs being confined to western male geeks more interested in picking locks than helping others.

Kickstarter’s popularity has brought with it significant controversies and legitimate questions of who gets to contribute, how, to what, and who really benefits in the end. We hope that with careful consideration crowdfunding can be viewed as and truly become a way to connect backers and creators more closely over tables (made of robotically sculpted Zen sand or not) that are meaningful to all parties involved. Crowdfunded projects can drive awareness and, even in their imperfection, spark conversations about what needs doing across various communities. These emergent debates are vital for us to have in this moment of economic transition and cultural shift.

Enjoy, and we welcome your comments.

--Andrew Schrock and Samantha Close

[1] Why All Kickstarters are Civic Kickstarters, by Samantha Close

[2] Donald Trump and Dollar Bills: Crowdfunding for the Masses, by Liana Gamber Thompson

[3] Getting the Funds from the Crowd: The Politics of Payment Infrastructure, by Lana Swartz

[4] Crowdfunding an Archive: What’s Worth Saving and Who’s Gonna Pay for It?, by Kevin Driscoll

[5] Crowd-Funded Journalism and Dynamics of Visibility, by Mike Ananny

[6] Crowdfunding as Neighborhood Storytelling, by Benjamin Stokes

[7] Kickstarting a Hackerspace, by Andrew Schrock

* HOTSPOT PHILOSOPHY: These collections of mini-blog posts — “hot spots” — are organized around themes that cut across the diverse interests of participants in our research group. They’re about the things we love to talk about. And, like our in-person conversations, they play with ideas at the intersection of participatory culture, civic engagement, and new media. Our rules for the hotspot are these: No one gets to spend a million hours wordsmithing — these are idea starters, not finishers — and posts shouldn’t be a whole lot longer than five hundred words.  Check out our first hotspot intro to read more about the thought process behind these mini-blog posts.

Is This the End of Television As We Know It?

The Future of Television- Annenberg Innovation Lab Summit from Annenberg Innovation Lab on Vimeo.

This video captures a really extraordinary and timely conversation that was recently hosted by the Annenberg Innovation Lab as part of its 2013 research summit. The panel was called "Transmedia and the Future of Television," but it was really much more focused on exploring the future of television -- particularly the future of the "program bundle" at a time of tremendous transition in the ways television operates within our culture. (If you want to know more about the research we are doing on transmedia, check out the "T is For Transmedia" report which the Innovation Lab released a few months ago in cooperation with the Joan Ganz Cooney Center).

I was moderator and the panelists were:

• Gabriel Kahn, Professor of Professional Practice, Journalism, USC
• Hardie Tankersley, VP of Platforms and Innovation, Fox Broadcasting
• Aaron DeBevoise, Executive Vice President, Network Programming, Machinima
• Howard T. Stein, Strategist for Entertainment, Facebook Inc.

The concept of "bundling" -- that is, the selling of a package of networks to subscribers rather than offering them a la carte -- has been a foundation of the cable television industry over the past several decades: cable companies advertise based on the number of channels they offer, lesser interest networks survive because they are attached to high interest networks, and industry insiders claim that this is an approach that supports diversity. Others argue that bundling is to television which block booking was to the Hollywood studio era and that sooner or later, disagregation, which has hit the music and newspaper industries, will hit television also. Part of the premise of the panel was that events over the past year or so have been transformative in how television content gets funded, produced, and distributed, and how we consume it. Part of the goal of the panel was to get people from journalism, from the television industry, and from some of the emerging digital challengers to talk about these changes and how they feel they will impact the future of the medium.

What follows are some of the key indicators that the nature of television is undergoing some radical shifts as we write (some of them are discussed here, some did not get talked about because of time limits, and some have occurred since the conference, but they all represent good background for watching this session).

• YouTube announces that 100 media companies and celebrities have signed up to launch their own channels for content distribution and the company has solicited a broader and more diverse group of people to curate their own playlists, directing attention on content which Wired describes as having a “cable feel” but being “way more niche than cable ever could.”

• Surpassing the speed and scope of the earlier Susan Boyle phenomenon, Kony 2012,  a 30 minute documentary about child soldiers in Africa, reaches more than 77 million views in under four days through grassroots circulation, drawing more eyeballs that week than the highest rated television series on American television and the top grossing Hollywood box office hit that week, combined. Its success has since been followed by the global circulation of Psy’s “Gangem Style,” which has helped to introduce KPop content into the U.S. Market.

• Hulu is offering an extensive array of international television programs as exclusive online content to their subscribers, suggesting that national borders are increasingly arbitrary in terms of television consumption, even for U.S. consumers.

• Netflix commissions House of Cards, based on their insights into the tastes of their consumers, releasing a seasons worth of episodes at once to encourage binge viewing. Netflix also brings back Arrested Development, suggesting there is life on the web after cancelation for cult shows.

• Rob Thomas finances the production of a new Veronica Mars film at least partially on the basis of funds raised from fans via Kickstarter, breaking all records by raising more than 2 million dollars worth of production costs in a single day. (See the discussion of these developments I ran here on the blog a few weeks ago)

• Amazon announces that it is commissioning eleven pilots for production as web-based television series, with the pilots to be available to the public, which will help decide which ones will go into full production.

• Some media observers note that brands may have gained greater advantage over their spontaneous social media responses during the Super Bowl blackout than they did for their paid advertising during the event. In any case, most of the brands now release their spots to YouTube and other video sharing sites prior to the Super Bowl event itself.

• According to the Pew Research Center’s Project for Excellence in Journalism, “Among adults younger than age 30, as many saw news on a social networking site the previous day (33%) as saw any television news (34%), with just 13% having read a newspaper either in print or digital form.”

• A federal appeals court in New York upholds a lower court ruling in favor of Aereo, Barry Diller's Internet startup company, which streams content from local stations via the internet without compensating the original rights holders.
• Cablevision and Verizon have filed legal action challenging the bundling of television networks as an unreasonable constraint on trade and a threat to innovation.

• Facebook invests heavily in becoming the central vehicle for supporting mobile television around the world.

• Participant Media announces that their new television network, Pivot, will be available to "cordcutters" through a mobile app, whether or not they subscribe to cable television.
• Prospect Park has brought former ABC soaps, All My Children and One Life to Live, from cancelation via web distribution.

Taken collectively, these shifts represent a significant tipping point in terms of how television is produced, distributed, and consumed. Does this spell the end of television as we know it? What happens when "television" is less a technology than a set of programming practices? What happens when more people "cut the cord" or when the industry no longer depends on the "bundle"? What happens when the intensity of fan response may become as important as the quantity of viewers in shaping which programs remain in production?

The "Creative Child" Meets The "Digital Native": An Interview with Amy F. Ogata (Part Two)

You write extensively in the book about the design of playrooms, suggesting that there is a shift in terms of children’s access to physical space within the home during this period. What factors led to the shift and what were the prevailing ideas about the design of play spaces for children?

Yes, I spent a lot of time thinking not only about playrooms and playhouses of the domestic sphere, but also public schools and museums. In the single-family dwelling, the shift I am trying to trace is the growing belief that children, whose numbers exploded in the U.S. after World War II, needed their own spaces and that these were not just utilitarian leftover spaces but rather specially designed to promote their imaginations. In architect-designed houses, there were often playrooms on the plans. Even in builder houses, there were special places indicated for children's activities. One of the main ideas was that children should have "correctly" outfitted spaces. The American Toy Institute commissioned a series of model playrooms to house numerous toys and make playing indoors attractive. Others, such as the anthropologist Margaret Mead argued that children should be left alone in their bedrooms to think and develop their own ideas. Isolation is one of the themes but proximity to the rest of the family, especially the mother, is also written into some of these houses. And the making of a "creative" home environment was stated in magazines and guidebooks as an expectation of postwar parents.

As you note, there was a dramatic increase in the number of children’s museums across this period, as well as a changing philosophy about what forms of creative engagement such museums should support. What has been the lasting impact of these ideas on current museum practices?

The form children's museums take today is, in part, a result of the enduring notion that the sensory encounter of objects will enhance learning and stimulate new thoughts. Children's museums as a type were not new, but they did increase very quickly during the Baby Boom. And while early museums emphasized nature study, their postwar versions were more likely to ask the child to experience something, whether it was being under a city street or climbing through a giant molecule. In the case of the Exploratorium, which was never specifically a children's museum but engaged lots of children, visitors were encouraged to experiment with perception. Several museums I discuss look very different today--the Exploratorium, for example, has just moved to a new facility--they now attract a much younger child than museums in the 60s and 70s, and many of the exhibits are less open-ended or they go straight for entertainment, emphasizing dramatic play over, say, studying waves in a ripple tank. I think the most long-lasting aspect is the general belief that children should be active in the museum space.

It seems to me that some contemporary efforts to develop alternative kinds of spaces for children and youth still owe a great deal to the design approaches of this era. I was hoping I might get you to comment on what someone from the 1960s would recognize or find strange about two contemporary educational spaces for children? The first is the YouMedia Center at the Chicago Public Library. 

Sounds like a great space and in some ways it resembles the kinds of open school ideas of the late 60s and 70s. In that age, the push for large open spaces and team teaching was promoted as an answer to a teacher shortage, and to enable use of "teaching machines" and media (in that day it was film, television and sound recording), and a way of engaging children in hands-on projects, like producing TV shows for their schools. While architects thought that the spaces they created would ensure that teachers and students behaved in certain ways--smaller classrooms would encourage small group instruction, larger spaces might promote collaborative projects, moveable furniture would lead to flexible spaces--however, that didn't necessarily happen. YouMedia is obviously not a space where core subjects are taught on a daily basis, but instead is an auxiliary space for exploration after school, perhaps more like the Exploratorium or the Brooklyn Children's Museum as it was a long time ago. There, children and teens could operate machines, mix soils in a greenhouse, graffiti a concrete wall, or retreat to read in a library housed in a leftover gas tank.

The second is the Los Feliz Charter School for the Arts. Again, what commonalities and differences do you see between the ideal creative spaces of the 1960s and this school?

This is another great example of the ways that progressive educational ideas are resurgent, however, this is a charter school with access to the kind of private funding that is not available to regular public schools that depend on tax revenue. The schools I discuss were all publically funded (some were in extremely wealthy neighborhoods and others in poor rural areas) and aimed to accomplish some (but certainly not all) of these same learning objectives. Many of them were small and have been changed over the years. It seems that the Los Feliz school has tried to use space to encourage curricular outcomes. Like some schools in the postwar era they have given over far more teaching space to projects like art, music and drama. Increasingly these are the subjects that are getting squeezed out of the public school day by constant budget cuts, emphasis on standardized testing, and in places like New York City, by demands on limited space. The sentiment that one teacher in this video conveys--that they are not trying to turn out artists but rather confident, well-balanced people--echoes exactly the discourse on creativity in the postwar years. The notion that creativity is a lifelong benefit that will eventually help children become competitive in the workplace has also found its way to college campuses. I don't mean to sound skeptical of creativity itself (I am an art historian!), but I think that the schemes we adopt to instrumentalize it reveal that we lionize creativity as a cultural myth at moments when we feel insecure.

Amy F. Ogata is associate professor at the Bard Graduate Center: Decorative Arts, Design History, Material Culture in New York City. She is the author of Art Nouveau and the Social Vision of Living. Her new book, Designing the Creative Child: Playthings and Places in Midcentury America was recently published by the University of Minnesota Press.

The "Creative Child" Meets the "Digital Native": An Interview with Amy Ogata (Part One)

 

The Post-War American family turns out to have been a much more complex phenomenon than our stereotypical images of Leave It To Beaver might suggest. The Baby Boom generation, invested in critiquing the values of their parents, left us with an image of the era which is highly conservative, ideologically repressive, emotionally sterile, and materialistic -- there's some truth to these cliches, of course, but there was much more going on. In particular, there was an attempt, coming out of the Second World War, to embrace a conscious project of designing and developing a new generation which would be free of the prejudices of the old, which would be capable of confronting global problems and making intelligent decisions about the Bomb, which would be democratic to its core and thus resistant to future Hitlers, and above all, which would be free of inhibitions which might block their most creative and expressive instincts.

I've long been fascinated by this period but rarely have I seen it written about with the depth and insights that Amy F. Ogata brings to her new book, Designing the Creative Child: Playthings and Places in Midcentury America. Ogata brings a design/art history perspective to bear on the period, telling us more about the ways that ideas about children as expressive beings helped to inform the design of toys, playspaces, schools, libraries, museums, and other public institutions, and beyond that, she offers some glimpses in how these ideas about creativity helped to shape children's books, television, and other popular culture texts. I came to the book for the insights that it might give us into the children's media of the 1950s and 1960s, but I left with a much more immediate sense of how a deeper understanding of how ideas about childhood during that period might speak to our present concerns. As I wrote as a blurb for the book:

At a time when the news media is again concerned about a crisis in American creativity, schools are cutting funding for arts education, major foundations are modeling ways that students and teachers might 'play' with new media, and museums worry about declining youth attendance, Designing the Creative Child makes an important intervention, reminding us that these debates build on a much longer history of efforts to support and enhance the creative development of American youth. I admire this fascinating, multidisciplinary account, which couples close attention to the design of everyday cultural materials with an awareness of the debates in educational theory, public policy, children's literature, and abstract art that informed them.

So, the following interview is designed to explore those points of intersection between the "creative child" as imagined in the post-war period and the "digital native" as conceived in the early 21st century. As a careful historian, Ogata was careful to make some nuanced distinctions between the two, yet she was open to exploring the ways that these older concepts about childhood might still be informing some of our current discussions about digital media and learning.

You open the book with a quote from Arnold Gesell who writes that “by nature” the child was “a creative artist of sorts....We may well be amazed at his resourcefulness, his extraordinary capacity for original activity, inventions and discovery.” This formulation reminds me of contemporary formulations of children as “digital natives” who "naturally" know how to navigate the online world. What do you see as some cornerstones of this belief in the “creative” child? Is the goal for adults to facilitate and support this creativity or to get out of the way and avoid stiffling it?

This is an interesting analogy and one I had not considered. Gesell is articulating a sense of surprise and admiration, and it resembles how we speak about children navigating digital devices. What the concepts of the "creative child" and the "digital native" share is an essentialist belief that children are somehow "naturally" inclined toward certain expressions or activities, and it is very hard to support these kinds of overwhelming generalities. Moreover, while we might praise the "naive" and untutored, behind these sentiments I also detect both a patronizing quality and a sense of loss or regret on the part of the adult. The idea of the creative child is one invented by adults and, as I argue, it serves many different interests, from toy manufacturers to art museums, Cold War ideologues to serious scientists.

The cornerstone of the idea of the creative child is that he or she possesses "natural" insight that comes out in play. Another related belief is that childhood creativity is a fleeting quality that has the potential to provide future gains for the child, her parents, and the nation. Because the idea of nurturing creativity in children was so widespread (and such a big business) after World War II, we tend to understand children's creativity in limited, usually positive terms and we expect it to take certain forms. This, perhaps, is where the creative child and digital native part ways, given the lingering popular suspicion around children and the digital environment (the belief that kids might get themselves or others in trouble). In the historical case I outline, it is a parent's responsibility to facilitate a child's creativity by providing toys, amusements, and spaces for play. But the public was also invested in some of these notions, evident in new public schools, spaces for exploration such as museums, and in art education programs.

What connection existed between the ideal of the creative, expressive child and the growing consumer culture of the post-war period? What kinds of products were able to attach themselves to this particular construction of childhood?

The consumer dimension was a powerful one and has become even more so today. It's hard to escape the rhetoric of creativity if you're shopping for toys or games, or other things like clothing and schools. The child's block, the cardboard box, and crayons were some of the most romanticized and widely prescribed amusements of the postwar age. In addition there were some objects, created by architects and designers, which were deliberately arty and were sold specifically as creativity toys.

Magnet Master was a magnetic building toy designed by Arthur Carrara and developed as a product of the Walker Art Center. There were no instructions or diagrams because, the museum reasoned, children didn't need them and would do better on their own. The Philadelphia architect Anne Tyng developed a building toy she attempted to market under the idea of stimulating children to build and explore. Charles and Ray Eames's 1950s paper toys were similar but used different materials and were more widely available and for a longer time. But other products, once so ubiquitous, have now completely disappeared. The simple indoor fabric playhouse that draped over a card table is gone, in part because people no longer have those standard-sized card tables.

To what degree was the ideal of the creative child bound up with particular experiences of class, race, and gender? This is, was the expressive child more likely to be middle class, white and male, or did these writers offer a more multicultural understanding of what constituted creativity?

The figure of the creative child in this historical era is extremely middle class, but not exclusively male and not exclusively white. In the early 1950s, white children are implied in the toy ads and housing schemes, by the early 60s, this is still dominant but less so. Creative Playthings placed ads in Ebony, for example, and the Brooklyn Children's Museum's 1970 renovation was very much designed with the local Crown Heights neighborhood in mind. The creative child is a construction that aims to overlook difference while simultaneously selling exclusivity. This is one of the paradoxes of the idea. Creativity is described as something that all children are supposed to possess "naturally," but at the same time parents and teachers are told that it needs careful tending and stimulation, usually through specific kinds of toys and materials.

What role did television play in promoting and supporting this concept of childhood creativity?

Television was of course a central force for the representation of childhood in postwar America and had a role to play in helping to create the specific figure of the creative child. I spend most of my book describing material and spatial forms that do this work, but there are several programs that also had an important role in the making of the idea. Winky Dink, which asked the child to "finish" the story by drawing on a special screen affixed to the TV itself, is an obvious example for harnessing the child's agency, but the character who, I think, best represents the image of the postwar creative child is Gumby.

Gumby's energy and imagination are represented in the many physical forms he takes, and the way he and his sidekick Pokey move in and out of stories, eras, and places. His exuberant inquisitiveness sometimes brings havoc upon himself and his family, but this is of course resolved before the end of the program. The way creativity is constructed on television and in children's books emphasizes the positive and tends toward happy endings.

Often, across the book, it seems that children’s imaginations are linked to various forms of abstraction. What was the relationship between childhood and the modern art world during this period?

You are right about this. Abstraction is one of the recurring motifs of the designed objects and spaces I discuss. Frank Caplan, who was one of the founders of Creative Playthings, believed that undefined shapes and unpainted forms would help to stimulate a child's imagination. The company sought out artists to design toys and playgrounds to enhance their business and for cognitive developmental reasons, but also because they were genuinely interested in the links between modern art and design and objects for children; they collaborated several times with the Museum of Modern Art. This occurred at a time when abstract painting and sculpture was gaining prestige in both the U.S. and Europe, and had a propagandistic role in the Cold War. However, the twinning of abstraction and a child's imagination (evident in forms like children's drawings) is an older idea. Early twentieth-century European modernists deeply admired the representational strategies of children's art. This notion comes back with new vigor in the "Creative Art" education curriculum that asked pupils to express their experiences rather than copy models. There was, then, a demand placed on children to be creative, and often abstract.

 Amy F. Ogata is associate professor at the Bard Graduate Center: Decorative Arts, Design History, Material Culture in New York City. She is the author of Art Nouveau and the Social Vision of Living. Her new book, Designing the Creative Child: Playthings and Places in Midcentury America was recently published by the University of Minnesota Press.

Bastard Culture!: An Interview with Mirko Tobias Schäfer (Part Two)

Your more recent work on Twitter has deployed the concept of a gift economy, building off some of the ideas in our original white paper on Spreadible Media. How are you defining gift economy? Why is this appropriate for talking about digital media? How do contemporary forms of gift economies in the context of capitalism differ from more classical understandings of this context?

It is less the 'economy' in gift economy than the 'gift' that interests us. The gift as a 'public recognition'. And this initial public recognition with the intention of more exchanges in the future, is a key aspect in gift economies as Boris Malinowski has pointed out. Together with my colleagues Johannes Paßmann and Thomas Boeschoten we looked into Twitter data to retrieve patterns of communication (The Gift of the Gab. Retweet Cartels and Gift Economies on Twitter). When investigating two samples, the MP's of Dutch parliament and the German top Twitter accounts, we noticed clusters of users who were retweeting each other frequently, so called retweet-cartells, similar to citation-cartels in academia. We argue that the retweet equals a 'public recognition' and it can serve as an 'opening gift' with the intention to receive retweets in return.

What does the notion of the gift economy help us to see when we look at patterns in how content travels through Twitter?

We explicitly refer to your recent work on spreadable media where you employ the notion of gift economy to explain spreadability. We agree with you that this concept provides more plausible explanations for the distribution of online content than the notion of 'viral distribution'. The retweet, the repin, the favourite are intrinsically related to attention. However, they are 'cheap' gifts as they are abundant. But such a gift can gain more value through the status of the user retweeting a less popular account and hence drawing attention to it. Therefore it is unsurprising that we find politicians mostly retweeting their own party members. Members of the Favstar scene frequently retweet accounts that are equally popular. They form a retweet cartell, very similar to academic citation-cartels. However, when we look at the @replies within our sample of Dutch MP's we can see that they do not limit their communication to their own party members but with colleagues from all parties. Therefore, we conclude that if attention is drawn to messages through retweeting, users become selective in whom to award the 'gift' of a retweet.

I do not know how Paßmann and Boeschoten feel about it, but I would not necessarily stick to the strict economic understanding of the 'gift economy'. I think it will prove even more useful to adapt the term. It is most likely a feature of stimulating communication and connection. With communication, I mean ephemeral communication, not conversations. The 'gift' is important to fuel initial contact making. Features as the retweet, the favourite, the repin, the +1 etc. are the grease of initial social interaction on large platforms. They facilitate low threshold communication; communication is the wrong word, and even contact is not covering it. It is something between a mere ping, recognition and contact. But it is crucial to enable interaction of users and spreadability of content in social media.

Your research is interesting for the ways that it combines large-scale/quantiative “sentiment analysis” tools with more qualitative use of cultural theory. Does this reflect different skill sets within the team of researchers? Are there any insights you’d like to share about mixed methods research growing out of this project?

I'm teaching at a media studies department within the Utrecht University humanities faculty, where usually qualitative research methods are paramount. But researching new media where any user activity produces data that can be analyzed stimulates to employ those data for research. These digital methods -as Richard Rogers has dubbed them- are invaluable expansion of our tool set. In the meantime many applications are available and many more are underway. Commercial platforms provide tools, but also the two main pioneering groups in this area, Manovich's Cultural Analytics  and Roger's Digital Methods Initiative  provide handy tools on their websites. For our Utrecht Data School  we teamed up with Buzzcapture  as a technological partner that supports our research actively with tools for data aggregation and social media data analysis. We conduct research concerning specific questions for our partners from public administrations, NGO's and corporations. However, we take the liberty of asking different questions than the partners posed, or approach things from different angle.

I can see that student teams quickly develop a sort of division of labor, where scraping of data, working in spreadsheets, visualizing data and networks are carried out by different members of a team. We try to prevent this as far as possible, because we want all students to be involved in the entire process of the research project from scraping the data, cleaning up the data and preparing them for analysis and visualization to interpretation and contextualization. However, this is not easy, as there are indeed many specific tasks that require specialized knowledge and skills.

This work is inherently interdisciplinary. Software developers, computer scientists, data scientists, statisticians and also data journalists are great to team up with for different research projects. We frequently invite colleagues from very different areas to participate in the Utrecht Data School, either through directly contributing to a project or to teach students.

To the humanities researcher this development is exciting for two reasons: data analysis and visualization produces new insights in the online phenomena we are investigating. But through conducting these tools and methods we learn also about their role in epistemic processes. Our knowledge society increasingly thrives on computed results and automated information processing. The computer generated infographics appear persuasively convincing. It is therefore important to develop literacy that allows us to use the tools but also to be informed about their limitations and their persuasive effect. In view of your concerns about techno-determinism -which I share- I want to emphasize that we deliberately want them to develop critical understanding for the role of information technology in our epistemic processes.

We also want them to experience how unstable, how experimental and exploratory our research activities are. Although we think the results are often compelling, we want to keep up a healthy skepticism and remain open for doing things differently. We are also aware that we are in a data-rich environment, but that unfortunately research can appear analysis-poor. And I think it is necessary for the emerging 'digital humanities' to make this skepticism an inherent part of their use of information technology.

Mirko Tobias Schäfer is assistant professor of new media and digital culture at the University of Utrecht (Netherlands) and research fellow at Vienna University of Applied Arts. He blogs at www.mtschaefer.net.

Bastard Culture!: An Interview with Mirko Tobias Schäfer (Part One)

It says something about the compartmentalization of academic culture that I only belatedly discovered Mirko Tobias Schäfer's Bastard Culture!: How User Participation Transforms Cultural Production (published by Amsterdam University Press in 2011) -- a work which poses some important critiques of the concept of participatory culture, especially as it relates to recent developments around Web 2.0 and social media. Schäfer, based in the Netherlands, represents an important tradition of critical theory about new media which has emerged most emphatically from Europe and which should be better known among those of us working within the United States. As we discuss here, he is especially interested in the ways that technological designs constrain or limit our participation, rendering it less meaningful, commodifying it, in ways that run directly counter to the explicit rhetoric about expanding participation and empowering users. Read closely, Schäfer's work still embraces the value of democratic participation, yet he wants to hold companies, and scholars, to a high standard in terms of what constitutes meaningful forms of participation, and he is eager to push us beyond the first wave of enthusiastic response to these new affordances in order to look more closely and critically about how they are actually used. As my interview here suggests, there are points of disagreement between us, but there is also much common ground to be explored, and there is an urgent need for researchers from different critical and disciplinary perspectives to be working together to refine our understanding of the current media landscape. I had the pleasure of sitting down with Mirko at the recent Media in Transition conference at MIT and look forward to many future exchanges.

Having last week featured an interview with the editors of The Participatory Culture Handbook, I want to continue this focus on new theories of  participation by sharing this recent exchange I had with Schäfer.  I have come away with an even deeper respect and admiration for Schäfer's nuanced critique of digital participation. The first installments of this interview involve looking backward to his Bastard Culture book, exploring the convergences and divergences in our thinking, and reflecting on how the debates around digital media have shifted since 2011. The closing segment shares more recent work Schäfer and his colleagues at Utrecht University have been doing using "big data" processes (in combination with more qualitative approaches) to better understand the kinds of social relations that are taking shape on Twitter.

The title of your book, “Bastard Culture,” is meant to suggest the ways that the worlds of users and producers, consumers and corporations, are “intertwined” or “blended” in the era of Web 2.0. I suspect we would agree that understanding the relations between these terms remains a central challenge in contemporary cultural theory. The goal is, as you suggest, to “provide an analysis that is not blurred by either utopian or cultural pessimistic assumptions.” Are we any closer to developing such an analysis today than we were when you first published Bastard Culture? If so, which contemporary accounts do you think help us to achieve this more balanced perspective?

It was indeed my goal to point out the general heterogeneity of online culture as well as to deconstruct the overly enthusiastic connotation of participation. Especially in academic discourse the unconditional enthusiasm for the so-called social media has cooled down by now. We can see important contributions criticizing social media platforms for their lack of cultural freedom (e.g. strict content monitoring), breach of privacy and their commercial use of user activities and user data.

I like to distinguish this critique in three general approaches, which separately focus on a) free labour, b) privacy issues and c) the public sphere quality of social media.

Drawing from Marxist theory these authors -among others Trebor Scholz, Mark Andrejewich, Christian Fuchs and partially Geert Lovink- criticize social media platforms for generating an unacknowledged surplus value from user activities and for determining effectively the scope of user activities in order to maximize commercial results. Scholz's programmatic publication The Internet as Playground and as Factory is a strong example of this approach.

The strict regulations imposed by platform providers in combination with excessive data aggregation on users and their online activities sparked criticism concerning the lack of privacy by Michael Zimmer, Christian Fuchs and others. The general threat of surveillance -exerted by state authorities- has been convincingly addressed and criticized by Ronald Deibert, Evgeny Morozov, Wendy Chun, Jonathan Zittrain and others.

The public quality of interaction and communication on social media platforms has been described by Stefan Münker as “emerging digital publics”. Framing social media as a public sphere is not highly developed, but it provides in my opinion the most intriguing approach to understanding social media platforms and their impact on society.

Yes, I think we have made some progress in describing media practices more accurately and to give up on media myths that constituted the legend of new media as emancipating users. And this plays even out in the realm of the more general public. In Germany, the Frankfurter Allgemeine Zeitung -a conservative/market-liberal newspaper- calls for a society-wide debate on technology and provides a platform for members of Computer Chaos Club to criticize technocratic policies and short-sighted understanding of technology and media. Evgeny Morozov is also doing an excellent job with his crusade against techno-populism; or think of Jaron Laniers superb critique of imprudent media use and hasty enthusiasm. It is absolutely crucial to have these debates within the popular discourse, as it is the popular discourse that shapes the general understanding of technology. That is why I have tremendous respect for scholars who are able to reach out to general audiences and to translate complex issues in accessible language.

As you note, participation has become an increasingly problematic word that is used by many different people in support of many different and often contradictory claims about the relationship between new media technologies and consumer empowerment. What steps can we make to reclaim participatory culture as a productive category for cultural analysis?

My objective was to deconstruct the ideological connotation as well as the emotional charge of 'participation'. Recently, we can see a similar problem with the metaphor 'social media'. It fuels a misunderstanding of media and media practices and it structurally obscure the agency of technology (the back-end as well as the user interface), power structures and economic factors.

In my opinion, it would be already helpful to pay close attention to the language we use to describe media and media practices. Many scholars can easily identify with emancipation, anti-hegemonic attitude and political activism. However, in our enthusiasm we tend to overestimate certain practices and misrepresent media use. We have therefore to take off our blinkers. I often tell my students, that if you really like your object of research, the chance is high for making mistakes and for neglecting important facts that would distort your picture.

That's funny. I tell my students that when you start from too critical perspective, it will be easy to flatten or simplify the phenomenon you are studying, to not look very deeply for redeeming or contradictory features, and to not take seriously what the activity might mean for those who embrace it.

Of course I agree. Being too critical is just as distorting as being too enthusiastic. What is needed is curious interest and willingness to get to the bottom of things, even if it will change your previous view of them. And research methods provide useful ways to do so.

'Participatory culture' can serve as productive category for cultural analysis if scholars distance themselves from their personal appreciation of media practices that might be close to their hearts but not necessarily representative for online culture. This would help to recognize the heterogeneity of the phenomenon we call participation as well as the ambiguity of technology. Taking technological aspects thoroughly into account, using 'digital methods' and putting case examples into perspective of the broader picture will help to do so.

The forms of participation which interest me the most are explicit participation -- that is, places where people are making conscious decisions to create media or otherwise communicate with each other about issues of mutual concern. Can you explain what you mean by implicit participation and how it relates to the claims being made by Web 2.0 companies to support participation? In what sense is it meaningful to describe “implicit participation” as participation? What are we participating within?

With implicit participation I describe how platform providers have integrated user activities into easy to use interface design and eventually implemented into business models. Implicit participation describes how user activities are channeled through the platform provider's design decisions. This ranges from interface elements as the like-button, the incentive of views on Flickr or YouTube to strategies where user unknowingly participate in additional functions of the feature they are using on a platform. The reCAPTCHA is an example of implicit participation where information provided by users for accessing a web feature is re-used in a completely different context. Many so-called gamification practices are examples of implicit participation.

I would argue that the popular 'social media' platforms thrive on implicit participation. It reduces consequently their dependence on intrinsic motivation, which is so crucial in explicit participation. Explicit participation becomes merely optional. The key is to lower the threshold and encourage the generic production of content, through creating data by simply using the platform's features or by spreading or multiplying content through the easy-to-use features of reproduction: retweet, repin, share etc. or to interact through ephemeral features as the like button. We will see many more and far better forms of implicit participation integrated into web platforms in future.

A key difference between our perspectives is that you place a much greater focus on the ways that technologies enable or constrain participation, where-as I primarily discuss the social and cultural motives which shape how people use technologies. Let’s assume we both believe that both technology and culture have played a role in defining the present moment as one where issues of participation are increasingly central to our understanding of the world. I would argue that there is a difference in understanding technology in terms of affordances and in terms of determinents, given the degree to which technologies are, as you note, subject to various forms of appropriation and redefinition once they have been designed and given that digital media can be re-coded and reprogrammed, even at the grassroots level, by those committed to alternative visions of social change. I worry, though, that ascribing too much power to technology results in models of technological determinism, which make certain outcomes seem inevitable. There has been such a strong tendency in this direction over the past several decades, whether critics worrying that Google has made us stupid, or advocates talking about the democratizing effects of the internet. Thoughts?

I am also worried about a simplified view of 'technological effects'. Especially in the popular discourse. there is a plethora of short sighted publications on the potential benefits or downsides of technological development. However, I would not argue that those perspectives inquire the technology but abuse it as a black box that facilitates whatever effect they wish to see unfold. In opposite to scholars, those writers are in the business of selling books, not in the business of conducting research.

I do not think that I am supporting a techno-determinist perspective by investigating technological qualities and by paying attention to the way design affects user activities. The popular 'social media' applications teach us, that we have so far underestimated the role of interface design, back-end politics and API regulation in the cultural production and social interaction playing out on these platforms. I can't possibly neglect that power also comes in shape of technology or as Andrew Feenberg put it: “technology is the key to cultural power”. I am not focused on technology as determining on its own account, but on its agency in close interrelation with designers, users, ownership structures, and media discourses, and others actors.

While my primary emphasis in talking about participatory culture might be described as symbolic appropriation (i.e. the manipulation of narratives, characters, symbols, icons, or brands), the central focus of your analysis is on “hacking” the material dimensions of technology, including, for example, game modifications or free software efforts. We might extend this focus to include a broader array of other material practices -- including Makers and Crafters -- who are central to current discussions of digital culture. What do you see as the consequences of this shift in focus in terms of our understanding of how participation works or what a more participatory culture looks like?

What I really liked about Textual Poachers was that you compellingly showed how open media texts are, not only to interpretation as Fiske had pointed out, but directly to 'material' appropriation and how it contributed to an entire field of cultural production. The world wide web then made the textual poachers explicitly visible, for marketeers and the general public. The second aspect I find important, and unfortunately this aspect is frequently overlooked, is that you outlined the history and the predecessors of today's read-write culture. With the maker culture similar debates concerning 'poaching' will unfold. We will see a new debate on copyrights and corporations will go out of their way to protect their designs from being 'printed'. There will be attempts by providers of 3D printers to control the device and its use. I would assume that the dynamics which I have dubbed confrontation, implementation and integration will play out in relation to the makers culture as well. The recent debates on MakerBot's decision to deviate from the open-source model indicate an attempt of implementation.

As you note, the initial wave of excitement about participatory culture has been met with strong critiques focused on issues of free labor and data mining as forms of exploiting the popular desire for more meaningful participation. Can you describe some of the ways that users have sought to assert their own claims on the technology in the face of their ownership and exploitation by the creative industries?

It's remarkable that dissent with a corporate platform plays out in quite traditional forms of protest and petition. On Facebook users 'like' petitions that represent their claim for better privacy regulations, or they formulate a Social Media Bill of Rights, call for a QuitFacebookDay etc.

There are other examples such as the Social Media Suicide Machine which allows users to delete their profiles. Then there are alternatives to the commercial web platforms and services. Diaspora was heralded as the Facebook killer and is now depict as a barrel burst. The UnlikeUs conference has been established as a platform for critics of 'social media monopolies' to connect and to discuss alternatives. But we can also see that civil right groups and privacy advocates lobby on behalf of users. However, I am afraid that the majority of the users can't be bothered with these issues.

You conclude the book with this important statement: “We must not sit on our hands while cultural resources are exploited and chances for enhancing education and civil liberties are at stake.” This seems like a powerful statement of what’s at stake in debates about participatory culture. So, what forms of action do you think we can or should take as scholars and as public intellectuals to respond to this situation?

The easy to use interfaces of the social web stimulated a new large group of users to use the world wide web. It also put the web again on the agenda of policy makers to regulate, to control and to monitor user activities. Designed as advertiser-friendly platforms, social media inherently provide the possibility for user assessment and control through API's which are already routinely used by law enforcement. We can also see how the powerful companies as among others Apple, Facebook, Google and Amazon affect cultural freedom on the web. Facebook's prudery appears (especially to us Europeans) as astonishingly weird and hostile to culture and freedom of expression. However, since social media platforms have emerged as an expanded public sphere, the censorship of items that might distort the rosy world-view of advertisers and the naivete of uninformed users is appalling. I would not mind if those platforms were a shopping mall somewhere in the margins of the world wide web, but they increasingly become a center part of the web and therefore an important role in our public sphere.

Unsurprisingly, Facebook is the poster boy for policy makers when thinking about eGovernance or other fancily dubbed forms of harmless civic participation. Facebook promises a dangerously safe way of dealing with citizens as their implicit participation features render participation into an easy-to-handle commodity that provides participation as a mere lip-service. Something, that even in democratic societies is still very appealing to policy makers.

What we need, is a society-wide debate on technology and its role in society. We need to discuss to what extent we accept platforms to distort the view upon reality by creating an controversy-free and advertiser-friendly filter bubble.

Mirko Tobias Schäfer is assistant professor of new media and digital culture at the University of Utrecht (Netherlands) and research fellow at Vienna University of Applied Arts. He blogs at www.mtschaefer.net.