Mit Cms/w

Hosted with MIT Arts, Culture, and Technology and The Boston Cinema/Media Seminar. Introduction by Lisa Parks, Professor, CMS/W Haidee Wasson’s talk will explore the long and vibrant place of portable film devices in the history of small media, repositioning the ‘movie theatre’ as the singular or even central figuration of film presentation and viewing. From its earliest days, film was – in a sense – born portable. Yet, our attention to and affection for the movie theater has obscured our view to the parallel and paradigmatic development of a far more numerous and arguably more significant development: the international, post-war proliferation of portable projectors. These small devices were used widely and for a sizable range of purposes: political, industrial, artistic, cultural. They fundamentally changed the conditions in which films could be seen — and ultimately imagined — as complex projected, often interactive and highly applied, forms. Drawn from a book-length study, this paper will highlight the p

Introduction by Amy Rosenblum Martín, Independent Curator and Educator, Guggenheim DIS (est. 2010) is a New York-based collective composed of Lauren Boyle, Solomon Chase, Marco Roso, and David Toro. Its cultural interventions are manifest across a range of media and platforms, from site-specific museum and gallery exhibitions to ongoing online projects. In 2018 the collective transitioned platforms from an online magazine, dismagazine.com, to a video streaming edutainment platform, dis.art, narrowing in on the future of education and entertainment. DIS Magazine (2010-2017); DISimages (2013), DISown (2014), Curators of the 9th Berlin Biennale for Contemporary Art, The Present in Drag (2016); DIS.art (2018–); Exhibited and organized shows at the de Young Museum, San Francisco; La Casa Encendida, Madrid; Plug In Institute of Contemporary Art, Winnipeg; Baltimore Museum of Art; and Project Native Informant, London. DIS has also been included in group exhibitions at MoMA PS1, Museum of Modern Art, and the New

The Battle of Algiers, a 1966 film that poetically captures Algerian resistance to French colonial occupation, is widely considered one of the greatest films of all time, having influenced leftist and anti-colonial struggles from the Palestine Liberation Organization, to the Black Panther Party and the Irish Republican Army amongst others. But the film is more relevant and urgent than ever in the current “War on Terror” – having been screened by the Pentagon in 2003 and taught in Army war colleges as a blueprint for U.S. counterinsurgency doctrine. This talk will examine the film as a “ghost archive” of competing narratives, a battleground over the meaning and memory of decolonization and Western power, and a site for challenging the current imperial consensus. As the “War on Terror” expands and the threat of the Muslim looms, the films’ afterlives reveal it to be more than an artifact of the past but rather a prophetic testament to the present and a cautionary tale of an imperial future, as perpetual war has

Comedienne Cameron Esposito delights audiences with a short comedy set followed by Q&A about Rape Jokes, her standup comedy special about sexual assault from a survivor’s perspective. Cameron Esposito is a nationally headlining comic who has garnered glowing praise from The New York Times, Vanity Fair, Variety, and The Guardian. She’s also a sexual assault survivor. In 2018, Esposito released Rape Jokes, a standup comedy special about sexual assault from a survivor’s perspective. Esposito joined the MIT Communications Forum for a short standup performance followed by Q&A with the audience. Co-sponsored/supported by the de Florez Fund for Humor, Women & Gender Studies at MIT, and The MindHandHeart Innovation Fund.

Based on the recent book Gaming the Iron Curtain, this lecture will outline the idiosyncratic and surprising ways in which computer hobbyists in Cold War era Czechoslovakia challenged the power of the oppressive political regime and harnessed early microcomputer technology for both entertainment and activism. In the 1970s and 1980s, Czechoslovak authorities treated computer and information technologies as an industrial resource rather than a social or cultural phenomenon. While dismissing the importance of home computing and digital entertainment, they sponsored paramilitary computer clubs whose ostensible goal was to train expert cadres for the army and the centrally planned economy. But these clubs soon became a largely apolitical, interconnected enthusiast network, where two forms of tactical resistance could be identified. First, the clubs offered an alternative spaces of communal hobby activity, partially independent of the oppression experienced at work or at school. The club members’ ambitious DIY proj

In a little over a decade, competing social media platforms, including YouTube, Facebook, Twitter, Instagram, and Snapchat, and their Chinese counterparts, have formed the base for the emergence of a new creative industry: social media entertainment. Social media entertainment creators have harnessed these platforms to generate significantly different content, separate from the century-long model of intellectual property control in the entertainment industries. This new screen ecology is driven by intrinsically interactive viewer- and audience-centricity. Combined, these factors inform a qualitatively different globalization dynamic that has scaled with great velocity, posing new challenges for established screen industries, screen regulatory regimes, as well as media scholars. Social Media Entertainment: The New Industry at the Intersection of Hollywood and Silicon Valley maps the platforms and affordances, content innovation and creative labor, monetization and management, new forms of media globalization,

Podcasting has given rise to new voices and new, highly personal ways to tell stories. But as the medium expands, it struggles to create gold standards for building shows that will be popular and financially sustainable. Cynthia Graber, co-host and co-creator of Gastropod, about the science and history of food, joins Al Letson, host of the investigative reporting show Reveal and creator of Errthang, his own personal “mixtape of delight,” to dive into the secrets of successful podcasting and what the future might hold for this intimate form of media. Speakers: Cynthia Graber is an award-winning radio producer and print reporter who’s covered science, technology, food, agriculture, and any other stories that catch her fancy for more than 15 years. Her work has been featured in magazines and radio shows including Fast Company, BBC Future, Slate, the Boston Globe, Studio 360, PRI’s The World, Living on Earth, and many others. She’s a regular contributor to the podcast Scientific American’s 60-Second Science an

Although the Pokémon GO phenomenon of 2016 has waned, the economies of internet fame and content production remains robust. Drawing from their dissertation, Nick-Brie will discuss the forms of relational work and bonding that occur on YouTube and Twitter as well as Tumblr and Patreon, the latter two will be the focus of the talk. Drawing from two years of Internet ethnographic and participant observational work, Nick-Brie will be discussing the political economies and labor demands of micro-celebrity and Influencer culture across social media platforms regarding the Pokémon GO community. This talk suggests that the unpaid, affective labor done on Tumblr serves as a stepping stone to build relationships with one’s audience and fans before garnering support for additional, sustained income. From there, this talk argues that relational bonding work on Patreon is sustained through the various creator-patron interactions and rewards-based system to foster a system of compensation through crowdfunding, yet precario

At the close of the First Gulf War, feminist architectural historian Beatriz Colomina wrote that “war today speaks about the difficulty of establishing the limits of domestic space.” That conflict of 1990-91 is most often cited as the first to pull the waging of war fully into the digital age and therefore into a blurring of boundaries of all kinds. Yet, most modern wars have introduced technological innovations that transform social relations and modes of communication and representation. In this paper Caren Kaplan focuses on a period that includes the Vietnam War (1955-1975) and extends into the “War on Terror” through a consideration of Martha Rosler’s photo collage series “House Beautiful: Bringing the War Home” (1967-2004). The technique of collage reinforces the artist’s emphatic effort to bring together seemingly incommensurable elements—images of exquisite domestic interiors, glamorous consumer commodities, and landscapes and bodies damaged by warfare. Literally bringing wars waged by the United State

When everyday citizens interact about politics today, they often do so (1) anonymously and (2) in digital space, which results in a kind of aggressive chaos. But what happens when people identify themselves to one another in place-based communities as they do, for example, when writing letters to the editor of their local newspaper? How does that change public discussion? This talk by Roderick Hart operationalizes the concept of “civic hope” and reports the results of a long-term study of 10,000 letters to the editor written between 1948 and the present in twelve small American cities. Hart’s argument is that the vitality of a democracy lies not in its strengths but in its weaknesses and in the willingness of its people to address those weaknesses without surcease. If democracies were not shot-through with unstable premises and unsteady compacts, its citizens would remain quiet, removed from one another. Disagreements – endless, raucous disagreements – draw them in, or at least enough of them to sustain civi

Myron Dewey is an indigenous journalist, educator, documentary filmmaker and the developer of Digital Smoke Signals, a social networking and filmmaking initiative, emerging out of the Standing Rock Sioux Reservation protests against the Dakota Access Pipeline project of 2016-17. Using a full range of contemporary media, including drone technologies, Dewey has pioneered the blending of citizen monitoring, documentary filmmaking, and social networking in the cause of environment, social justice and indigenous people’s rights; he co-directed the 2017 award-winning documentary, Awake: A Dream from Standing Rock. Introduction by Lisa Parks, Professor, Comparative Media Studies; Director, Global Media Technologies & Cultures Lab and recently awarded MacArthur Fellow.

In the 20th century, America led the world in scientific and technological innovation, with federally funded basic research leading to breakthroughs ranging from the Internet to the Human Genome Project, with many positive impacts on society. More recently, possibilities ranging from autonomous weapons to eugenic application of genetic editing tools have made it clear that the rate of discoveries has outpaced our ability to predict their moral and ethical consequences. How the scientific community addresses these essential questions could mean the difference between societal benefit and dystopia. Eric Lander, president and founding director of the Broad Institute of MIT and Harvard and a principal leader of the Human Genome Project, and Maria Zuber, MIT Vice President for Research and the E. A. Griswold Professor of Geophysics, will be joined by Communications Forum director Seth Mnookin for a wide-ranging discussion on the ethical issues entangled in innovation and the real, and sometimes devastating, effe

[Video and photos available at https://cmswm.it/bendis-mit] MIT Comparative Media Studies/Writing is thrilled to welcome award-winning comics creator Brian Michael Bendis, a New York Times bestseller and one of the most successful writers working in mainstream comics, for the 2018 Julius Schwartz lecture, in conversation with fellow comics writer Marjorie Liu. For the last eighteen years, Brian’s books have consistently sat on the top of the nationwide comic and graphic novel sales charts. Now with DC Comics, he is the co-creator and consulting producer of the Peabody Award-winning Jessica Jones on Netflix from Marvel TV. For Marvel entertainment, Bendis was the monthly writer of the bestselling Defenders, Jessica Jones, Iron Man, Spider-Man, and Guardians of the Galaxy series. The introduction of the multiracial Spider-Man, Miles Morales, made the front page of USA Today and went on to become an international hotbed political topic featured on Fox News, CNN, The Daily Show, Conan O’Brien, Howard Stern and

On the heels of the day’s graduate program information session, join us for our annual colloquium featuring alumni of CMS, discussing their lives from MIT to their careers today. Nick Seaver, Assistant Professor of Anthropology at Tufts University and a 2010 graduate of Comparative Media Studies, is an anthropologist of technology, whose research focuses on the circulation, reproduction, and interpretation of sound. He holds a Ph.D. from the University of California, Irvine. His dissertation research examined the development of algorithmic music recommendation, and at CMS, he wrote a thesis on the history of the player piano. Colleen Kaman is a user experience strategist at IBM Interactive Experience, skilled in storytelling, user research, learning design, and persuasive technologies. Her expertise is in developing products, services, and campaigns that help users make better decisions and accomplish tasks more effectively and efficiently. Sean Flynn is the Program Director for the Points North Institute,

Our society is in the midst of an extremely urgent conversation about the benefits and harms of digital technology, across all spheres of life. Unfortunately, this conversation too often fails to include the voices of technology practitioners whose work is already focused on social justice, the common good, and/or the public interest. This talk by Sasha Costanza-Chock explores key findings and recommendations from #MoreThanCode (morethancode.cc), a recently-released field scan based on more than 100 practitioner interviews. * The report was produced by the Tech for Social Justice Project (t4sj.co), co-led by Research Action Design (RAD) and the Open Technology Institute at New America (OTI), together with research partners Upturn, Media Mobilizing Project, Coworker.org, Hack the Hood, May First/People Link, Palante Technology Cooperative, Vulpine Blue, and The Engine Room. NetGain, the Ford Foundation, Mozilla, Code For America, and OTI funded and advised the project. Sasha Costanza-Chock (pronouns: they/th

Marisa Morán Jahn is a multi-media artist, writer, educator and activist, whose colorful, often humorous uses of personae and media create imaginative pathways to civic awareness of urgent public issues. Working collaboratively, her projects include a classic American road trip, CareForce One, in a 50-year-old station wagon, advocating issues concerning care workers that became a PBS film series; and Bibliobandido, a story-telling initiative for Honduran children featuring a masked bandit who devours stories. Jahn, winner of numerous awards, is co-founder of Studio REV-, a non-profit organization of artists, technologists, media makers, low-wage workers, immigrants and teens who producing creative media and public art about the issues they face. She will be sharing Snatch-ural History of Copper (working title), an art project, book, and feature-length film initiated by artist Marisa Morán Jahn that investigates copper, an element found in electrical wires, computers, lightning rods, and the IUD (intrauterine

== An MIT Communications Forum == As a senior producer on The Daily Show with Jon Stewart and Trevor Noah, Sara Taksler has spent her career taking comedic pot shots at politicians. When she met Dr. Bassem Youssef, an Egyptian satirist who uses comedy to criticize Middle Eastern politics, Taksler witnessed first-hand how laughter thrives, even in terrifying circumstances. Tickling Giants, Taksler’s documentary about Youssef, is a hilarious story about finding comedy in unexpected places. Taksler joins Dr. Amber Day, author of Satire and Dissent: Interventions in Contemporary Political Debate, to discuss the power of free speech and what’s so funny about oppressive regimes.

An MIT Communications Forum Christian Picciolini was 14 when he became a Neo-Nazi skinhead. He denounced eight years later and dedicated himself to helping others disengage from extremist groups. Picciolini has done peace advocacy work for more than a decade and in 2018, he founded the Free Radicals Project, a nonprofit dedicated to transitioning former extremists. He has conducted more than 200 interventions with white supremacists, as well as with ISIS members and other types of violent extremists. Now an internationally-renowned speaker, author, and MSNBC contributor, Picciolini discussed the state of extremism in America and how to combat it alongside Lee-Or Ankori-Karlinsky, senior program officer at Beyond Conflict, a nonprofit research and consulting group that uses the behavioral and neuroscience of social conflict to create peace-building initiatives in dozens of countries around the world. Christina Couch, a science journalist who has written extensively about deradicalization and dehumanization re

Daniel Bacchieri is an award-winning Brazilian journalist, documentary film maker and collaborative web developer/curator, whose visually inspiring StreetMusicMap platform has been widely praised for its curation of street performers from across the globe. Combining a documentarian vision with a trans-cultural appreciation of the public art of vernacular musicians, the StreetMusicMap collaborators are exploring the creative possibilities of collective story-telling through performance. The StreetMusicMap Instagram channel has more than 41,000 followers and 1,300 artists documented on videos in 97 countries, all filmed by more than 700 collaborators. The Civic Arts Series, which is part of the CMS graduate program Colloquium, features talks by four artists and activists who are making innovative uses of media to reshape the possibilities of art as a source of civic imagination, experience and advocacy. Using a variety of contemporary media technologies–film, web platforms, game engines, drones–the series pres

CAST Visiting Artist Agnieszka Kurant joins Stefan Helmreich, professor of Anthropology; Caroline Jones, professor of History, Theory and Criticism of Architecture and Art; and Adam Haar Horowitz, master’s student and research assistant in the Fluid Interfaces Group, to discuss the idea of collective intelligence in relation to emerging technology, artistic inquiry, and social and cultural movements. Kurant will reflect on outsourcing her artworks to human and non-human collective intelligence and the system of profit-sharing she has created, artworks as complex systems or collective tamagotchis emulating life, and the observable evolution of individual authorship, culture, nature, labor and society. Haar Horowitz will touch on the collective in relationship to experience research in the neurosciences and experience production in the arts. Helmreich will discuss metaphors of collective human action derived from physics, computer science, animal worlds, and fluid dynamics, and will reflect on the politics of