Tuesday, December 9, 2008

Super 8 Movies of a Modern Family Vacation


I dug out some Super 8 movies that I filmed in 2005 while on a road trip with my wife Myah. This was our first trip together before we were married. I borrowed a 15 foot Aloha travel trailer from my neighbor. There's nothing quite like a camping/road trip to find out if you're compatible or not!

We ended up buying the trailer from my friend last year and spending over a month camping in it this past summer.

I found this old Canon autofocus super 8 camera and decided to shoot with it. I think it's interesting to get the old feeling of a classic family vacation from the I Love Lucy television era. I can picture my mother and father making this trip with dad wearing plaid shorts and black socks.

The juxtaposition of the old technology, including an old trailer with a more modern car towing it and using final cut pro to edit it. I couldn't afford a telecine for this so I just projected the movie on a white wall and captured it on my Sony VX 2000 video camera. The movie projector sound is from the actual projector I used when projecting.

I think it's an interesting blend of old and new and my own way of exploring the notion of family films that my parents era used to break out at every family function or party. It was also interesting to have only 12 minutes of film stock for a one week trip. I wasted the first cartridge figuring out how to use the camera. I wish it wasn't so expensive to get film processed these days because I think it's beautiful. Perfect for a fleeting memory...

I decided to add titles without narration to keep with the idea of a silent film. I couldn't resist the music though. There's something about a road trip and George Jones country music as well as a little travel music.

I guess you could call this a mashup of eras, film and video technologies, and music. Just perfect for the Web 2.0 era.

Monday, December 8, 2008

The End of Newspapers?


The impact of user generated content on the newspaper industry is profound. Classified ads are being replaced by Craigslist and Ebay, and circulation numbers are dropping as a new generation of students leaving high school and college no longer rely on printed news media.

In addition to this, media production is now available to anyone with a computer and Internet access. Online media is no longer a specialized industry, but rather is a social phenomenon where the current generation is actively participating in the creation of content such as visual media production (i.e. photos and videos on Flickr and YouTube), consumer product ratings and comments, (i.e. Amazon) and self published blogs. 1

“Citizen media are also growing in ways unmistakable and engaging . Web sites run by citizen journalists are multiplying – rapidly approaching 1,500 heading into 2008 – offering stories, blogs and videos. And that trend is considered a healthy one by professional journalists, who call on citizens more frequently to inform their reporting.” 2

The newspaper industry is in economic decline. Recently Gannett Newspapers, publisher of USA Today and over 80 regional papers has laid off over 3000 employees (10 percent of their workforce) in the largest cutback in the 102 year history of the company. 3

One of the worlds most respected international daily papers, the Christian Science Monitor, recently stopped print production and has become an online daily newspaper that publishes a weekly magazine in print. 4

Causes of the decline in newspapers:
Newspapers are funded primarily through advertising revenue. Subscription revenue only covers the cost of distribution. Up to 40 percent of revenue has traditionally come from classified ads. Most of that revenue has disappeared due to the widespread use of websites like Craigslist and Ebay.

As circulation numbers decline, traditional print advertising has evaporated from many pages. Newspapers have resorted to emphasizing special insert advertising that costs more to produce and distribute and yield a lower profit margin. Spokesman Review editor Steve smith explains in his blog,“Ad inserts are not a boon, they are part of the problem. As advertisers move from in-paper advertising to inserts, they pay less, much less. As inserts represent a decline in what we call ROP (run of paper) advertising, revenues decline.”11

Many newspapers have tried to make the switch to New Media by retraining reporters and photographers in the field of digital filmmaking. Staff Photographer Colin Mulvany, from the Spokesman Review became a national figure by becoming an early adopter of video and blogging technology. His video blog was an immediate hit by attracting over 10,000 hits per day. His blog was featured in the Wall Street Journal and he was invited to give training workshops all over the country by the National Press Photographers Association.1

The development of online media however, has not led to the growth of newspaper advertising. The online version of the Spokesman Review has been unsuccessful in converting web circulation into advertising revenues. Among the problems Colin notes, is the ability for a web surfer to click away from content that is too slow to download, or too full of advertising messages. Print media’s attempt on online media followed a traditional broadcast television format of using advertising pre-roll and post roll with news content presented in between. Early video posts had 30 second ad spots in front of the content, in a manner similar to the 30 second spot on television. Web surfers would bypass these ads and exit the website altogether. Today, Gannett and The New York Times utilized 12 second pre-rolls and the Spokesman Review is experimenting with 7 second pre-rolls and are still seeing their audience taking an early exit from the ad-heavy messaging.

Some newspapers, including the LA Times and the Spokesman Review are retreating from their online strategies and laying off their newest multimedia employees. 1

What are newspaper’s doing wrong?
The paradigm shift in news reporting has been underway for the past 10 years. The concept of a “citizen journalist” was introduced by the American Media Institute in their groundbreaking book “We Media.” The concept behind citizen journalism is that non professional journalist (the public) can use modern media technology to fact check mainstream media articles, comment on articles, and report breaking news. During the London Tube bombing in July 2005, over half of the news photos that were published came from passenger cell phones.

In addition to this, the internet has introduced a new level of fan based community building that has emerged as a major source for information about companies, products, teams, etc. These fan sites have become major sources for news items.

“According to a recent Sports Illustrated story, "there is little doubt that fan websites are breaking — and making — news and dramatically reshaping the relationship between college coaches and the public. Mainstream news media, SI included, monitor website message boards to take the public's pulse and, in some cases, look for news tips."

According to Technorati there are over 7 million blogs. We live in a time where not only are newspapers presenting the news, their employees are self publishing personal blogs that give us insight into the daily operations of the news media.

“From a journalistic perspective: Blogging and other conversational media are entering a new phase when it comes to community information needs — they're growing up. Traditional media are using these tools to do better journalism, and are beginning to engage their audiences in the journalism. Entrepreneurial journalists are finding profitable niches. Advertisers are starting to grasp the value of the conversations, and so on. The big issues remain, including the crucial one of trust. Here, too, we're seeing progress. The best blogs are as trustworthy as any traditional media, if not more.” - Dan Gillmor, Director, Knight Center for Digital Media Entrepreneurship, Walter Cronkite School of Journalism & Mass Communication, Arizona State University startupmedia.org

The Challenge newspapers face is two fold. First, participatory journalism operates in direct opposition of the traditional gatekeeper role of mainstream journalism. The idea of a “informed public” that follows a hegemony ideology within news narratives has been wiped out by the internet technologies that have reduced the cost of publication and distribution to the point where anyone with a computer and online access can have a voice. The separation of news and conversation (see we media footnote) has been smudged by online web 2.0 tools that enable the audience to actively participate in story making. User generated content is also tapping into traditional advertising revenue. 6

“The majority of bloggers we (Technorati) surveyed currently have advertising on their blogs. Among those with advertising, the mean annual investment in their blog is $1,800, but it’s paying off. The mean annual revenue is $6,000 with $75K+ in revenue for those with 100,000 or more unique visitors per month. Note: median investment and revenue (which is listed below) is significantly lower. They are also earning CPMs on par with large publishers.”9

The second challenge to newspapers is the fact that advertisers themselves have been able to capitalize on the development of fan based online communities. Viral marketing on social websites and corporate sponsored websites have marginalized traditional news media’s influence on advertising. 10 & 12

New media and user generated content has emerged as a social practice that has overwhelmed the professions it was built upon. The picture is not clear as to what will become of media professionals and journalist.


Sources:
  1. Author interview of Spokesman Review media manager, Colin Mulvany, September 26th, 2008
  2. http://digitallearning.macfound.org/atf/cf/%7B7E45C7E0-A3E0-4B89-AC9C-E807E1B0AE4E%7D/JENKINS_WHITE_PAPER.PDF
  3. http://www.stateofthenewsmedia.org/2008/narrative_online_intro.php?cat=0&media=5
  4. http://www.nppa.org/news_and_events/news/2008/10/gannett_layoffs.html
  5. http://www.nytimes.com/2008/10/29/business/media/29paper.html?fta=y
  6. http://masteringmultimedia.wordpress.com/2008/10/03/layoffs-hit-the-spokesman-review-hard/
  7. http://www.hypergene.net/wemedia/weblog.php
  8. http://www.hypergene.net/wemedia/weblog.php?id=P41
  9. http://technorati.com/blogging/state-of-the-blogosphere/
  10. Williams, M. (2007). “The Cult of the Mohicans: American Fans on the Electronic Frontier”. The Journal of Popular Culture, 40:3, pp 526-554
  11. http://www.spokesmanreview.com/blogs/conversation/archive.asp?postID=18823
  12. Wiertz, C., de Ruyter, K., (2007). “Beyond the Call of Duty: Why Customers Contribute to Firm-hosted Commercial Online Communities”. Organization Studies, 28:3, pp 347–376

Friday, December 5, 2008

The structuring of linguistic sign and signifier-signified relation according to Saussurian semiotics


The linguist Ferdinand de Saussure describes language as consisting of two representational systems. The first is a system of mental representations that are our interpretations of the external and internal worlds. These mental representations become a conceptual map of our experiences. In order to communicate with others we must each have conceptual maps with enough similarity to have common references. This similarity is the foundation for our self-identities and culture.

In order to share our interpretations of the world we utilize a system of linguistic codes (letters) and rules (grammar), which is the second system of representation at work. Codes are put together to form signs that represent the meaning (actual object or idea). Language is a system of signs that represent the relationship between meaning and the codes used to signify that meaning. De Saussure labeled these two components of a sign as signifier (symbol), and signified (concept) and developed the semiotic field of study. Signs are a system (LANGUE) of representation that binds meaning to the expression (PAROLE) of that meaning.

De Saussure’s work focused on the structure of language (LANGUE) rather than the meaning of individual words (PAROLE). Within the two systems of representation there are two principles at work: association and differentiation. The mental representation system relies on associations that correlate signs to meaning, while language relies on a system of codes that require differentiation. No two symbols or words can be identical. Differentiation is abased upon the idea of binary opposites. We establish what a word is by comparing it to another word it is not, and since language functions in a linear manner of time and space we can only compare one word to another at a time, thus creating a binary pair. For example, the letter ‘s’ differentiates the binary pair dog/dogs.

Words can only be spoken or written one at a time in a linear manner. Each sentence represents a chain of words whose meanings are impacted by the word order. For example, the sentence, “the dog ate the bird” has a different meaning than if you changed the word order and wrote “the bird at the dog.” The position of each word creates a SYNTAGMATIC relationship.

While written or spoken language is linear and dependent upon syntagmatic relationship, signs themselves are stored in memory through associative relationships. Mnemonic memory devices may associate words with a similar sound such as, celebration and castration or any other word that ends with ‘tion’. Associative relations are maintained only in our mind while syntagmatic relations are a function of linguistic structure.

Individuals cannot affix the meaning of a sign. In order for signs to be communicative, there has to be agreement among the members of a culture as to what values (signifier and signified) are represented by the sign. People who speak Chinese have to all share the same understanding of what the symbolic characters (codes of language) represent and in what word order (grammar structure) they are expressed in order to form a shared understanding.

Signs are culturally specific and arbitrary. Signifiers can be changed and attached to different concepts. An example of this is the word Gay. Historically the word gay has been used to depict an emotion. The contemporary definition of the word within the English language is that of a sexual orientation. This transformational process compels us to view language in terms of its historical reference. Meaning is not affixed permanently and can be changed during any period of time.

When you think of signs in terms of representation you realize that any form of expression (music, writing, painting, architecture, photography, etc) can be viewed as a language of signs.

A Review of Robert McChesney viewpoints on the media landscape


McChesney makes note of four major trends in media:
• Corporate concentration
• Conglomeration
• Hypercommercialism
• Globalization

Corporate concentration occurred after WWII and represented the classic “buying of market share” through horizontal integration. Media markets became Oligopolies that operated within distinct media markets such as newspaper, radio, magazines, books, television, film, and music. Within each of these markets there were a small number of firms who had control over market share.

As technology developed and the number of media outlets increased one would think that the number of media firms would also rise, but in fact the market reaction to the growth of media is one of greater corporate concentration and the emergence of conglomeration and vertical integration into two or more media markets. Newspapers took ownership of television stations and radio stations. Film Studios took over Theatre chains. With advertisers having a growing number of options to market their wares, media companies responded through mergers and acquisitions to create 10 top tier media companies (now perhaps only 6). News Corp President Pete Chenin described the benefits of conglomeration as “regardless of where the profits move to, you’re in a position to gain.”

Consolidation and Conglomeration allows corporations to cut production costs and control prices in order to maximize profits. Oligopolies tend to work together and keep prices as high as the market will bear (similar to OPEC).

“What is clear is that the option of being a small or middle sized media firm barely exists any longer: a firm either gets larger through mergers and acquisitions or it gets swallowed by a more aggressive competitor.”

Media conglomeration is driven by the need to cross promote brands which is extremely profitable. The effort to ever increase profits has led media towards Hypercommercialism. Cross marketing (through product licensing and development of spinoffs) movies into television shows and video games or household products such as children’s flatware with a graphic of Nemo on it has become the norm. Television shows like Star Trek have been cross sold as books and blockbuster movies as well as holloween costumes, and just about any commodity that can support a graphic image. As the number of companies controlling the markets decreases, the need for product differentiation through branding has increased.

It is important to note that although vertical integration is extremely profitable, it does not guarantee a profit. Some mergers don’t work. There needs to be a unifying factor such as when a newspaper buys television and radio stations that supply news content and Film companies by music companies that supply entertainment.

The larger the conglomerates become the more hyper commercialized they become due to the insatiable appetite for profit. Thus there are ever more pervasive innovations in advertising such as product placement deals that blur the lines of advertising.

McChesney sees several negative factors to these trends in the cluttered media landscape. First of all, editorial integrity is compromised. Journalism is in decline. Large media firms have boards of directors who are also affiliated with the boards of Fortune 1000 corporations. This has created a climate that is adverse to investigative journalism.

Secondly, while demand creates supply, the control of supply in a monopolistic manner can create demand. Consumers are not receiving quality programming more often than not and are stuck with art that is controlled by business with in turn blocks out new talent because it is too risky. While commercialism affords artist to make a living and gives consumer access to the art, hypercommercialism creates cookie cutter media that is increasingly cheaper (i.e. reality television and NBC’s move to eliminate dramas and put Jay Leno in the 10pm slot) that is coded to a hegemonic culture.

Control of media is a political decision that has been forgotten by most. Media is vested with responsibilities to fulfill public service. However, deregulation has allowed for greater corporate control and stronger corporate alignments that serve advertiser interests instead of viewer interest. The establishment of professional journalism and a supposed separation of editorial content from commercial interest has masked the deregulation and consolidation of media. Professional journalism is purported to neutral but when you look at its origins, its development of a neutral bias was seen as a way to increase marketability of media by not antagonizing advertisers and consumers with partisan politics. It was simply more efficient to have the appearance of neutrality even though the media represents and targets the middle and upper class.

Media is now taking its socio-political economic system to a global scale. The advent of the Internet and user generated content would seem to offer a counter force, but when you look at the gatekeepers like Google, Myspace, and YouTube, you see yet another example of Oligopoly that is benefitting from extremely cheap production costs (free user generated content) and control over advertising distribution to the exclusion of any small firms.

Monday, December 1, 2008

Lit Review - Rough Draft

The following is a draft of a literature review submited 12/1/2008. The author would like to thank Shannon Mattern and Sanja Trpkovic for their advice and feedback. A revised version will be constructed that more fully details the arguments presented.

New School University
Media Studies
Fall 08
Understanding Media Studies
Dr. Shannon Mattern
Literary Review

COMMUNITY INFORMATICS: Is it an agent for sustainability in a globalized economy?

With the Industrial Age well underway, it seems as if Walter Benjamin was prognosticating in 1928 about globalization and the Internet when he wrote:
Men as a species completed their development thousands of years ago; but mankind as a species is just beginning his. In technology, a physis is being organized through which mankind’s contact with the cosmos takes a new and different form from that which it had in nations and families. One need recall only the experience of velocities by virtue of which mankind is now preparing to embark on incalculable journeys into the interior of time… (Benjamin, 1996: 487).

Globalization is the result of technology’s ability to collapse time and extend communication beyond local and regional boundaries. In 1964 Marshall McLuhan wrote, “Today, after more than a century of electric technology, we have extended our central nervous system itself in a global embrace, abolishing both space and time as far as our planet is concerned(McLuahan, 1964).”

In the modern sense, globalization is a process that began with the development of the telegraph and radio (Naughton, 2006) and has resulted in the concentration of production and wealth in a relatively small number of communities (Goodwin, 2008) and the fragmentation of society (Turkle, 1995). As an economic term, globalization began during the 1980’s with the expansion of market economies worldwide and the beginning of widespread outsourcing (Supply Chain Management 2008). Globalization has resulted in many communities sinking into economic depression, especially rural resource based economies (Margolin, 2006, Young, 2008). For the last two decades there has been a trend in government to increase access to digital media as a means of counter balancing the negative effects of globalization. The assumption has been that universal media literacy and access will insure economic success in the modern economy (Alkalimat, 2001, Williams & Wallace, 2005).

There is no data to support the idea that media literacy by itself is a silver bullet that will offset the increased worldwide poverty brought about by the shift from dispersed modes of production to globalized markets (Feenberg, 2004). The literature I have reviewed identifies three significant concepts relative to sustainable communities:
  1. The potential for Information and Computer Technology (ICT) systems to build strong communities through the practice of Community Informatics (CI).
  2. Empowerment within online communities comes from active participation rather than passive consumption, which is creating a cultural convergence that challenges corporate control of economy and culture.
  3. The importance of social capital in building sustainable communities.
In studying the current literature on community development and new media as a change agent it has become evident that there is a need for a more complex framework for analyzing the success of Community Informatics projects relative to the enhancement of social, physical, and financial sustainability within a given community .

Community Informatics (CI) is a relatively new field of study that is approached from multiple disciplines including sociology, computer science, education, management, and development studies. Community Informatics is the practice of combining information and communication technology (ICT) with the intent to support local communities that have been marginalized by globalization through the empowerment of individuals by providing universal access to ICT. The development of Community Informatics is a direct response to the corporate led development of ICT systems that have centralized and concentrated economic capital within a select group of communities (Fox, 2004).

The development of the internet as a ubiquitous means of communication and commerce via websites, email, blogs, and the public sharing of privately produced content (i.e. photos and videos) has created a dramatic increase in research around community development by design. The seminal (pre-Internet) work of Anderson (1991) introduced the concept of the imagined community and is the foundation for understanding the formation of ‘virtual’ communities. Online communities sprouted up before the Internet through the use of modems and BBS bulletin boards (Fernback, 1995). Unlike broadcast television that leaves the audience isolated,

“People in virtual communities use words on screens to exchange pleasantries and argue, engage in intellectual discourse, conduct commerce, exchange knowledge, share emotional support, make plans, brainstorm, gossip, feud, fall in love, find friends and lose them, play games, flirt, create a little high art and a lot if idle talk. People in virtual communities do just about everything people do in real life, but we leave our bodies behind” (Rheingold, 1993 p. 3).


Kim (2000) articulates the properties necessary in the design of a vibrant online community that closely mirrors the characteristics of a physical community organization that serve as secondary associations (Putnam 2000). Both Kim and Putnam stress the importance of active participation. A scan of CI projects reveals a trend towards projects that are intended to increase universal access to digital media (Parkinson, 2006) or to improve access to social services from government and non-government organizations (NGOs). The initial theory that universal access can empower individuals is coming under criticism. Ripamonti (2005) notes that access by itself may do little more than to reinforce a consumer’s relationship with a business and Williams (2007) illustrates the strong ties formed between fans and cultural commodities through the formation of online communities in support of existing businesses. It seems that large corporations are in the best position to benefit economically from the expansion of the Internet.

Jerkle (2001) represents the trend towards trying to build sustainability through e-commerce business models that are woven into online communities. Thus far, there are too few successful case studies to be able to draw any conclusions on the effectiveness of ICT projects in sustaining marginalized communities. Although there has been explosive growth in the number of participants in online communities (Urstadt, 2008), there is little evidence of any significant implications from the innate formation of virtual communities (Feenberg, 2004).
The most direct impact members of an online community have on shaping community is through active participation. Participation consists of content production in the form of user feedback, blogging, mashups, and other forms of independent media production. User comments have a direct impact on sales of products (i.e. Amazon.com user ratings, travel website comments and ratings), and are forming new relationships with broadcast mediums. New genres of entertainment are being formed based upon audience participation in plot design such as the phenomenon of LonelyGirl15 on YouTube(Space Shank Media, 2008).
Peer to Peer network traffic (used for file sharing, i.e. music files) will soon exceed traditional web traffic (Naughton, 2006). The music industry is imploding, and the open source movement is the poster child for participatory models. However, the largest amount of participation on the Internet thus far is in support of online communities built around commercial interests with little positive impact on the economic condition of marginalized communities (Wiertz, 2007).

The work of Elizabeth Ellsworth (2008) and the DIY movement in media seems to offer the greatest optimism for empowering individuals and communities. Born out of the Arts and Crafts movement, DIY media production is creating a convergence of community based subcultures and hegemonic corporate culture. Working in tangent with Community Informatics, with an emphasis on digital media production, active participation in content production has shown potential for growing social capital as a means of countering the influence financial capital has on public policy and control of physical capital through privatization (Birner, 2000). “Media is a place of social struggle. Images are privileging certain meanings and making others invisible “(Ellsworth, 2008). New trends in media activism acknowledge that there isn’t a need to “make change” but rather recognize that change is already occurring, and to assemble the ideas that are emerging and give them agency through their mass publication via modern technology that is accessible and affordable.
ICT projects around distance education and media literacy may not show direct economic benefit, but are key components in growing the potential for increased social capital by harnessing media’s ability to transmit cultural symbols and to interpolate a fragmented society into tight-nit community groups.

The concept of Monitorial Citizenship (Schudson, 1999, ExtremeMedia.Org, 2008) and place based narratives (Lippard, 1997) merge together in a post modern world that seeks to eliminate the ‘misinformed’ consumer and replace it with a change model based upon networks of micro knowledge from a multicultural and multicentered perspective. The idea of oppositional texts has been displaced in favor of a system of flow and modulation where content producers can amplify and give agency to new ideas (Ellsworth, 2008).
While there are some case studies that illustrate how the development of social capital can be utilized to create political capital (Birner, 2000) for the purposes of environmental conservation, It is too early to tell what the long-term impacts of community informatics and DIY media initiatives will have on the global marketplace. More research needs to be done to develop a meaningful index of measurements in this area.

What we do know is that online communities have the potential to enable social interaction and embody a shared value system and a shared symbol system (Rheingold, 1991). We know that active participation can directly impact business by shaping consumer attitudes and behaviors, and we know that social capital is a key development element within the global economy.

Fukuyama (2002) writes, “Social capital directly affects the ability of people to organize for economic ends; it supports the creation of institutions and the rule of law; and is a vital underpinning of democracy, which is the source of legitimacy for the political framework in which development increasingly takes place.” Fukuyama stresses that the absence of social capital is an impediment to economic sustainability.

Both Fukuyama (2002) and Young (2008) describe the process of “Neo Liberalism” as one where there is an emphasis on privatization and decentralized control of physical resources. Literature about globalization makes note of the fundamental change from a system where there is centralized control of dispersed production (Young, 2008), such as the limitations placed upon timber harvest and agriculture production prior to the 1970’s (Woolf, 2007), to a market based system with new international ‘actors ‘entering the market with mass production facilities consolidated into smaller geographic regions. The net result of globalization has been one of consolidation of small producers into large corporate conglomerates with many communities unable to support a diverse marketplace of stores and services. While Young expresses a viewpoint that Neo Liberalism is responsible for destabilizing local economies by removing government and corporate responsibilities to local communities, Fukuyama argues that the failure of Neo Liberalism is due to a failure to understand the significance of social capital in the adoption of change. A survey of social-economic literature on the topic globalization reveals the complex interplay of social, physical and financial capital that is controlled through political processes. It seems that electronic communication technology has led to consolidated industrial production and the loss of social capital in communities where unemployment or under employment has increased. In addition to this, the entertainment aspect of broadcast media has interrupted leisure time and decreased levels of participation in fraternal organizations (Putnam, 2000)

From a media studies research perspective; the realms of social and political capital are the spheres in which Community Informatics can have the greatest influence. The most critical element within social capital is that of trust. Fukuyama explains that Latin American communities are based upon strong family networks of businesses that are distrustful of any outside investment, which makes it difficult for these countries to actively participate in the global economy and leads to political corruption because their community is built upon a system of nepotism. This example illustrates how a region may have strong community institutions and yet still fail economically due to an inability to interconnect with outside organizations.

Most developing countries actually have an abundance of social capital in the form of kinship groups or traditional social groups like lineages, tribes, or village associations. What they lack are more modern, broad-radius organizations that connect across traditional ethnic, class, or status boundaries and serve as the basis for modern political and economic organizations. Seen from this perspective, many traditional groups embodying one form of social capital can actually be obstacles to development, because they are too insular or resistant to change(Fukuyama, 2002).

The United State’s own success within the global economy is questionable and currently receiving strong criticism. Economic data points to a polarity of wealth among communities and individuals and a general decrease in social capital(Margolin, 2006, Putnum, 2000). Putnam attempts to quantify the decline of American social capital by measuring the level of active participation within social organizations and charting the increase of distrust within the general population. Putnam theorizes that some cause of our own lethargy comes from,” the changes in scale that have swept over the American economy in these years--illustrated by the replacement of the corner grocery by the supermarket and now perhaps of the supermarket by electronic shopping at home, or the replacement of community-based enterprises by outposts of distant multinational firms--may perhaps have undermined the material and even physical basis for civic engagement.”

While Fukuyama argues that financial capital cannot be developed without the cultivation of social capital and cites Putnam extensively, Casey (2002) disputes the importance of Social Capital by itself. His research indicated that social capital had no measurable impact on economic growth within American communities. He argues that too much emphasis has been placed on social capital rather than financial and physical capital. He concludes that an entrepreneurial human spirit is the single most significant factor in determining economic vitality within a community. Young (2008) illustrates how Governments are adopting entrepreneurial community development policies as they pull out of direct control over communities and their physical resources. ICT projects are increasingly charged with developing entrepreneurial components such as e-commerce sites that promote local products and services (see Shopthefrontier.org). A bottom-up model has replaced the top-down corporate and government management structure of communities. Neither has proven overly effective in sustaining the well being of the citizens within these disadvantaged regions.
Without agreeing with any of these theories we can deduce that a new framework for evaluating the sustainability of any community must include an evaluation of the social, physical, financial and political capital within the community. From the research we can see how financial capital translates into political influence, and the assertion of control over physical capital through privatization of resources, and we can now see examples of where a high degree of ‘interconnected’ social capital can be transformed into political capital in defense of public space (Birner 2000).

One role of new media is creating and exchanging cultural symbols that give agency to marginalized subcultures. The success of Community Informatics rests on the cultivation of ‘interconnected’ social capital. Essentially the research has revealed the need for community informatics initiatives to expand beyond universal access, distance education, and the enhancement of services within individual agencies. Design of ICT projects should be fundamentally based on the development of social capital through the expansion of access to external networked communities. The strength of a church (or social services agency) should not be measured by the participation of its congregation, but rather by its interactions with other churches of other denominations. The expansion of media content production within a CI initiative will have its greatest effect through the amplification of diverse voices. Fukuyama expresses this best by writing:
“Sociologist Mark Granovetter has observed that it is often the heterogeneous member of a network, or the individual within it with weak ties and broken affinities, who serves as the conduit for new ideas and information into a closed group.9 A society with many loose and overlapping networks may be more economically efficient than one with many static, self-regarding ones.” (Fukuyama, 2002 Pg. 31)

A criticism of Putnum and Fukuyama could be made that previous measurements of social capital were limited to homogenous institutions, which lack the ability to translate their social equity into political or financial capital. I propose that there should be a new comprehensive framework for evaluating the sustainability of a community and subsequently the success of community development initiatives based upon Community Informatics. This framework for assessment would include:
  1. Active participation within a community (physical and virtual)
  2. A more effective measurement of social capital would look beyond the level of active participation, and emphasize trust, and the strength and variety interconnections with other networked communities.
  3. Evaluation of the public policies that control the physical capital within the community. Measurements would include looking at the balance between public and private influence over political processes and the potential conversion of social and financial capital into political capital.
  4. Evaluation of financial capital markets in terms of its capacity to nurture growth of social capital and public physical capital within the communities they operate.
  5. Evaluation of entrepreneurial potential through a measurement of education, access to financial capital, and physical resources.
  6. Creation of a statistical “empowerment” index similar to PARECON’s balanced job theory (Albert, 2003) that compares communities based upon a more complex measurement as outlined above in addition to the standard economic measurements for employment, productivity, and personal income.
The online community is an expansion of the imagined community that is fostering new forms of sociability and is offering new opportunities for interactively defining our identities, with the potential to effect change through the growth of social capital. Early efforts to create financial capital through e-commerce models have had minimal positive results in terms of empowering individual Internet users and marginalized communities and have merely represented a further expansion of existing capital markets into cyberspace. Thus far, we are unable to effectively measure the potential for change through online community development because we currently lack a full understanding of the dynamic interplay of social, political, financial and physical spheres within mediated environments. By developing a more complex framework for measuring community development through CI initiatives we will better understand how to more effectively utilzie ICT systems for the development of sustainability within physical communities that have been marginalized by globalization.

Sources:
Albert, M. (2003). PARECON: Life after Capitalism. New York and London: Verso Available: http://www.zcommunications.org/zparecon/pareconlac.htm

Alkalimat, A., Williams, Kate (2001) “Social Capital and Cyberpower in the African American Community: A Case Study of a Community Technology Center in the Dual City”. In Keeble, L., Loader, B. (Eds.) Community Informatics: Community Development Through the Use of Information and Communication Technlogies. London: Routledge

Anderson, B. (1991) Imagined Communities: Reflections on the Origin and Spread of
Nationalism. London: Verso. Available: http://books.google.com/books?id=4mmoZFtCpuoC&printsec=copyright&dq=Imagined+communities:+Reflections+on+the+origin+and+spread+of+nationalism - PPA9,M1

Benjamin, W. (1996) “One Way Street,” trans Edmund Jephcott, in Walter Benjamin: Selected Writings, Volume 1, 1913-1926, ed Marcus Bullock and Michael W. Jennings, Cambridge and London: Harvard UP

Birner, R., Wittmer, H. (2000). “Converting Social Capital into Political Captal: How do local communities gain political influence? A theoretical approach and empirical evidencefrom Thailand and Columbia”. Paper submitted to the 8th Biennial Conference of the International Association for the Study of Common Property (IASCP). Bloomington, Indiana

Bourgeois, D., & Horan, T. (2007). “A Design Theory Approach to Community Informatics: Community-Centered Development and Action Research Testing of Online Social Networking Prototype.” The Journal of Community Informatics [Online] 3:1. Available: http://www.ci-journal.net/index.php/ciej/article/view/308

Casey, T. , (2002)."Social Capital and Economic Performance in the American States" Paper presented at the annual meeting of the American Political Science Association, Boston Marriott Copley Place, Sheraton Boston & Hynes Convention Center, Boston, Massachusetts Online , November 28, 2002. Available: http://www.rose-hulman.edu/~casey1/US Social Capital (Casey-Christ).pdf

Ellsworth,E. (2008). “Extreme Media Studies”. Presentation to Understanding Media Studies Class on November 17th, 2008. New York: New School University.

Extreme Media Studies. (2008). Scans: Monitorial Citizenship. Retrieved November, 19th, 2008, from: http://www.extrememediastudies.org/extreme_media/3_monitorial/index.php

Feenberg, A., Bakardjieva,M. (2004). “Virtual Community: No ‘Killer Implication’ “. New Media & Society, 6:1, pp. 37-43

Fernback, J., & B. Thompson. (1995). Virtual communities: Abort, retry, failure? Based on a paper presented at the annual congress of the International Communication Association, Albuquerque, NM. Available: http://www.well.com/user/hlr/texts/VCcivil.html

Fox, S. (2004). “The New Imagined Community: Identifying and Exploring a Bidirectional Continuum Integrating Virtual and Physical Communities through the Community Embodiment Model”. Journal of Communication Inquiry. 28:1, pp. 47 – 62

Fukuyama, F. (2002). “Social Capital and Development: The Coming Agenda.” SAIS Review - Volume 22, Number 1, Winter-Spring 2002, pp. 23-37
Available: http://muse.jhu.edu/journals/sais_review/v022/22.1fukuyama.pdf

Goodwin, I. (2008) “Community Informatics, Local Community and Conflict: Investigating Under-Researched Elements of a Developing Field of Study”. Convergence: The International Journal of Research into New Media Studies, 14:4, pp. 419 – 437

Hearn, G., Kimber, M., Lennie, J., & Simpson, L. (2005) “A Way Forward: Sustainable ICTs And Regional Sustainability.” The Journal of Community Informatics [Online] 1:2. Available: http://ci-journal.net/index.php/ciej/article/view/201

Kim, A. (2000). Community Building On The Web. Berkely: Peachpit Press

Jerke, N. (2001). E-Commerce Developer’s Guide to Building Community and Using Promotional Tools. San Francisco: Sybex

Lippard, L. (1997) Lure of the Local: Senses of Place in a Multicentered Society. New York: The New Press

Margolin, V. (2006) “Designing for a World in Need”. Position Statements & Resource Reviews. Australian Graphic Design Association (AGDA) Retrieved November 20th, 2008. Available: http://research.agda.com.au/library/group/1202871812_document_01_margolin.pdf

McLuhan, M. (1964) Understanding Media: the Extensions of Man. New York: McGraw-Hill

Naughton,J. (2006). “Blogging and the emerging media ecosystem”. Background paper for an invited seminar to Reuters Fellowship, University of Oxford, November 8, 2006.

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Postman, N. (1985) Amusing Ourselves to Death: Public Discourse in the Age of Showbusiness. New York: Viking.

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Community New York: Simon and Schuster

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Cambridge, MA: Harvard University Press

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Space Shank Media. (2008). LonelyGirl15 Creators Not So Lonely Anymore. Retrieved November 27th, 2008 from: http://www.spaceshank.com/blog/2008/10/01/lonelygirl15-creators-not-so-lonely-anymore/

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Is Not a Busmness”. Technology Review. MIT pp 36-43

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Williams, J., Wallace, C., & Sligo, F. (2005). “Free internet as agent of community transformation”. The Journal of Community Informatics [Online] 2:1. Available: http://ci-journal.net/index.php/ciej/article/view/234

Williams, M. (2007). “The Cult of the Mohicans: American Fans on
the Electronic Frontier”. The Journal of Popular Culture, 40:3, pp 526-554
The development of fan sites (virtual Communities)

Woolf, A. (Producer), & Cheney, I, & Ellis, C. (Screenwriter/Director). (2007). King Korn [Motion Picture]. United States: Mosaic.

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Saturday, November 29, 2008

Quote of the day...

I came across this quote while researching PARECOM (participatory economics as an alternative to capitalism).

Capitalism is the dictator of democracy. While democracy is designed to act on behalf of the will of the people, capitalism sets out to define the people's will. Capitalism defines the people's will through consumerism. On this premise, capitalism indirectly controls democracy (society).

The greatest flaw of capitalism is not that of the economic system, but that of its consumers. One cannot recognize the political control of capitalism, unless one is critical of it.

Source:http://www.myspace.com/parecon

Perhaps some day Howard Zinn and Noam Chomsky will be considered mainstream...

Wednesday, November 19, 2008

Gender, Sexuality, and Representation

Although this discussion is technically over (referring to my Understanding Media Studies course), the items I have received in my mailbox this past week call into question some of the arguments and assumptions that have been thrown around about how dated and obsolete Laura Mulvey's arguments about Scopophillia are. Furthermore, I think Justin Lewis's comprehensive review of Television Research in his book Ideological Octopus makes some points that lend credibility to the idea that gender issues are still relevant and we have not come as far along as we would like to think.

As I read through the post regarding gender, sexuality, and representation I was fascinated by the number of posts that suggested we have come along ways towards equality. The criticism of Laura Mulvey’s theories were based largely on the idea that they were outdated and didn’t look at the female gaze or gay and lesbian members of the audience. Both male and female classmates protested that there was no justification for Mulvey’s use of psychoanalysis theory or the need to acknowledge women being sexualized as children and impressed into an ideology of exhibitionism.

Then the Christmas catalogs started showing up in my mailbox. First this Walmart catalog that features a male warrior with the female gazing towards his powerful aura. These are children mind you. Apparently WalMart didn’t like the Kill Bill approach to female representation.



Next, my wife received this catalog, “American Girl” that visually suggests that girls should be white and play with white dolls. Exploring the inside of this catalog revealed large graphics that seem to reinforce traditional gender roles from the 1950’s. It is like watching an episode of I Love Lucy or All in the Family with the satire missing because all we see are the products to buy.



I'm not sure I see oppressive gender roles as cause for nostalgia, in fact I don't think it is nostalgia but rather a continuation of the sexualizing of children through play rituals. The only reason my wife and I could think for us to even be on these company mailing lists is because of a single demographic of her being a girl and we have a child. No other distinguishing characteristic would have linked us to the ideologies and commodities presented here.

Last but not least, a work-study student at my college decided to post this calendar that she posed for. It’s a fundraiser for a new roller derby league. It’s all too cliché to see the sexy schoolgirl look on a calendar. Frankly I’m surprised that these images and commodities are still out their because I am so resistant to it personally. However, I think it is easy to look in the mirror and say “not me” and yet be overwhelmed by the sheer volume media that continues to represent the sexualized female as an object of male desire and control. I actually had to stop and self reflect when Mulvey described the two ways women are treated (Madonna’s or Whores) and ask myself if my “sensitivity” towards women (my wife in particular) is nothing more than choosing to see the Madonna because I’m too ashamed to acknowledge the latter. The Lewis article makes it clear that media doesn’t make us sexist, it makes us think about sexism and objectification. (Lewis 19) which is a legacy of our past that continues to operate within the hegemony.


“Cultural forms do not drift through history aimlessly, they are grounded in an ideological context, and therein lies their historical significance (Lewis 40).”

“The home, the school, and the mass media are cultural apparatuses that generate a whole world of common associations, associations that become inscribed within our social environment (Lewis 63).”

While I would like to praise the media that treats women, people of color, gays and lesbians in an inclusive manner, I think the reality is something far different. For every show like Cagney and Lacy, or 24 (a black television president that precedes Obama) there is an ocean full of stereotypes that I am sure are adversely impacting our intimate relations with one another. As we look at our partners we cannot help but be aware of the perceptions we are confronted with every day in every space we operate in. We have to somehow reach beyond Lacan's mirror image projection.


References:
Mulvey, Laura. Visual Pleasure and Narrative Cinema (SCREEN 16.3 1975)


Lewis, Justin. The Ideological Octopus: An Exploration of Television and its Audience, (Routledge 1991)

Thursday, November 13, 2008

The Function of Art and Artists


William Blake.
"Urizen as the Creator of the Material World"

It is at our death that we can take stock of our life and review all of our experiences. It is not until the moment of death that experience emerges and the validity and authority of our lives reveals itself. Therefore we can assert that all experience is contextual and historical. It is dependent upon and subject to a life and death process, a moment of existence extinguished by the next. Art can be said to serve as an extraction of experience from a river of contextual histories.

As artists, we are mining experiences from the momentary deaths that occur internally and externally. Every form of representation is a linguistic (symbolic) translation of the original. Our artwork represents a translation of an original experience into the language of our medium. The artist serves as a translator.

While each significant experience forms meaning within us, this meaning is inherently our own and is held tightly within our own context. Our artwork should not be an affixing of opaque meaning, but rather a transparent translation of the unique experience. Translation is not intended to impart meaning or understanding for a particular audience, but should be a translation to a particular language. “No poem is intended for the reader, no picture for the beholder, no symphony for the listener (Benjamin p.69).” The original experience does not exist for our audience (Benjamin p. 70) but rather is a moment of “hidden significance” (Benjamin p.72) that is revealed through our efforts to translate it.
To concern ourselves with a particular audience is to affix our understanding to the work and to extinguish its life by restricting its existence to the temporal functionality of particular contemporary ideology. “Art’s essential work is not to make statements, or impart information, because this necessitates audience understanding which is inherently redundant (Benjamin p.69).” For art to have any lasting value, the artist must recognize the expansive and transformative nature of language and ideologies, and strive to create work that is stimulates contemplation of meaning rather than conveyance of meaning.

In Walter Benjamin’s essay Task of the Translator, he describes methods for effectively translating original texts from one language to another. “A real translation is transparent; it does not cover the original, does not block its light, but allows the pure language, as though reinforced by its own medium to shine upon the original all the more fully (Benjamin p.79)”. Languages are differentiated by their word elements. Within multiple languages different words may describe the same referent and offer us a very literal translation of denotative content. However the connotative meaning can never be literally translated from one language to another. The translator must have artistic license to convey meaning through the construction of new scenarios or syntax that would lead towards the formation of a connotation that is more faithful to the original experience. To describe a rose blooming in the desert to someone that lives in a rainforest we might have to explore other analogies or metaphors for abundance and rarity rather than simply substitute the words for desert and rose. Where there is no literal translation possible we must help form what Benjamin calls “pure language” by supplementing the new with the original. . If we accept the idea that all languages have the same representational intent, fragments of the original may be embedded within the new language.

Of greater risk to the translator is the pitfall of embedding information and meaning into the translation. “The context of the now will never exactly mirror that of the original” (Benjamin p.71) and the value of information is limited to “the moment it is new” (Benjamin p. 90). Everything that has history has a life. Our artwork is the creation of an afterlife for the moment of experience. If we embed too much meaning and information from one specific period we will create work that has a short life and limited afterlife. We create significance by extending the afterlife of the experience through the creation of artwork that acknowledges the natural history of our existence and translates it in a manner that can extend beyond the limitations of historical information and meaning.

As artists we can take these theories and apply them to our task of translating our physical and spiritual experiences into a visual language. The very act of translation elevates the original while at the same time it can never equal it. It is a process of signification that simultaneously elevates and distances, creating an aura of its own.

Acknowledging that are art has a life of its own helps us understand the possibility of an afterlife through the etching of our art into the collective memory of our audience. A loved one may die, but they continue to exist within an afterlife of stories that continue to be told and reside in our memory. Pascal wrote, “No one dies so poor that he does not leave something behind.” Storytelling itself is a process of compression, distillation, and signification that is almost a lost art form. The success of the story being told is in its successive reproductions, or its afterlife.

Great stories are based upon our personal experiences or the retelling of someone else’s and they acquire their authority and validity from our acknowledgement of death. It (the story) is based upon a narrative that is distilled from our own mortality and evolves through the interconnectivity of events (experiences), which in turn builds wisdom.

Wisdom is only truly created through experience. Storytelling is rooted in an oral tradition that connects the presenter to an audience, which becomes a “performance” and therefore a wisdom building experience. Walter Benjamin’s 1936 essay The Storyteller asserts that the contemporary culture has lost its connectivity to experience and wisdom with the rise of the novel and other forms of mass news media. We are buried in information that is so specific as to blind or disconnect us from the larger whole. The founder of the magazine LeFigaro, Villemessant, once wrote “To my readers, an attic fire in the Latin Quarter is more important than a revolution in Madrid (Benjamin p.88).” The sheer volume of information in contemporary mass media is a hindrance to being able to commit a story to memory or to consider us apart of a larger natural history. Information is a differentiating factor of language. The contextuality of information makes it too easy to define the characters within the story as “the others”, thereby removing our audience from assimilating the story into their own existence.

Benjamin suggest that the greatest stories are derived from personal narratives or the retelling of someone else’s experiences. A narrative without detailed information leaves it up to the audience to interpret the experiences within the story for themselves. If you provide too much information and/or explanation the audience is removed from having an experience of their own resulting in a loss of wisdom. Information is the diffusion of truth and the dismissal of the continuity of natural history.

The telling of stories as distinguished from transmitting news or writing a novel, leads to the re-actualizing the experience for the audience. Benjamin uses the example of the Greek storyteller Herodotus and his tale about the Egyptian King Psammentus who was compelled to witness the pending death of his family and servant. Although the King remained stoic at the sight of his children passing by, he was moved to tears at the sight of his old servant. Herodotus recounts the actions that occurred without giving us the meaning of the actions, leaving it open for contemporary interpretation of what it means to be a leader of a nation. A story should be void of too much detail or interpretation. It should provide just enough to “arouse astonishment and thoughtfulness” (Benjamin p. 90) Compactness is achieved through the removal of excess psychological analysis, which makes the story more easily committed to memory.

Translation and storytelling are interrelated. In order to be affective the artists must commit a destructive act (Benjamin p. 158) by removing themselves from the experience being transmitted to the audience via the artwork. Benjamin writes, “Thus traces of the storyteller cling to the story the way the handprints of the potter cling to the clay vessel (Benjamin p.92).” The less the artist interprets for the audience, the more the original experience is transmitted and assimilated into the audiences’ own experience. Explanation closes off the audience from having to contemplate or relate to the story. The modern novel or cinema usually has an ending that precludes the audience from engaging in deep contemplation.


One method of storytelling that is effective for its succinctness without the malice of interpretation is that of the Chronicler. The chronicler emphasizes the deeds and actions relevant to the events. A modern newscast may recount the Nazi Holocaust by stating “From 1939-1945 six million Jews died in Nazi concentration camps.” This presentation of information makes it far too easy to isolate an audience from the experience of the story. A chronicle of the events might describe “Abe, who was 42 at the time and a father of three children, was taken…” Individual narratives of the people who were removed from their career, family, and homes and taken by train in hordes to prisons where they were systematically killed in gas chambers would be presented with out explanation. The redundancy would become epic. Information and interpretation offers brevity and isolation to an audience who then moves about their lives without knowledge and wisdom of the larger natural history.

However, one factor necessary for the creation of contemplative artwork, and the action of contemplating on the part of the audience is the need for a craftsman like patience. Nature’s perfection is due to the accumulation of causes over great amounts of time (Benjamin p.92). From seed to bloom, earth to mountain peak, if we are to contemplate that which we find perfect, then we must recognize the achievement of perfection is through the accumulation of effort over great periods of time. The human pursuit of this is perfection through craftsmanship. Benjamin describes the need for “boredom” or the built in redundancy of craftsmanship to form a situation for the mind to be receptive to active listening. In my own limited experience I have noted the change in pace and wisdom within the workplace. My first job in college was in a print shop that had been operated for over 50 years. Two of the employees had been working there for over thirty years. They practiced the craft of offset printing with a slow rhythm of experience and at break times discussed all the world events that had been contemplated in the interim. Today, my colleagues fly from task to task and read technical manual after technical manual and are out of contemplative breath. Paul Valery has said “Modern man no longer works at what cannot be abbreviated.” The modern age of technology has created a pursuit of abbreviation that doesn’t permit the mind the space to wander. “It is almost as if the decline of the idea of eternity coincided with the increasing aversion to sustained effort (Benjamin p. 93).”

Capitalism feeds our amnesia about death, which leads us to production and consumption practices that are not sustainable and are without conscious of the rest of humanity. Capitalism is the anti-aesthetic of the art of storytelling. It is fueled by statistical information and is an ideology that reduces contemplation to that of immediacy and the simple selection of the lowest price.

Marx prognosticates Capitalism’s cannibalism of itself (Benjamin 217) and Benjamin’s essay Art in the Age of Mechanical Reproduction suggests technology’s role in abolishing the ritualistic art object; with the cult value of art replaced by its exhibition value. Art’s ritual contemplative value is being replaced with the social practice of consumption. Originality and authenticity, which are the nucleus of history and context, are called into question by the reproductive capabilities of Photography and Film. Mechanical and technical reproductions dislocate the meaning of artwork from the art object itself and become mediums of transmission. The aura surrounding the original, or even replicas of the original is diminished through processes of digital reproduction that are not subject to historical processes of decay. A Gregorian chant performed in a monastery or Michelangelo’s statue of David loses much of its aura when transmitted via compact disc or DVD into our homes.

While transmission of art diminishes its aura, it has the potential to exceed ritualistic function by impacting culture through the creation of practices of consumption. Mozart’s Requiem Mass is liberated from the Cathedral and reaches a broader audience at a symphony hall, and an even broader audience through radio broadcast. This exhibition value exceeds the traditional cult value of art. Cultural formation is occurring rather than cultural affirmation. One can argue that Art’s ritualistic origins were limited to the function of affirmation of hegemony, and that the increase in art’s exhibition value through mechanical reproduction actually empowers art to create culture.

However, one cannot overlook the potential negative of the modern producer/consumer paradigm. Even in art, one cannot help but question whether the art that receives acceptance within the capitalist marketplace is not authentic, but rather subject to the role reversal of consumer as producer. Does art’s participation in mass media turn over the role of producer to the consumers, like the Nielson ratings dictating how many sitcoms and crime dramas are produced for television? Modern art’s adoption of capitalist ideology suggests that its fate will be tied to that of capitalism.

Art exists within ideology as an Ideological State Apparatus (Althusser p. 104). Historically, art’s cult value was more easily identified with a centralized and unified ruling class ideology. In the age of the Internet and mass media, we see the existence of the structure of ideology, and the plurality of ideologies that are competing for dominance but still operating under the umbrella of the hegemony ruling class. While ideologies are social/historical, ideology itself is a system that all artists operate within. “Ideology is a representation of the imaginary relationship of individuals to their real condition of existence (Althusser p.109).” Ideology reflects the truth of our perceptions but perception is not truth or reality. This is important for artists to realize. Even if we remove our interpretations, and limit information within our translations of experience, the process of signification (or encoding) that is occurring through the expression of any imagery is representation of ideology.
The French philosopher Louis Althusser describes how we operate within the ideological system. First of all we are born into it. Ideology is similar to the linguistic theory of a concept image map. Secondly we always inhabit an ideology through a process of recognition and distinction of our beliefs from other beliefs. Our own process of differentiation between the illusions of others as compared to our own “truths” assigns us to our ideology. Finally, ideology interpellates, or calls you by name. It is the call to action in an advertisement or the acknowledgement of a friends greeting. We are subject to the Subject of ideology. There are no belief systems without believers and there are no cultural practices without ideology. To deny our participation in ideology is to be running from our shadow. Art’s role within capitalism has empowered it to participate in social formation in a much more direct way. The exhibition value of art is a means of interpellation to the audience. Ideology is the realm where viewpoints can be debated and behaviors modified. By recognizing the existence of multiple ideologies as well as the structural system of ideology we can choose whether or not to add significance for or against dominant ideologies through the experiences we select to express within our art.

To summarize, we have expressed the function of art as the translation of experience into a visual language, analyzed the life and afterlife of artworks, and we have chronicled the dislocation of meaning and the replacement of aura with mass media exhibition value. Everything is tied to a natural history of life and death. And as such I would like to leave you with one more idea. While mass media is shrinking the distance between art and audience, and in the process extracting it from its ritualistic function, over time the aura may return. What was once a momentary blip of transmission on a television screen can appear to have no aura, no attachment to object but with time and retranslation it can achieve greater distance and elevation. The objects and imagery of any period will ultimately define the collective memory of the next generation. What was once a news broadcast of John F. Kennedy uttering the words “Ich bin ein Berliner!” has taken on greater significance as an expression of an event that interconnects to Ronald Reagan’s statement, “Mr. Gorbachov, tear down that wall!” Over time, even the most seemingly insignificant expression can end up being synopsis for a whole ideology or cultural period. What task is required of the artist within this superstructure? To live, be aware of their existence within ideology, and translate the meaningful experiences of their narrative or the narrative of significant people that they come into contact with. There is no formal effort required (or appropriate) to reach a particular audience, no rhetorical explanation necessary, nor fame to be sought. As artist we create from an internal desire to express what is meaningful to us. Leaving everything out the work but the minimum necessary to create memory and to send our work into the afterlife...

Bibliography
Benjamin, Walter.
Illuminations trans. Harry Zohn (New York: Schoken Books 1969)
Althusser, Louis.
"Ideology and Ideological State Apparatuses" in Lenin and Philosophy and Other Essays (New York: Monthly Review Press 2001)

Wednesday, November 5, 2008

Victory!

I took these two photographs at a Washington State Democratic Convention almost twenty years ago. I hope these men are still alive to see the birth of a new nation, one where race is no longer a barrier to becoming President. The change that has taken place with the growth of voter participation and the recognition of the changing demographics of America offers hope.

I didn't sit home and watch all of the election coverage though. I spent the evening reading Lazarsfeld's article about Media and Mass while my son participated in his Boy Scout meeting. I watched the beginning of the meeting and was a little concerned about my son because he was refusing to put on his neckerchief and to remove his jacket. He wasn't being belligerent, just different from all of the other boys in their neat uniforms. Ian just doesn't conform. He had fun though and the end of the meeting was very loud with lots of play. On the way home he asked me "how come everyone in the troop is against Obama and wanting McCain?" The boy who was the leader of the troop had even made a comment "Everyone who supports Obama thinks he's Jesus and he's not!"

This seemed like the perfect example of how the social structure of Boy Scouts has a uniform belief in conservative politics. Why wouldn't they since they exclude women? Mass Media coverage of the election could not change the predisposition of the group towards Obama. I was proud of my son's ability to stand against the "group think" and to share his support of Obama. Suddenly, his nonconforming attitude towards a dress code in the troop gave me a sense of pride. Perhaps Ian could become an opinion leader within the troop and help the other boys to grow a more rounded perspective on the world. There is a lot of good traits within the Boy Scouts, and more than a few that are not as evolved. I could have kept Ian out of scouting all together since we go hiking and camping enough on our own. But I don't think isolating ourselves is the answer. I think the real work in society is to embrace differences and participate in reshaping opinions. I think Ian is capable of doing this in his participation in the group on his own terms. In Obama and my son I see hope...

Friday, October 31, 2008

Morning Ritual



I've been so busy since I started back to grad school. Today I needed to give a quick demo to one of my introductory multimedia classes I teach at Spokane Falls Community College. At the last minute I decided to photograph my son who has taken it upon himself to set is alarm and join me each morning at 6am while I study. Here is the short and and quick little movie I made during an hour long class. I think all of us parents can relate!

Tuesday, October 28, 2008

Book Review: Lure of the Local by Lucy Lippard


Abstract submitted for:
NMDS.5004: Understanding Media Studies Fall 08
Professor Shannon Mattern, PHD

Lippard, Lucy. Lure of the Local: Senses of Place in a Multicentered Society (The New Press, New York 1997)

Lucy Lippard presents a personal journal to find one’s identity within a fragmented society. Her book, Lure of the Local: Senses of Place in a Multicentered Society is a vast attempt to describe the connections we make to the landscape in a transformation of space into the establishment of place, and how we have become multicentered through a process of dislocation and immigration.

The person who has lived in a single place all their life is unique in modern culture, just as someone who is of pure ethnic heritage. A distinctive accent or “local” knowledge is easily spotted in stark contrast to the transient nature of the modern American Landscape. Most people move every four years and most adults live in houses that are younger than they are. These are the conditions that have created a stress upon society that has compelled us to form micro communities in an effort to reclaim a sense of identity. Lure of the Local illustrates the need and the means for forming connections to place.

Lippard draws upon the voices of many. Rather than present specific research she unfolds a logic model based upon first defining the difference between space and place, and then further describing the formation of place through history and memory. The text builds on the ideas of community, geography, and representation and presents a challenge to artist to “recover the geographical imagination and to introduce moral discourse” into the places we live and work.

The beginning of the book offers readers some clues at reading the landscape from a historical perspective. “Every Landscape is a hermetic narrative.” An archeological approach is necessary to sift through the layers of fragments that we encounter in any “place” we have lived in or traveled through. We are invited to look at the origins of names, histories, and maps, and encouraged to stay awhile to go beyond the reading of landscape as a survivor mode utilized by the woodsmen or any urban traveler. The reader is asked to linger and consider the significance of memory within place, the unwritten histories that are not visible on a map, but can be found in the stories of the locals who remember. “Perhaps the only lay people who are really able to interpret social landscapes are locals – those who can recognize subtleties of change in a place over time, who know what the lumps and bumps once were and what has replaced them.”

From an art history perspective, Lippard is challenging contemporary artists go beyond mirroring beauty in objects intended for home décor. She looks to photography and site based art as having the greatest potential for connecting the diverse narratives of a place and challenges artist to insert a “moral discourse” into local land use issues.

Lippard focuses primarily on photography and site specific art. Photography has the ability to simultaneously be “high art” and scientific record and has the power of reproduction that enables it transcend art. Photography has been used to support the ideology of the American West myth and has been utilized by organizations like the Sierra Club to foster support for preservation. All too often however, the beauty in the landscape photography is nothing more than “Eco Porn” used to hide the abuses of land use and development. “The role of aestheticization is the most difficult issue within the issue of communicating not only how the landscape looks, or seems, but how it is.” The landscape cannot be seen as purely phenomenological and therefore neutral. It is symbolic representation of cultural values. The modern landscape photographer spends as much time in the library as they do in the field making photographs. The image is inextricably linked to the text narrative of place. One cannot look at the landscape photographs of Drex Brooks without being further impacted by the knowledge that what they are looking at is a place where a massacre occurred.

Lippard points to the structuralist approaches of photographers like Ed Ruscha and Lewis Baltz and hints at the work of the other New Topographic photographers as a means of suggesting a need for the narrative details that lie between each image. She goes to the snapshot as an example of photographs that hold fragments of history and suggest that artist can do more to support discourse through focusing on content over form. The landscape photographer is encouraged to look at signs, and fragments, to illustrate the palimpsest in banal social spaces. Time and again Lippard is telling us that the landscape is a reflection of the qualities of culture and the photograph can serve as a journalistic endeavor to confront us about ourselves.

She further cites the works of Robert Smithson and the ideal of land reclamation artwork as a means to “reclaim damaged nature as culture…” Lippard is not neutral in her presentation of arguments for the role of artist in such issues. She is essentially utilizing the text as a way to further highlight the injustices she sees within land use practices.

From an academic perspective, Lure of the Local introduces the concepts of community, history, preservation, and ‘neogeography’ or ‘social mapping’. She is developing the idea of multicentered society based upon the perpetual state of human dislocation and immigration and the impact this has on the landscape. T.S. Eliot wrote “home is where we start from” and thus we are compelled to bring our cultural viewpoints to any new location. The potential of any landscape is cultivated through diverse cultural perspectives. She charts a progression from indigenous, native, local, and outsider that offers us a way of looking at the discourse within a region. “All places exist somewhere between the inside and outside views of them.”

We are asked to look at the names of places and to see the difference between indigenous naming conventions that ”tend to identify resources for the common good” and European names that are more about “what it looks like” and “who was there” and utilize names as “proof of ownership.”

These place names are cataloged on maps which Lippard points out are not neutral and support the ideology of the person who made them. Maps are inherently powerful because they, like photographs, are perceived as truth, as a factual representation of what is there. Lippard shares many map-making efforts that are endeavoring to represent the culture of the local that is missing from the dominant hegemony maps. It is the establishment of boundaries that asserts power over space.

A large section of the book is dedicated to land use and is an indictment of the political processes that determine where hazardous waste is dumped, zoning codes, and environmental battles between ranchers and conservationist. Lippard also points out the landscape as a gendered space, particularly when viewed in terms of home and safety and the conditions that led to the development of the suburbs.

It seems as though Lippard is challenging us to engage in our own history and draw out the history of others through the reproduction of narratives. Individual histories as told through our own voices are less subjugated to hegemony than when it is left to others. Those who write history control it. Without specifically articulating it, Lippard is presenting the concept of discursive formation of meaning and is presenting these concepts within a discursive manner filled with examples and narratives from artist such as Houston Conwill, Agness Denes, and Carrie Mae Weems. The reader is encouraged to take part in this discourse on a local or regional level.

There are many critics of this book. Lippard seems prepared for the criticism and ends her text with a response to those who would criticize her. “Some of the ideas conveyed here will be (and have been) attacked as retrograde. So be it I am tired of the prevailing disrespect for emotive retrospection, which is a valuable component of communication if balanced by local knowledge and critical curiosity. One way society disempowers people is to give them no credit for their thoughts and accomplishments.”

As an academic text, I have to say it is a difficult text for a new student as it doesn’t speak directly to a single line of reason but is rather more like a patchwork quilt of ideas drawn from many disciplines of study and from the personal travels and connections of the author. It doesn’t speak too much about specifics of landscape, structures, systems, climates, etc. but deals with the impressions and concepts, and the role artist can play in protesting the injustices the author has noted and others we might find when observing the context of place. It is a text that is absorbed indirectly over time, fragments slowly pulled together to form an impression. One doesn’t leave this book, but rather comes and goes from it making a web of connections to personal practice.

In the end, Lure of the Local is not so much about rooting one’s self but instead, being responsive and responsible in how we interact within the places we travel and to find a wholeness through our relationship with ‘place’.

The New Imagined Community

Abstract submitted for:
NMDS.5004: Understanding Media Studies Fall 08
Professor Shannon Mattern, PHD

Fox, Steve. The New Imagined Community: Identifying and Exploring a Bidirectional Continuum Integrating Virtual and Physical Communities through the Community Embodiment Model (Journal of Communication Inquiry 2004) pg. 47 – 62

The internet has become a routine cultural practice that is no longer limited to the realm of specialization. “We are moving away from a world of Internet wizards to a world of ordinary people routinely using the Internet as an embedded part of their lives” (Wellman and Haythornwaite 2003).

The result of widespread adoption of the Internet has been the development of virtual communities that behave in a manner very similar to physical communities. In this article Fox proposes that we should utilize a Community Embodiment Model (CEM) framework that is similar to the frameworks used to analyze physical communities and that there is a physical/virtual continuum that exists that is based upon a common perception of the ‘imagined’ community. This continuum represents a further extension of man and is bidirectional in nature.

The article establishes a basis for comparing virtual and physical communities by first looking at early social research beginning with Durkheim’s (1933) ideas about a ‘collective consciousness’ which was further developed by Tonnies’ (1957) organization of ‘community’ and ‘society’ as two overlapping social spheres ‘Gemeinschaft’ and ‘Gesellschaft’. ‘Gemeinschaft’ was the term used to describe a tight- knit community and ‘Gesellschaft’ described the individualistic aspects of society based upon social status, power, and wealth. Turkle (1995) further argued that the technology of modern society was creating a more fragmented culture through the use of computer mediated communication technology. However as the Internet gained a cultural critical mass online communities began to ‘retribalize’ society by “forming even smaller communities of interest.”

Finally, Fox points to the seminal work of Anderson (1991) that introduced the concept of the imagined community. Anderson pointed out that the number of people we have fact to face encounters with in a community is so small, yet we imagine members of the community to exist in a similar manner as ourselves. Virtual communities are just an expansion of ‘imagined’ physical communities. This ‘imagined’ community is the basis for support of the Community Embodiment Model (CEM). Therefore, utilizing this CEM model is seen as an important tool to analyze the way in which virtual communities overlap with physical communities.

The latter part of the article points to a pilot study that involved surveying participants within and online community and measuring their level of participation within a physical and virtual environment, and their level of satisfaction with each mode of communication. Two important themes emerged from the data. First, virtual communities utilize cues such as emoticons and topics of thread discussions to help a participant to define the space between themselves and the people they are communicating with, which is a process that mirrors the physical world. The data confirmed that virtual communities are embodied by the imagination through a set of features and characteristics.

Secondly, the variety of preferences expressed between communication in a face to face manner or an online manner supports the idea that there is a bidirectional relationship between the physical and virtual community.

Finally, the research showed that when online members of a community have not met in person they create an image of the ‘other’ in their own likeness, just as Anderson described the imagined physical community.

The theoretical connections between the physical and virtual community are interesting. However the research done so far is very limited based upon the CEM model. Only ten participants were surveyed within a single corporate community that the author is a member of. Further research is necessary.

However, should the CEM model become widely accepted as a means of establishing the link between virtual and physical communities, it may very well alter how we structure the physical community through our recognition of its virtual extensions and we may see an equal expansion of government in cyberspace.