\\Minds Like Knives//

Blog Relocating: Blownhorizonz.com!

2013-10-05T09:56:00.002-07:00

Hello all. My blogging at this location has slowed down dramatically over the last year or two. That's mostly my own fault, but Blogger's moribund design and technical limitations don't help. It looks like crap, it's hard to read, and it makes me not want to blog every time I look at it. I've been blogging using Blogger for nearly 15 years, and like almost everything in my life, I've been doing it mostly for fun. It's finally time to get serious, about this and a lot of other things, which means I'm moving my web presence.

My main 'live' new home will be at www.blownhorizonz.com, a Wordpress blog (see? professional) devoted to weird fiction, strange music, underground art, and anything else that pops on my radar, and prominently featuring my music criticism book of the same title. I'm bringing it live as we speak, and it will be ready to rock by the end of the weekend.

I'll also be working on Spacelizards.com, a blog (also Wordpress! PROFESSIONAL) for a nonfiction book I'm working on, currently titled Conspired! How Space Lizards in Black Helicopters Wearing Tinfoil Hats are Taking Over American Politics, and Why We Need To Cut it Out. That blog will be exclusively devoted to conspiracism and conspiracist topics.

Finally, there's davidzmorris.com, a static landing page with my bio and C.V., and linking to my various projects in various ways.

Future rollouts are planned for mindslikeknives.com, possibly having to do with philosophy and deeper intellectual stuff. There will also be a site devoted specifically to the fictional alternate-Civil War world I first entered with the Scouts of the Pyre novella, available in issues 8, 9, and eventually 10 of Steampunk Magazine, and destined to be an ebook just as soon as the print publication run is complete.

I will make one or two more posts here as I hit milestones with these other projects, but otherwise I'm dropping the curtain on Mindslikeknives. It has been very satisfying for me to blog here for the past five (eight? Ten?) years or so, but all good things and all that.

My First Day at The Least Glamorous #Altac Job Imagineable

2013-08-11T07:37:00.002-07:00

Note: I now blog at Blownhorizonz.com. It's much prettier to look at, and more focused on fun stuff like weird fiction, extreme music, and awesome art. Also check out my Tumblr at blownhorizonz.tumblr.com.

So, this past Friday was my first day at a new job. I'm on a trial period right now (okay, let's be precise - I'm an intern, and have been told that will be re-evaluated in a month or two). The opportunity is certainly interesting, I'm approaching it with an open mind, and it's amazing how little work it took. I literally emailed a guy and had coffee with him, then got an offer. I'm excited because it's an opportunity to learn the day to day of the business world as opposed to the academic, and show that I can hack it. Which, I think it's safe to say, I clearly can.

In many ways, this new position is not the kind of job that gets mentioned when the discussion turns to alternative careers for academics, or #altac. The buzzwords around that are generally things like research management, admin positions in academia, positions with government agencies - high-level glamour stuff. I, on the other hand, am for the moment basically a copywriter. My first assignment for the company, on a freelance basis, was actually writing SEO copy (the equivalent, in my humble opinion, of hiring Gustav Klimt to paint your house beige), and on my first day in the office I churned out some web copy.

But it might not be complete drudgery. I actually spent most of the day working on my new company's application for a local technology innovation award, and in the near future it looks like I'll be working on investor prospectuses. These are both tasks that exercise the analytic skillset I developed in my academic training. For instance, explaining the impact and potential benefits of my new company's technology efforts entails exactly the same sort of social-systematic analysis, projection, and inference that I use when writing about, say, the social impact of car audio technology (forthcoming in Technology & Culture!) The line of reasoning is reversed (what will happen vs. what did happen), but I immediately found that engaging. My new company's core offering is a business and social networking tool, and so I got to write about the knock-on efficiencies of networks. Pretty cool for my first day.

There are other big reasons I'm excited about my new path - mostly coming down to where I place my priorities. Literally the day before the end of my academic appointment at the University of South Florida, I finished and submitted a proposal for an academic book. I am excited by the possibility of having that book accepted for publication, but the process of preparing the proposal reminded me that, while there are certain kinds of enjoyment that come with academic writing, there is nothing fun about it. I want to do things that are fun.

At about the same time, I asked a friend of mine who had recently finished a popular nonfiction book for some details about numbers - and they were eye-opening, maybe even staggering. She was able to live for a year-plus on the money for writing a 200-odd page book, which I am sure I would have no problem blowing through in four months. She made more from her book than I did from my postdoctoral fellowship. I'm sure many other academics are genuinely not interested in writing for popular audiences, and I know there are a large number who are truly incapable of writing with humor, verve, and insight at the same time. But as someone who has that ability and actually thinks the work is important, some very simple math makes it absolutely foolish for me not to pursue the possibility.

And so I'll be spending my mornings before work putting together a proposal for a book on conspiracy theory and its impact on American politics - a topic I'll also be blogging about over at my new site, Space Lizards in Black Helicopters (Spacelizards.com - and yes, I know it's the greatest URL of all time. Thank you for saying so). This simply isn't something I would have been able to do as a first-year (or maybe even sixth-year) tenure-track professor. The grind of academic research, teaching, and writing is draining, most of all on your creative resources. There is no downtime - even your summers are dedicated to research and teaching prep. There is no time that you can truly call your own, or that will allow you to pursue other applications of your gifts.

For some people that's okay, because teaching and research are truly their focus in life. I'm not so sure that's true for me. And in my new office, though there's a good bit of the new-startup buzz that can suck you in if you let it, it also seems perfectly okay to put in your eight hours and then simply go home. The possibility of truly making a living by working seven hours a day, even after my time as a relatively time-rich postdoc, is pretty exciting. And it's also exciting that I will be going home to work on a book that more than 500 people might end up caring about.

But then again, I did send out those academic book proposals. I did finish a major publication, also just as I was headed out the door. I certainly am working to keep my options open as an academic. Maybe the urge to write about Lacan will catch up with me in six months. Maybe I'll discover that the professional 9-5 world is less generous with my time than I'm seeing so far. I am, unapolagetically, hedging my bets. I'm keeping multiple options open - and more than any idea of simply ditching the tenure track, I think that should be the key theme of the #altac movement. Having options is not something academics or academics-in-training generally keep in mind, but if they did, maybe it would put enough pressure on things like the adjunct pool and salaries to start having a real impact.

My Last Day As an Academic: What An Academic Departure Leaves Behind

2013-08-06T09:38:00.001-07:00

Note: Not unrelated to the transition covered below, I now blog at Blownhorizonz.com. It's much prettier to look at, and more focused on fun stuff like weird fiction, extreme music, and awesome art. Also check out my Tumblr at blownhorizonz.tumblr.com.

Today is my last day at USF, and I'm doing the final cleanout of my office, while simultaneously finishing final revisions on a journal article. Yesterday, I finished submitting my academic book proposal. I've engineered a pretty perfectly punctuated departure, I must say.

In the course of cleaning out my office, I've found I have a weird relationship to paper and information. I guess it's not just me . . . we were all very excited when it looked like we might be moving into a post-paper world, but that didn't quite work out, did it? I have stacks and stacks and stacks of paper, mostly printed out from the digital versions of books that I couldn't find physical copies of. Some of the material I've got sitting around is simply ridiculous. For example, I have a copy of Michael J. Raine's 2002 dissertation Youth, Body, and Subjectivity in the Japanese Cinema, 1955-1960. It was given to me by John Peters, who just happened to have a printed copy of it sitting around his office, and knew I was writing and thinking about Japan. It's about 400 pages long and weighs about ten pounds. Apparently I brought it with me from Iowa, put it in storage in my parents' house for a year while I was in Japan, then loaded it into a moving truck to bring to Florida. I never read it.

(Incidentally, a Google search provides no evidence that anyone named Michael J. Raine is currently working in academia, though I did find a corporate lawyer by that name on Linkedin. Hmm.).

I also have stacks of journal articles, mostly related to one project or another, mostly carried all the way from Iowa, and each either readily available online, or, even more embarrassing, actually saved on my hard drive. I'm in the process of either archiving .pdf copies of all of them from the usage-restricted archives I'm about to lose access to, or scanning them - printouts of .pdfs - back into .pdf form.

I know this is insane, but at least getting rid of the paper versions of these things is incredibly liberating. Leaving academia is, so far, incredibly liberating. The weight being lifted off my shoulders isn't just metaphorical (who knows if I'll ever write that academic book, and who cares), it's physical. Like, hundreds of pounds worth of weight.

Wheee!

The Ph.D. and the Nonacademic Job Search: A Spectacular Albatross?

2013-07-22T14:00:00.003-07:00

In my ongoing post-academic (inter-academic?) transition, one of the very practical questions that keeps coming up is - how do I present my Ph.D.? On business cards, on Linkedin, etc . . . I'd be a pretty hopeless 'strategic communicator' if I didn't realize that referring to myself as "Dr. David Z. Morris" made me instantly seem like an asinine boor. But what about "David Z. Morris, Ph.D.," or just "David Z. Morris," with the Ph.D. tucked on the back of the card, the third or fourth line of the resume, etc?

You can find different takes on this. The authors of "What Are You Going To Do With That?" (which I strongly recommend) are predictably upbeat, considering their audience of almost entirely MA and Ph.D. holders. They emphasize the skills and accomplishments indicated by the Ph.D. Penelope Trunk, on the other hand, is brutal, saying that if it's not directly related to your field, you should Leave Grad School Off Your Resume.

In my case, my graduate degree could hardly be more relevant to the field I'm pursuing work in - my Ph.D. is in Communication Studies, and my work is focused on media technology and culture. I've taught both business communication and strategic communication for nonprofits, which believe me, is far more educational than simply taking those courses - plus, now I have some actual experience applying what I learned/taught. So I don't feel much conflict about listing the Ph.D., and even highlighting it.

But still, there are moments when it's overkill - I'm applying for some entry-level positions along with more senior positions, and in those cases I provide a little caveat as part of my cover letter. What do you think, though? Should I just be leaving this off? But no, no, there would be insurmountable, inexplicable gaps in my timeline. Nothing to be done but acknowledge that I'm a huge nerd who did something impractical with his 20s.

Separation Anxiety: The Symbolic Trauma of Sacrificing Your Academic Identity

2013-07-16T12:02:00.002-07:00

If you read contemporary job search guides (or if you're just a commonsensical tuned-in person) you'll know that your social media presence is nearly as important to how you're regarded by potential employers as your resume. For someone transitioning careers, this can be tricky. In my case, there are still people who follow/know me as an academic, but if I leave my online profiles oriented towards that audience, I'll be putting up a big STOP sign for potential nonacademic employers.

So, I'm slowly making changes - like changing my twitter bio and the bio on this page to something that acknowledges my 'transitioning' status (I feel like I'm announcing a sex change . . . ). I still haven't tackled my main website (davidzmorris.com), where for a little while longer you can read what I have to say about myself as an academic first and foremost.

These are all strictly practical moves in the game of life. And for a lot of people, they would be simply practical decisions. But for myself, and I'm sure for many others in similar situations, there's a kind of existential dread that accompanies changing social media profiles. It's really not at all different from the dread that accompanies turning a C.V. into a resume. There's not much room in either of those genres, and boy, wouldn't it be tragic if people didn't know HOW AWESOME I AM? Didn't know all the great articles I've published, all the awesome grants and fellowships I've earned? There's the threat that one will remain too attached to those old achievements.

I'm trying to view it as a moment of freedom. I have actually accomplished things outside of academia - but more importantly, I have GOALS outside of academia. This is a chance not just to change how people see me online, but to rethink how I see myself. Watch this space as I tweak, poke, and prod that self-presentation/self-perception.

P.S. There is another practical concern. Even as I'm looking for real-world jobs, my plan is to continue applying for academic jobs for the upcoming cycle, pretty much in case I end up really loathing wherever I end up. I will have to carefully calibrate my self-presentation so that academic hiring committees really understand where I'm coming from.

The Quest for Freedom: Why I'm Leaving Academia. Temporarily. Maybe.

2013-07-15T06:26:00.000-07:00

Today is a big day. Many of my friends and family know about it, but this is the first time I've posted here on the blog about a major transition in my life. In about three weeks, I will no longer be employed by the University of South Florida as a Postdoctoral Research Fellow. My two-year contract is expiring, so there's nothing terribly dramatic about that. What's more notable is that I'm not, as most academics at this juncture would be expected to, packing up and shipping off to another city to start either a tenure-track job or a visiting assistant professorship somewhere. Instead, I've spent the last few months fine-tuning a resume (not a C.V.), thinking about what skills I've acquired in my time in academia, and, starting a few weeks ago, applying for jobs in copywriting.

In other words, I'm leaving academia.

I don't know if this is a permanent bail. Probably not. Right up until the end of my fellowship, I seem to find working on my academic book proposal (for my book on Japanese Underground hip hop) way more compelling and interesting than the task of finding a real-world job, so we're already experiencing some nostalgia. But for a number of reasons, I feel I have to take some time to discover what the alternatives are, and whether I feel they might fit me.

The idea of doing this first emerged about nine months ago, and I blame love. There was a woman, and I felt things that I hadn't felt about anyone in a decade. She opened me up - and I thought to myself, how can I leave this? It's the expectation, the way the model works - from postdoc in place A to Assistant in Place B, with no choice, nothing but the luck of the draw. And the profoundly dated presumption that as a primary breadwinner, a professor could pick up and carry his (presumptively, his) entire brood anywhere. But now marriages dissolve because neither spouse can or wants to compromise on their job. Which, for me, seems like mistaken priorities.

That love affair ended in blood and fire - itself a transformational lesson in how callous humans can really be - but in the meantime other thoughts had crept in. Last November, I visited my friend, an assistant professor at a private liberal arts college in a very small town. I went there, and I saw he and his wife putting on a triumphant performance of mutual tolerance, and I took the three-minute walk to the only coffee shop in the three-stoplight town, and I heard the stress in his voice as he lamented his three year review, and the amount of pressure put on his teaching evaluations. He seemed worn, old. Another academic friend of mine indirectly revealed that for her full-time professorship, she was being paid barely more than I was earning doing only research. The professorship that I'd been dreaming of all these years began to seem like a less alluring reality.

I powered through graduate school in Iowa City and nearly had a breakdown from loneliness and life-threatening weather, maybe because I could not conceive of a better alternative. In Florida, though, one is given a profound window onto the possibilities afforded by money and flexibility. I began to think I might someday want to be able to be spontaneous. I might want to have great experiences that didn't involve reading. I would perhaps really someday like to have sex on a boat.

Maybe a catamaran.

This is not to say that I want to get rich, but it will at this rate be another seven years before I can pay off a small amount in student loans. This is an oppressive thought for me.

There was another, perhaps even more profound, because more immediate, factor. About a year ago - just before everything went so horribly with a woman I thought I was going to spend the rest of my life with - I connected with the principal organizers of The Venture Compound, an art gallery and performance space manned entirely by lunatics and flame-headed igniting angels. I'm in its grip, fascinated and immersed, now committed to really make this place survive, committed to insane dreams of building something. I maneuver city politics and I meet people from all walks of life, furniture makers and architects and witches, and because we are generous with our secret selves, our darkest thoughts, they feel that they can be, in turn, and so they stand there nothing but men with their skin on.

I am in the world, suddenly, I am of the world. I have completely inverted my relationship to being.

And so now, I'm fantasizing about a new life, where I am part of a team that pursues a great goal together, instead of a series of piddling goals separately. I want to think about the least predictable ways what I'm doing could impact, not just a few elites, but a true public. I want to intervene in something other than debates.

I don't know if I have it in me. Sometimes I look at myself and I just see some passive eunuch. And I look at the world and it seems bleak, how do all those people do it out there without an institution behind them, without some superficially benign branch of the nanny state at their back, massed rifles just out of sight?

No, I don't really feel that way. Education is a vital public good. But still, how can I live if the government isn't forcing those Iowa farmers to support me?

But I think I'll figure it out. I really do. After all, people do it all the time, right? Every day. And it's not necessarily comfortable, or easy, there's that feeling of some small hook pulling your belly down hollow from the inside. But in return you get the certainty that you have lived. We as humans have been so diabolical to one another that, within a strictly bureaucratic framework, we have constructed a subjective experience that on a day to day level, for many people, is as terrifying as being stalked by a jaguar. People kill themselves because they don't think they can handle the whole contraption, all of it put into place by nothing but humans working with and against fellow humans.

Wish me luck in the insanity.

I would like to thank Penelope Trunk and her utterly fearless integration of her personal struggles into her blogging about the professional world for inspiring me to pursue some new directions in my writing. For the next few weeks or months, I'll be trying to combine my subjective experiences with some genuinely helpful and substantive reflections on the passage from academic to post-academic.

The Venture Compound Evolution Quest: Building Something Great

2013-06-24T07:31:00.001-07:00

As great as my time at USF has been for my scholarship, the greatest thing that Tampa Bay has given me is my connection to The Venture Compound. Venture is an arts collective focusing on young and emerging artists, and I've been serving as their Director of Communication for about a year now. This is the biggest part of a major new chapter in my life - the transition from academic contemplation to some serious dirty-hands engagement with projects aimed at making a world that I want to live in. The Venture experience has been amazing in every way, starting with discovering a large community of aesthetic like minds who were committed to making art happen with a professional approach. Our mission of bringing the weirdest possible art to the widest possible audience is something that pushes my buttons in every way.

So, as part of my contribution to the effort, a couple of months ago I started work on a funding campaign to raise money so we could make some needed upgrades to facilities. Last night, that campaign came to a close, with us raising $1,661, including some offline contributions. For a lot of nonprofits, this would be a pretty minimal sum, but for us it's the largest amount of money we've ever had in one place. We've got detailed plans for how to spend that money, and you can look over them at our Indiegogo page:

http://www.indiegogo.com/projects/the-venture-compound-evolution-quest/x/3073425

I decided to use Indiegogo because we weren't entirely confident of our fundraising potential, and their flexible funding option appealed to us. As it turns out, I was definitely overconfident about how much we could raise, so I'm glad I was a little cautious. Still, obviously the effort is a success, and it's going to allow us to do some amazing new things at Venture. Even more important, I hope this establishes our legitimacy as an arts institution with a large community of serious supporters - something that's going to mean a lot for future fundraising.

We have had plenty of expressions of support and love that can't be measured in dollars, and in most respects, that's the most important part. Still, there's something truly moving about having so many people make real sacrifices to support us, and most importantly trust us, in this more abstract way. We make a lot of jokes about what a bunch of screwups we are, but clearly we have cultivated a lot of people who disagree, and are willing to see what we can accomplish with more resources. We don't plan on letting them down.

(If you missed the opportunity to be part of our fundraiser, don't fret! I'm sure we'll be doing it again soon. Though of course it won't be nearly as cool the second time around.)

Update: VENTURE COMPOUND FUNDRAISER CRUSHING IT!

2013-06-22T10:30:00.001-07:00

In addition to my wide variety of other shenanigans, I'm on the Board of Directors of the Venture Compound, a nonprofit arts collective where I have various duties, including running our current Indiegogo fundraiser. And our fundraiser is KICKING ASS. Following is current info on our status. Please visit the fundraiser to kick in and earn some great premiums including our awesome t-shirts, membership privileges, and our epic PIZZA PARTY!

http://www.indiegogo.com/projects/the-venture-compound-evolution-quest/x/3073425

WE ARE KILLING THIS. Our fundraiser has hit $1,120 raised. What does that mean? Well LEMME TELL YOU:

Gallery Lighting: FUNDED. – We love art, but sometimes our gallery doesn’t. We will now have proper gallery lighting so we can showcase the greatness of our artists.

Remaining Fire Code Needs: FUNDED. – We can buy an emergency exit door, updated emergency lighting, and fire extinguishers. Yay for not dying!

Backyard Prettification: FUNDED. – We know you love our pallets and broken plastic chairs. But how about some hand-built wood benches, tables, and maybe even outdoor lighting? How about some garden boxes? How about a FUCKING JUNGLE GYM? NOW THEY'RE COMING. Well, we'll give the jungle gym a 'maybe.'

Venture Compound Sign Hanging Committee : FUNDED. – Now we can afford to hang the awesome sign Jim built!

WHAT WE'RE STILL SHOOTING FOR:

What We Can Do If We Hit $1400:

TV Mountain Historical Landmark Rescue Plan.

TV Mountain needs to be rewired and engineered for endurance so we can all continue to enjoy 15-channel, quadruple-track old-movie marathons in shuddering monochrome. This would involve cleaning up the wiring and building new shelves so we don’t die when a 35” Samsung from 1989 falls from the top row.

Check out more info on TV Mountain HERE:

https://www.facebook.com/pages/TV-Mountain/626804967334816

What We Can Do If We Hit $2,000

Sound Enhancements: It might not cover our entire wishlist, but a couple hundred could let us make some real upgrades to what you hear. Believe it or not, The Venture Compound has been using BORROWED SPEAKERS for over a year. We'd really love to have something to call our own. We'd also like to get our hands on a recording unit for RECORDING LIVE BANDS - recordings that would be released to YOU, the public.

Audiogalaxy History

2013-06-15T05:39:00.002-07:00

I've just discovered the blog of Tom Kleinpeter, a former founder and engineer at Audiogalaxy, a music sharing website where I cut my writing chops. There were two very separate teams there, and I didn't know Tom well, so it's fascinating to read about what was going on on the other side of the wall, so to speak.

I owe a lot to my Audiogalaxy experience - it basically got me into grad school. It's nice to know the founders are still plugging along.

There are three parts to the series:

http://www.tomkleinpeter.com/2008/03/11/always-refer-to-your-v1-as-a-prototype/

http://www.tomkleinpeter.com/2008/03/13/users-with-a-tattoo-of-your-logo-check/

http://www.tomkleinpeter.com/2008/03/14/the-lawsuit-shutdown-and-aftermath/

Single Indian Tear - Remastered Catalog Now Online!

2013-05-28T06:16:00.002-07:00

I post here a decent amount about my fun band from 2008-2010, Single Indian Tear. Well now, thanks to my awesome partner in crime Craig Eley, you can buy both of our albums on Bandcamp. Better yet, they've been remastered by Iowa City's awesome Sam Knutson. Get caught up, because we're hoping to have our whole Tenebre project (including remixed visuals) available soon.

Enjoy!

http://singleindiantear.bandcamp.com/

Re-Presenting: How I Invented Witch House (and Ghostface) . . . Full Version

2013-05-25T10:26:00.002-07:00

Up until they take it down, here is the first half of the film edit and re-scoring I did in collaboration with Craig Eley back when we were in grad school together. It predates much of the stuff that came in around 2010/2011 inspired by Italian horror movies . . . and now Ghostface Killah's 12 Reasons to Die. Not that we were anywhere near that polished, but I'm still really proud of this.

I've been waiting to bring it to you . . . Scouts of the Pyre, Part 2, now live!

2013-05-24T18:03:00.001-07:00

Oh my many dears . . . it has been a LONG time coming, but Steampunk Magazine issue 9 is now live, and features part 2 of my campy pulp serial "The Scouts of the Pyre." It's a lovely story about the struggle of the Union army about a horde of zombie slaves . . . enjoy, for free, in the online version, or order a beautiful hard copy!

http://www.steampunkmagazine.com/

Why Rational People Buy Into (read: create) Conspiracy Theories

2013-05-23T08:48:00.000-07:00

I haven't talked about it much here, but I spent last semester teaching the first edition of a class on the theme of distrust in communication, about half of which dealt with conspiracy theory. One of the biggest misperceptions about conspiracy theory (including in some scholarly literature) is that it's the realm of deluded idiots. In fact, it's more accurate to say conspiracy theory appeals mostly to people with a moderately sophisticated skepticism, but without either the training in citation and information management to find reliable alternative sources, or perhaps even without the basic faith that there is such a thing as 'the truth.'

The New York Times explores these issues in a new blog post from Maggie Koerth-Baker. The comments section is well worth scanning - not a single one of the first dozen responses comes down on the side of information-based rationalism. They all defend conspiracism as somehow a positive model for 'questions that need to be asked.' Or they say that left-wing conspiracism are okay, it's right-wing conspiracies that are harming democracy. It's really mind-boggling and scary that this is the audience for the New York Times.

The Mysterious Rap Group Behind Korean Solidarity Demos in Japan

2013-05-15T08:08:00.001-07:00

My pal Brent Fujioka recently sent me a hot tip. There are currently significant anti-racist demonstrations being held in Tokyo to oppose the so-called Zaitokukai, an anti-Korean hate group. Information about the demonstrations can be found here and here. The group claiming affiliation with the demos is calling itself "Shit Back Crew," and there's little or no information on them here at their tumblr:

http://shitback.tumblr.com/about

It's strange that they feel compelled to cover their faces, but otherwise this is really encouraging and interesting. Anyone who has further information, it would be appreciated.

Spring Breakers in Tampa Bay: Glorying in the Pirates' Beautiful Wreck

2013-04-18T20:04:00.000-07:00

This piece was originally commissioned to run in the online version of Creative Loafing Tampa. It was apparently declined - all I know is that it never ran. Maybe why it wasn't wanted will be more clear to you than to me (I have yet to get an explanation from the editor).

People in Tampa Bay have been fretting about director Harmony Korine’s new movie, Spring Breakers, understandably perturbed by a film set in their hometown that is, if the previews are any indication, a serving of debauchery with a side of carnage. I moved to Tampa Bay in August of 2011, bringing a completely clean slate. I had never even been to Florida, but I was offered a job, and so I came. As an outsider who has now seen the length and breadth of the Bay, and who has now seen Spring Breakers, I think the film gets Tampa Bay right. Not mainly in the hedonism, the crime, or the murder, though I know there are plenty of those around here. As anyone familiar with Harmony Korine must have known (his last film was titled Trash Humpers, and that title is just as literal as this one), Spring Breakers is not the simple exploitation movie it’s being billed as. It’s an uncomfortable meditation that captures a feeling unique to Tampa Bay. It shows a truth that’s difficult, but that should be treasured.

Much of what I found when I came to Tampa Bay reminded me of my hometown of Fort Worth, Texas: brutal heat, tatty public facilities, and a sprawling highway system and six-lane surface roads that marked it as a driving town. There were differences, too – from St. Pete to Temple Terrace, the poverty was more in-your-face than at home, with panhandlers on every intersection and condemned homes around every corner. Those unlucky enough not to own a car raced, Frogger-style, across those wide roads, infants in tow, praying for their lives. Groups of men lounged aimlessly in the green spaces of grocery store parking lots.

Also different from home, though, was the multi-species parade of brighter things mixed right in with that abrasive reality. There were the professionals that occasionally ventured from South Tampa, sometimes classy and more often delightfully cartoonish. There were the hipsters, legion with their tattoos and mustaches, in bars across the street from by-the-hour motels. In October of 2011, there were anarchists in the streets. There were hand-painted signs for jerk chicken and oxtails. There was a creative class throwing together shoestring and tape and getting things done. There were the mangroves and vines stretching through suburban backyards like Father Knows Best got transplanted to Borneo. There were the nonprofits and activists striving to make things better. There were lizards sunning themselves on sidewalks, scattering with each step.

Spring Breakers’ story of hedonism and bad endings is just a superficial detail, part of the trappings that let this slow, smallish art film pass as a big deal party-caper flick (Amazingly, it cracked the Billboard Top 10 this weekend, but given broadly negative reactions from misled audiences, watch for it to drop like a rock). The movie’s soul, ironically, is on its surface. Korine’s focus is on the feeling he hangs on his inconsequential plot, a hallucinatory strangeness fleshed it out with garish colors, ethereal voice overs, blunted melodies, slow pans, and harsh lighting. The vibe is lonesome and desperate, like it’s all a frantic display of confidence by someone whose soul is crumbling. It’s a feeling Korine said he found in Tampa Bay as nowhere else in Florida – darkness and light, in struggle, in flux.

That’s not something any sane tourism board would put on bus signs, but that doesn’t make it less true, or less valuable. Tampa Bay is a place of decadence, desperation, and degradation, but also of possibility and excitement and change – and all for the same reasons. Think of New York City in the 1970s and 1980s. People lived in fear of being mugged or killed, but there was CBGBs and Keith Haring and Studio 54. Then Disney bought out Times Square and shut down the porn theaters. Within what must have seemed like months, New York – the New York we dream of, the New York of Taxi Driver and Manhattan and Wild Style – was gone.

Spring Breakers is about the desire to change, and to escape, about how even when that desire gets pushed too far, it can still be beautiful. Like New York in the 1970s, Tampa Bay is a royal mess because nobody owns it, and nobody controls it, because right now, nobody wants to. It’s a place of both risk and freedom, where it’s easy to try something and the costs for failure (and here the film doesn’t get it quite right . . .) are low. It’s a city being made before our eyes, a city whose future, unlike those of so many older cities, has yet to be written.

I was originally hired for a two-year job here in Tampa, but I’ve decided to stay and see what happens. I think Harmony Korine would understand.

Record Store Day Picks for Abstract Electro/Hip Hop Heads

2013-04-18T12:52:00.000-07:00

Going through the list of RSD exclusive releases is a fun trip - learning about cool new artists, and mostly, trying to spot interesting stuff based on names + art alone.

Here's what I'll be looking for, starting with the most exciting stuff:

GZA Liquid Swords Chess Box: http://www.recordstoreday.com/SpecialRelease/6083 Whaaaaat

Brian Eno/Nicolas Jaar/Grizzly Bear: http://www.recordstoreday.com/SpecialRelease/6103

Conny Plank + Neu! and others: http://www.recordstoreday.com/SpecialRelease/6086

Evian Christ: DUGA-3: http://www.recordstoreday.com/SpecialRelease/5826

Oval: Systemisch: http://www.recordstoreday.com/SpecialRelease/6166

Ready to Die white vinyl: http://www.recordstoreday.com/SpecialRelease/5906

TR-909 Book: Featuring Schoolly D! http://www.recordstoreday.com/SpecialRelease/6084

Non-Phixion: I Shot Reagan: http://www.recordstoreday.com/SpecialRelease/6085

Dan Deacon: Konono Ripoff no. 1: http://www.recordstoreday.com/SpecialRelease/5927 (brilliant title)

Moon Duo: Circles Remixed: http://www.recordstoreday.com/SpecialRelease/5991

Codeine: What about the Lonely: http://www.recordstoreday.com/SpecialRelease/6056

Cuntz: Aloha: http://www.recordstoreday.com/SpecialRelease/6178

Black Milk: Synth or Soul: http://www.recordstoreday.com/SpecialRelease/5969

Austra + Gina X: Mayan Drums: http://www.recordstoreday.com/SpecialRelease/5926

I'm sure I missed some good ones, lemme know.

Neolithic Survivor: Role-Playing Globalization, Culture, and Technology

2013-04-15T12:14:00.006-07:00

Note: I now blog at Blownhorizonz.com. It's much prettier to look at, and more focused on fun stuff like weird fiction, extreme music, and awesome art. Also check out my Tumblr at blownhorizonz.tumblr.com.

Note: What follows is an experiment. I had a very productive class session last semester using this activity to teach about cultural globalization, and decided to write it up for publication in a pedagogy journal. I just finished a rough draft, and decided, what the hell, might as well make it available for teachers now rather than waiting for publication. And while I'm at it, I might as well solicit some last-minute editing tips, right? In particular, I'm a bit concerned that this somewhat complicated game is not really clear. So, if you enjoy this and find it useful, you might repay me by offering any pointers in the next couple of days before I submit. Thanks!

“Neolithic Survivor” is a single-class activity exploring concepts of cultural formation, intercultural communication, and technological change. The activity is appropriate for courses on intercultural communication, cultural globalization, and communication and technology, and is intended to help students think expansively about the role of technology in shaping cultural values and ethnic identity.

A Neolithic Survivor game in progress.
Note the three different colors of figures,
representing three different teams.

Theoretical Grounding:

The spread of communication technology has combined with more open post-Cold War trade regimes and social liberation movements to increase the flow of information, goods, and people across cultural and political boundaries. This condition of the current world system is commonly referred to as “globalization” (Beck, 2000; Castells, 1996; Pieterse, 2009). Globalization involves a distinct heightening of the frequency and intensity of the interaction of nations and groups from different cultural, economic, and historical positions. The mixing of these different cultures includes not just the sharing of cultural texts (music, movies, television), but also the increasing uniformity of the global technological infrastructure.

There are long-running arguments about what impact communication and other advanced technologies have on the structures and practices of disparate cultures, particularly including traditional cultures or those still in the process of modernizing. Some have argued that the spread of communication technology is sufficient to transform traditional societies into modern ones, and that this process should be celebrated and promoted (Lerner, 1958; Schramm, 1964). Others, particularly after the failure of early ‘modernization’ efforts globally, have argued that the implementation of new ICT (information and communication technologies) can conflict with basic cultural values, either rendering the technologies less impactful or altering the culture’s underlying values (Kyem, 1999, 2012). Finally, more and more scholars have pointed out ways that both technologies and messages are re-articulated to local needs, resulting in significant differences in how similar communication tools are used across cultures (cf. Appadurai, 1996).

This debate builds on ideas about the relationship between technology and culture explored by Harold Innis and Marshall Macluhan, who argued that the formal properties of communication technology have a more profound impact on societies than the content of the messages those technologies transmitted. For instance, Innis argued that certain forms of communication emphasized extensions of a culture’s power through space to construct empires, while others provided superior duration of cultural influence through time (Innis, 2008; McLuhan & Lapham, 1994). To fit the curriculum of my courses, my version of “Neolithic Survivor” emphasized and specifically rewarded students for engaging with these concepts of ‘time-binding’ and ‘space-binding’ media. Technology cards and other elements of the game can be easily modified to emphasize different key course concepts.

It can be difficult for students to get a big-picture view of how the dispersion and adaptation of technology can restructure something as subtle as culture. As with most communication courses, the first task in teaching about globalization is often to get students to look at themselves and their own surroundings as ‘unfamiliar,’ as having origins and differences , as something other than a completely natural and taken-for-granted norm. The goal of the “Neolithic Survivor” activity is to take students out of their familiar settings and push them to think of culture as a ‘blank slate’ that is formed in a complex interaction between cultural practices, ideas, and interactions between groups.

Preparation:

Technology Cards: Use the attached file to print and then cut several dozen cards representing a randomized selection of ‘technologies’ that will be handed out to teams. These are the most important element of gameplay. We define ‘technology’ quite loosely here, with a few examples of things teams can ‘discover’ being: stonecarving, navigation by stars, pottery, money, bronze, large stone structures, numbers, writing, the wheel, agriculture, musical instruments, religion, stone inscription, fire, stone tools, smoke signals, and the bow and arrow.

Obviously these do not represent any ‘logical’ progression, and sequences of discoveries that might seem strange do arise – but as we’ll see, this is part of the game’s learning potential.

I would encourage instructors to use their own creativity to add technologies to the stack that are either relevant to specific lessons, or that they just think would be fun to work with and talk about.

Playing Pieces:

You’ll need about a dozen markers or figures about the size of nickels to represent players’ tribes. They should be four different colors, or otherwise marked to be distinguishable by team. If you happen to be a board game fan, you can probably find something appropriate around the house – I was able to use various figures from a Dungeons and Dragons board game.

Playing Board:

You’ll need a playing surface divided into roughly even-sized squares that fit your figures. The attached file representing the Fertile Crescent may be used, or if appropriate for your class you may use a different regional map and turn it into a play surface. Scale is not really important to gameplay.

Depending on your technology circumstances, you may want to print your map out on a transparency. The ideal possibility would be if your classroom is equipped with an overhead projection camera, allowing the image of the board to be magnified for the whole class, in which case you can just print on plain paper. Otherwise, you may need to project the board as a transparency, or in a worst-case scenario you can place the playing board in the center of the room and allow students to look at it more closely as needed.

The Activity:

Neolithic Survivor is a turn-based game that simulates cultural change and hybridization over time as a group of small tribes in a nonspecific prehistoric period move, grow, and adopt new technologies. While it is played in part on a game board, the largest portion of its gameplay consists of collaborative storytelling, in which the players make decisions whose outcomes the instructor determines.

This kind of gameplay is based largely on the creative and collaborative model of tabletop role-playing games such as Dungeons and Dragons[1]. While such games often involve complex statistical systems to simulate probability and outcomes (most often in combat), their more deeply distinctive feature is the way players make choices and a gamemaster improvises the consequences of those decisions in a way that constructs a larger narrative. Neolithic Survivor focuses almost exclusively on the storytelling element of such games, with the instructor serving as gamemaster-for-the-day. As we’ll see, this means that the game calls on an instructor’s ability to be creative on the fly.

A game of Neolithic Survivor tells the story of three or four primitive tribes and their transformation, over the course of hundreds orthousands of years, into sophisticated communities with distinct identities and mutual relationships. The emergent story is a parable, and is not meant to reflect any real instance of similar development. Instead, it is intended to capture a sense of what it means for a culture to make decisions about technological usage and interactions with others, and to develop in particular ways as a result of those decisions.

At the beginning of the game, read this script:

As the game starts, you are playing as the leaders of a tribe of very early humans, living a very rudimentary nomadic hunter-gatherer lifestyle in the Tigris/Euphrates river, far back in human prehistory.

Each receives one technology card per turn, for every five population. After receiving your card, you have three to five minutes to work as a group to write one or two sentences about how you will use your new knowledge. How will you use it increase your power? How can you use it to influence your population? The population of another tribe? Can you use it to claim territory? Be creative! Try to come up with actions that will either improve your tribe’s monopolization of space or your monopolization of time. You may use a computer/smartphone/tablet to research ideas for how you will act each turn.

But you can only use your new technology in ONE way, so be thoughtful! For example, if you discover fire, you can use it to construct a system of communication by smoke signals or to cook food, but not both. Your communication enhancement might give you greater ability to move or more prowess in battle, but more healthy food would increase your population. Also note, some technologies can interact with previous discoveries! For instance, if you have already discovered bows and arrows, you can use fire to make flaming arrows.

After all groups submit their actions for the turn, I will determine the outcome of the turn. I will award “population points” based on the creativity and effectiveness of your planned actions each turn (or I may take points away!). Everyone starts with five population points. Each additional five population points earns you an extra population marker, which grants you an extra population figure, which allows you to control an extra territory and gain an extra card each turn.

Following this introduction, the game proceeds as follows:

11. Divide students into three to five teams. Ideally, this is an activity in a class of no more than 30 students, so that each group is small enough to operate collaboratively. Have each team, or tribe, pick a name. The instructor then creates a visible scoreboard on a whiteboard or the like, with a column for each team. Each team begins with five points. In this game, ‘points’ represent the population of a tribe, and can grow or shrink on the basis of game outcomes.

22. Using an overhead projector, display the map. Using any method to decide order of selection, have each team pick a starting location, with each team represented by some sort of figure or marker. Council them that map features make a difference – encourage them think through what it might mean to plant their tribe on a river or coastline, for instance.

33. Distribute, at random, one technology card to each team. Give teams three to five minutes to collaboratively write a one- or two-sentence description of how they will use their new technology on a slip of paper, with team name.

44. Game master (instructor) collects all technology decisions. At this point, teams may also move their figure one space, if they wish. During later turns, when they may have more than one game piece, they can move none, some, or all of their pieces.

55. Game master (instructor) evaluates all technology decisions, and assigns population points, generally in a range between one and three, depending on the creativity and effectiveness of the teams’ declared use of the technology. Outcomes of decisions may depend on each tribe’s geographic location, or on the interaction of more than one decision. For instance, land near rivers will provide better results for tribes that choose to invest in agriculture. Also, in the event of a conflict between tribes (almost guaranteed sooner or later), the game master has to resolve the conflict, deciding how many population points each side lost or gained, and what territory each tribe controls at the end of the turn. This determination is based on any number of factors including teams’ declared strategy and relative level of technological development.

66. Each turn is identical in structure, though they will get more complex. Each turn will take at least ten minutes to resolve, so games will generally involve between four and seven turns in one class session.

77. As the game continues, teams accumulate more population points, and one figure is added to the playing surface to represent every five points of population. This allows teams to control multiple types of terrain.

88. Teams ALSO receive an additional Technology Card for every five population points they have on the board. Teams need to describe how they will use each piece of technology.

9 9. As the game continues, teams accumulate more technologies, at random, and become more differentiated from one another, with different advantages and disadvantages. If teams get a new technology card identical to one they have already received, they can use the same technology in a new way (remember, each new technology can only be used one way).

1 10. Remind students that because this is a narrative game, decision making and planning are very open-ended. Students can get very creative, and you may have to improvise, as I’ll show in the sample game described below.

111. The game ends when time is up. If you want to debrief in the same class session, allow at least ten minutes, but you may also want to devote a second class session or substantial chunk to discussion of the game.

112.. Count up population points to determine the winning team. Students will be drawn into a game they think they can ‘win,’ but as with all educational games, who wins isn’t of as much interest as the process.

Gameplay Examples

The rules for Neolithic Survivor are relatively simple, but the real engagement and learning opportunities for the game come from students’ creativity and the game-master’s responses. Each student decision about how a team will ‘use’ a technology or otherwise act or move produces unpredictable results as they interact with the decisions of other teams. A few examples taken from games played in the authors’ classrooms will help show how this can work at the level of individual technology uses, on a turn-by-turn basis, and over the course of a game. To help show the bigger picture of the game’s flow, these examples are drawn from a single real game. These examples show that while the game emphasizes communication technology and practices, more material aspects of life and technology are also represented.

Example Technology Use 1: A team receives a card giving them the ability to draw durable images on stone. Drawing on Harold Innis’ discussion of time-binding media, they specifically choose to inscribe religious imagery. The game-master responds by declaring that they have successfully founded a new religion, increasing social order, and awards them two population points.

Example Technology Use 2: A team, who earlier in the game had learned agriculture and chosen to settle near a river basin on the map, are later given the card granting the ability to create pottery. They choose to use this technology to store food. The game-master declares that this drastically increases their durable food supply and grants them four Population Points.

Example Technology Use 3: A team who had earlier discovered the bow and arrow and established a military subsequently invent musical instruments. They choose to use music as a form of military control. The game-master awards them 2 population points to represent their increased ability to defend small threats, and informs them that their military is now particularly potent.

Example Turn: A team that has developed both military power and a powerful religion moves to attack a team that has built a larger population by focusing on agriculture and social structure. There are no rules in Neolithic Survivor for combat – the game-master simply has to make a decision based on what makes sense given the circumstances. In this case, the game-master chooses to reduce the population of each team, which is much more damaging for the smaller, aggressive tribe. As a result of this mistake, the smaller, religious, militiarized tribe decides in the next turn to pursue peace with the tribe they had attacked. The game-master chooses to allow it, and the two teams negotiate a peace and then merge, along with their technology, to form a culture with strong agriculture as well as intense religious practices and military strength.

Debriefing:

This game simplifies culture to a Neolithic context, with a small population, limited geography, and only a few ‘moving parts’, and shows how it grows larger and more complex with innovation. This model provides easily digestible insights into many fundamental ideas of communication, technology, and culture. Though the game-master should always dictate outcomes that are sensible and proportionate (i.e. punishing teams that make unstrategic decisions and rewarding those that act carefully), there will ultimately be no neat, linear progression to the game, and the game can be actively engineered both before and during play to emphasize different concepts depending on the course context.

In a course focused on technology and communication, the game could illustrate the idea that communication is constitutive – that forms of communication do not simply ‘reflect’ the cultures that use them, but in fact shape those cultures in non-deterministic ways. Observations of how fire can be used in different ways can build into discussions of how modern technologized communication has different impacts on the various societies that adopt it.

In a course about identity or globalization, the game could show how cultures and ethnicities are not pre-given, but emerge through a process of change over time. For instance, in the gameplay example above, the struggling team that chose to ‘merge’ with a more successful team illustrates a fairly historically common process of melding or hybridity (cf. Kraidy, 2005). The game’s mix of randomness (in the discovery of new knowledge) and strategy (in teams use of technology) is particularly suited for illustrating the concept of contingency – the idea that any given cultural formation is the result, not of the logical unfolding of some inherent national or ethnic ‘essence,’ but of a series of historical events that are the product of the strange alchemy of purpose and luck. The game may, then, serve as a powerful support for a course that advances a position of cultural anti-essentialism (see West, 1990).

The game’s main shortcoming is that it relies heavily on the improvisational skill of the instructor/gamemaster, and on a sense of cameraderie and exploration in the classroom. The game’s structure is intentionally open-ended, and there are relatively few hard rules in place to deal with the vast number of possible actions undertaken by a team. An instructor/gamemaster must be prepared to quite literally make things up as they go along. Particularly in the awarding of points and declaration of a winner, this might lead to student unrest if the course as a whole is not already on a steady footing of collaborative exploration.

Works Cited:

Appadurai, A. (1996). Modernity At Large: Cultural Dimensions of Globalization (1st ed.). Univ Of Minnesota Press.

Beck, U. (2000). What Is Globalization. Polity.

Castells, M. (1996). Rise of The Network Society (Information Age Series) (1st ed.). Wiley.

Innis, H. A. (2008). The Bias of Communication (2nd Edition.). University of Toronto Press, Scholarly Publishing Division.

Kraidy, M. M. (2005). Hybridity: The Cultural Logic Of Globalization (1st ed.). Temple University Press.

Kyem, P. A. K. (1999). Examining the Discourse About the Transfer of GIS Technology to Traditionally Non-Western Societies. Social Science Computer Review, 17(1), 69–73. doi:10.1177/089443939901700107

Kyem, P. A. K. (2012). Is ICT the panacea to sub-Saharan Africa’s development problems? Rethinking Africa’s contentious engagement with the global information society. Progress in Development Studies, 12(2-3), 231–244. doi:10.1177/146499341101200309

Lerner, D. (1958). The Passing of Traditional Society: Modernizing the Middle East. Macmillan Pub Co.

McLuhan, M., & Lapham, L. H. (1994). Understanding Media: The Extensions of Man (Reprint.). The MIT Press.

Pieterse, J. N. (2009). Globalization and Culture: Global Mélange (Second Edition.). Rowman & Littlefield Publishers.

Schramm, W. L. (1964). Mass Media and National Development: The Role of Information in the Developing Countries. Stanford University Press.

West, C. (1990). The New Cultural Politics of Difference. In Out There: Marginalization and Contemporary Culture (pp. 38, 19). MIT Press. Retrieved from https://my.ucdavis.edu:443/main_frame.cfm

[1] So as not to waken students’ skepticism, it might be best to omit the roots of the game they’re about to play . . .

CFP: Global Fusion 2013, Deadline June 1st

2013-04-12T07:50:00.002-07:00

Because Carbondale is lovely in October. Ahem.

Call for Abstracts, Papers, Media Art, Panels, Workshops Announcement of Graduate Student Competitions

Global Fusion 2013
Mediations: Movements and Markets
4-6 October 2013
A Global Media and Communication Conference Global Media Research Center College of Mass Communications and Media Arts Southern Illinois University Carbondale, Illinois

This year's theme for the Global Fusion conference is Mediations: Movements and Markets. Expanding the concept of global media to global mediation, we wish to highlight the processes through which media are integral to a world in which people "do things with media" that constitute action in the public sphere as well as in the private sphere. We recognize that the often blurred boundaries between interpersonal and mediated communication are fostered in the contemporary age of convergence, of the manufacturing or fracturing of markets, and in the wake of large scale protests that have emerged in the Middle East and with the Occupy movement. These and other events have relied heavily on interpersonal networks and new information technologies. The notion of mediation also recognizes that media, especially small scale, local media, play more than an information transmission role but also perform important relational work by building communities and often emphasizing process over product. Thus, mediation includes attention not only to the production and consumption of media, but also to the ways in which media are used to shape our daily lives and the ways in which we use media to resist that shaping.

We invite submissions of abstracts, finished papers, proposals for panels or workshops, and media artworks that reflect any of the many traditions of scholarship, art practices, and documentary work in the media arts, mass communication, journalism, communication studies, and related fields. Although works addressing the 2013 theme are preferred, we also welcome submissions in any theoretical, methodological, or expressive traditional on all topics related to global media and international communication. Two awards will be presented to graduate students: one for the best paper and one for the best media work.

SUBMISSION INSTRUCTIONS

Graduate Student Competitions and Awards This year's conference offers two awards for graduate student work . One award will be given for a completed paper for which a graduate student is sole author or first author. The second award is for a completed media work created by a graduate student. If the work being submitted has been created through collaboration or by a collective, please include a brief (300 word) framing statement that outlines the varying contributions. All materials submitted for the competitions are due by 11:59 p.m. (CST) on 15 June 2013. Details regarding each competition are given below under the headings Individual papers and Media Art.

Abstracts proposing paper presentations: abstracts of 300 words prepared for blind review describing the paper's content; separate cover page must include and clearly state the following information: title of the paper, author's name, affiliation, email address and telephone number. If multiple authors are involved, provide the same information for each person. Please submit in (.doc) or (.docx) file format -- NO pdfs, please.

Panel proposals: a proposal of 300 words prepared for blind review describing the panel and giving its title plus an abstract of 50-100 words for each paper presentation with the paper's title; a separate cover sheet with the panel's title, the names of all authors along with their paper titles, as well as contact information for the person submitting the panel proposal and for each participant. Proposals with panelists from different departments or institutions and different areas of expertise are preferred. Please submit proposals in (.doc) or (.docx) file format -- NO pdfs, please.

Workshop proposals: a proposal of 300 words prepared for blind review describing the workshop with the workshop's title; a separate cover sheet with the names of the workshop leader and all participants, their affiliations, email addresses, and telephone numbers. Of particular interest are workshops addressing professional issues faced by emerging artists or scholars. For example, a workshop on getting published in academic journals or submitting work to juried, international exhibitions would be welcome. Proposals with panelists from different departments or institutions and different areas of expertise are preferred. Please submit the proposal in (.doc) or (.docx) file format -- NO pdfs, please.

Individual papers: completed papers appropriate for a 15 minute presentation and prepared for blind review; cover sheet with the paper title as well as the first author's name, affiliation, email address, and telephone number, which should be followed by the names, affiliations, email addresses, and telephone numbers of subsequent authors in order of each person's contribution. Please submit papers in (.doc) or (.docx) file format. NO pdfs, please.

An award for best scholarly paper will be given to the graduate student scholar who best reflects on the theme "Mediations: Movements and Markets." The full paper must have a graduate student as sole author or as first author. In the case of co-authored papers with multiple graduate students, all authors will share the prize equally. The cover sheet should state that the paper is intended for the competition and give full information about the author or authors. The paper itself should be prepared for blind review, which means that no identification of the author or co-authors should occur anywhere in the paper. Submission deadline: by 11:59 P.M. (CST) on 15 June 2013 Email to: meehan@siu.edu and cc'd to dtudor@siu.edu and <lbrooten@siu.edu>

Media Art: completed works in the traditions of documentary, experimental, or fictional media are welcome, whether narrative or non-narrative or a novel mixture of forms. We invite all media formats (film/video, photography, internet, animation and sound) Proposals for installations and short duration performances are also encouraged. An award for best creative work will be given to the graduate student artist who best reflects on the theme "Mediations: Movements and Markets." If a work is collaborative, please include a description of each artist's role in the collaborative process. All submissions will be reviewed by our jury. Submit work on DVD, CD, or online.

Presentation Requirements: Please note on each submission what media support your presentation, workshop, or project requires. We have several rooms suitable for screenings, exhibitions, or performances as well as presentation rooms with internet access and projection capability. We are primarily an Apple facility.

Online submission deadline for the competition: 11:59 P.M. (CST) on 15 June 2013. Email to: jneedham63@gmail.com, cc'dajaguayo@siu.edu.

Postal delivery deadline for the competition: 3 P.M. (CST) on 15 June 2013. Delivery address:

Jay Needham
Global Fusion 2013 - Media Art Works
Department of Radio, Television, and Digital Media Communication Building Room 1048 Mail Code 6609
1100 Lincoln Drive
Southern Illinois University
Carbondale, Illinois 62901

Submission deadlines for work not included in the competition Send abstracts, panel proposals, workshop proposals, and papers not intended for the competition to meehan@siu.edu by 11:59 P.M. (CST) on 1 June 2013.
Email artworks not intended for the competition should be sent to jneedham63@gmail.com by 11:59 P.M. (CST) on 1 June 2013. The deadline for artworks sent by mail is 3 P.M. (CST) on1 June 2013. Mail artworks to:

Jay Needham
Global Fusion 2013 - Media Art Works
Department of Radio, Television, and Digital Media Communication Building Room 1048 Mail Code 6609
1100 Lincoln Drive
Southern Illinois University
Carbondale, Illinois 62901

"Accidental Racist": At least it's not "Honky Tonk Badonkadonk."

2013-04-10T12:18:00.001-07:00

So . . . it seems the moment has come. The explosive response to Brad Paisley and LL Cool J's "Accidental Racist" shows that country and hip hop still have a lot of . . . things to discuss with one another, let's say. In the song, Paisley defends his wearing of the Confederate Flag "because he's a Skynrd fan," while LL offers to "forget about the iron chains" of slavery if white country boys will just stop thinking of him as a criminal because of how he dresses. So yeah, there are a lot of problems, but at least the song is sincere, and a real dialogue.

By contrast, a few years back I was fascinated by this OTHER encounter between hip hop and country:

I was so fascinated by "Honky Tonk Badonkadonk," in fact, that it ended up being the subject of my first major scholarly publication. In it, I talk about how country music actually IS black music, and how subtly fucked up it is when country musicians consider themselves to be making a generous gesture when they reach out to black people or black culture in any way. And of course I try to make clear that, despite some public interpretation to the contrary, "Honky Tonk Badonkadonk" isn't actually any kind of attempt to reconcile country and hip hop - it's a country parody OF hip hop.

So, compared to that? "Accidental Racist" is a step up. I can see why people are getting upset, but I guess I'm inclined to give Paisley the benefit of the doubt. I have no frame of reference for what he's saying - where I live and work, wearing a Confederate flag for any reason would probably get you worked over pretty quick, so it's hard to imagine doing it just because you're a Skynrd fan, but at least it feels like he's TRYING to be honest and engaged.

New Glaciers of Ice: "Stuntn boysoldiers (Live Improvisation)"

2013-03-25T11:50:00.001-07:00

This is the first recording I've done in a couple of years - a live improvisation at The Venture Compound in St. Petersburg. It's great to be playing music again, and I'll be doing a good bit of it over the next few months. Look out for more.

Radio.com - How TMZ got Lil Wayne's "Last Rites" Wrong

2013-03-18T09:04:00.000-07:00

I was fascinated to watch, in real time, the Friday night unfolding of wild Twitter rumors of Lil' Wayne's death. Here's Radio.com with some actual reporting regarding the incident.

What's the Deal with Chinese Students' Westernized Names?

2013-03-16T17:24:00.001-07:00

Do Chinese universities actively train Chinese students to use Westernized names when they are being prepared to study abroad? This is a remarkably consistent practice, one I've only ever seen among Chinese (+HK, Taiwanese) graduate students. And I know it's not my place to say it, but it is a completely retrograde practice that diminishes the humanity of these students, while reflecting a subtle condescension towards non-Chinese. The presumption is that we're too dumb to learn to pronounce a Chinese name. And the effect is that Chinese culture is given one less chance to be experienced and learned.

If you're a politically aware Chinese person living abroad, please cut yourself and your colleagues a break by telling them your real name. The alternative is (politics aside) just annoying.

Three Essential Works on Sound and Territory

2013-03-15T11:41:00.000-07:00

After a conversation I've now forgotten, with a person I can no longer remember, I still managed to write down three amazing tips on books I need to follow up on for my work-in-progress on car audio and territorialization.

Julian Henriques, Sonic Bodies

Steve Goodman, Sonic Warfare

Peter Doyle, Echo and Reverb

Notes for "Re-Wilding: Contemporary Psychedelic Music and Anti-Civilization Rhetorics"

2013-03-14T17:38:00.001-07:00

For a paper currently under revision:

The sonic character of contemporary psychedelic music constitutes an argument (or at least an assertion) about the nature of signification. Its claim can, however, be read in two ways. Psych may be actively deconstructing the clarity of contemporary recording, just as Zerzan advocates for the erosion and eventual abolition of language. Maybe psych is straining for some parallel musical form of the wordless 'pure experience' that Zerzan fetishizes. Or maybe it's something quite different - maybe what psych is telling us is that the imperfection is where the appeal lies, both in music and in language. Maybe psych is the valorization of the spaces between, of the failures - yes, of the apparent freedom those moments bring, but also of the continued struggle for clarity.

This is why were are specifically talking about contemporary psych, and particularly about its noisy tendencies. Just as Pierre Menard could rewrite Don Quixote in the 20th century and have it received as an entirely different and brilliant work, contemporary psych musicians can harken back to the fuzz and grime and recording imperfections of their 1970s progenitors, and their sounds have an entirely different meaning. They live in an era where some sort of perfection is possible, and they consciously reject that.

Also likely relevant - Greg Milner's Perfecting Sound Forever.

The App is Not the Territory: Representation and the Just City in Personal GIS

2013-03-09T12:07:00.001-08:00

Note: I now blog at Blownhorizonz.com. It's much prettier to look at, and more focused on fun stuff like weird fiction, extreme music, and awesome art. Also check out my Tumblr at blownhorizonz.tumblr.com.

Here's the text from my talk at the Society for Cinema and Media Studies 2013. This has been a great, great conference - I'll be writing more about how it's renewing my faith in academic seriousness.

But for now, here's my little contribution:

Michel De Certeau has written . . . “To walk is to lack a place. It is the indefinite process of being absent and in search of a proper. The moving about that the city multiplies and concentrates makes the city itself an immense social experience of lacking a place . . .” (2011, 103). This placelessness has been touted as part of cities’ democratic potential – their placelessness leads to the chance encounter that overturns social barriers and creates new possibilities.

But in cities and across the entire landscape, personal navigation systems are putting this placelessness to rout. Goals are always at the ready – the best restaurants, the most perfect attractions for the bearer's taste, the places to find one's own kind. The city may yet appear to be a strange melange, a mix of class and kind without parallel. But the mobile screen now works to create a different truth – connected to global positioning systems and data networks, the screen labels and divides, inflects the cityscape with information, guides currents of bodies and interest along constructed paths of meaning.

My objects in this study are ‘locative’ applications and the portable platforms they are used through – software like Yelp!, Foursquare, Tripadvisor, Layar, Urbanspoon; the smartphones and tablets by which they are carried through and made to interact with the world; and the Global Positioning System of geosynchronous satellites that fix these networked objects in their landscape. The most successful and prominent geolocative apps seek to connect residents and travelers with attractions and amenities that meet their desires – for instance, allowing searches for restaurants according to price, style, and location, then providing in the same technological package directions to the destination. Much of the information in these applications is provided by users, in the form of both basic information and reviews or other commentary on locations.

However, I must admit that my close reading of these technologies is here going to be very limited, in favor of broader analysis. Let’s look briefly at a few screenshots to identify features I’ll be building on. Here’s Urbanspoon, an older app that uses augmented reality technology to place information about restaurants and attractions over the user’s view of the city, as if she were seeing through buildings. Here’s Yelp!, which emphasizes a deep bench of crowdsourced user reviews, and uses a top-down map view to arrange information – a view that makes us think again of De Certeau, in his description of looking down from a skyscraper: “One's body is no longer clasped by the streets that turn and return it according to an anonymous law . . . It transforms the bewitching world by which one was 'possessed' into a text that lies before one' eyes.” (De Certeau, 184, pp 92). Both applications, which use data display formats common to mobile locative applications of all sorts, engage in a rhetoric of mastery, of – to use a phrase rooted in a military context shared with GPS technology itself – total information awareness.

Phenomenologically as well as rhetorically, these applications remove sizeable intangible barriers between places – barriers of information that would in a previous era have been overcome much more haphazardly through personal networks, analog media, and chance encounter. They strip away the layer of mystery that would have driven the flaneur’s urban exploration, and satisfy desire seamlessly.

However, the technological rhetoric of transparency and mastery advanced by locative apps overshadows a class-inflected blindness symptomatic of the neoliberal network society. The network society, underpinned by internet and transportation technologies and new regimes of free trade, has rendered places like cities and nations increasingly subordinate to the networked flows between them, and subsumed regional and national class systems to a global logic that intensifies local stratifications and differences (Castells). Personal GPS reproduces and reifies this stratification within the city, linking points of interest and rendering the spaces between mute and irrelevant. What falls out of this sorting, what is not worthy of the screenholders' attention, disappears.

Critical Geography:

My interest in mobile GPS and mapping is an attempt to add something, from a media studies perspective, to a discourse that is decades old within the field of Geography – a field which, starting particularly in the 1980s, experienced a massive critical turn, in which what had long been taken for granted as a certain scientific facticity of space and landscape, and their representation, was reconceptualized as the outcome of deeply political and power-inflected social processes. This turn grew out of and was fed by voices outside of geography proper, for instance Michel Foucault’s lament of the Western bias towards the interrogation of the progress of time over the extension of space, and extolling of the promise of a history of “spaces – which would at the same time be the history of powers – from the great strategies of geopolitics to the little tactics of the habitat.” (Foucault 1980, 149).

Maps are obviously key to this power-inflection of space. Interventions have been delivered by both an interdisciplinary array of intellectuals deploying cartography as a lens for the social problems of the current era, and by a wholesale critical turn in the field of geography itself. One standard-bearer was Edward Soja, who in 1989 summarized the necessity of the critical turn. “We must be insistently aware of how space can be made to hide consequences from us, how relations of power and discipline are inscribed into the apparently innocent spaciality of social life, how human geographies are filled with politics and ideology.” (Soja 2011, p.25)

As an easy example of the role maps play in this process, see how in this medieval map, castles, churches, and the houses of important people were larger, or how in contemporary maps found in the United States, the Northern Hemisphere is always on ‘top’ and North America is always centered. My distinguished panelmate Sangeet Kumar, in an article in Global Media and Communication, has written about how representations in Google Earth intervene in the debate surrounding the disputed territories of Kashmir, and similar global disputes around places like the Senkaku Islands have only multiplied in the era of globalization.

Writing in 1968, Henri Lefebvre inaugurated the more local demand for what he termed the “right to the city”, which argued for control over space-making as a necessary feature of any truly democratic enfranchisement (Lefebvre 1996). David Harvey – almost certainly the world’s most famous geographer – addressed the city as a specific problem/nexus of capitalism, and read the efforts of urban planners like Baron Haussmann and Robert Moses as, in essence, acts of class warfare (Harvey 2009). Harvey emphasized the project of democratic city-making as one that should be collective and communal (Harvey 2008).

The need for these interventions was acute: used undemocratically, computerized, centralized Geographic Information Systems (GIS) were proven very capable of furthering and accelerating the process of disenfranchisement and disempowerment, for instance when decisions are to be made about the placement of polluting industrial facilities or the distribution of access to amenities. Throughout the 1980s and 1990s geographers pushed hard for greater community involvement in the usage of GIS, though with little consequence. As to whether smart phones, locative apps, and their crowdsourced “Volunteered Geographic Information” represent a ‘democratization’ of what was once a strictly centralized and largely governmental GIS regime, I unfortunately only have time here to point you to Jose Van Dijck’s great piece “Users Like You,” which unpacks the rhetoric and reality of open access on Youtube.

Compared to issues like territorial dispute and environmental justice, my interest here seems less urgent: the ideology of urbanism, and the phenomenology of the urban experience. The famous inaugurator of the urban experience was the 19th century city-walker, the flaneur, whose openness to organic, randomized encounter, whose hunger for difference and novelty, was a marker of sophistication. Personal GIS is the final death knell of this ideal.

The City and the City

A haunting metaphor for the experience of the networked city is found in China Mieville's The City and the City, a Borgesian thought experiment distended into a novel. Mieville, a Phd-holding Marxist best known for his hallucinatory contributions to the techno-critical subgenre known as steampunk, in this book imagines two Central Asian cities – Ul Qoma and Beszel – that share the same geographic space, but are, in accord with a centuries-old convention, completely functionally and psychically separated. A citizen of Beszel, for instance, might walk the same street with Ul Qomans, but through the learned ability to 'unsee,' would never interact with them, even in the most subtle ways. A citizen of Beszel could never enter a shop 'in' Ul Qoma, even if it were physically next door to their house in Beszel.

Though taken by some as a metaphor for the Israeli/Palestinian conflict, The City and the City stands much more easily as an exploration of the new kind of citydwelling produced by neoliberalism and the network society. Beszel and Ul qoma are separate, and unequal – Beszel struggling in poverty, while Ul Qoma stands within and beside it, rich from commerce. Just as in real contemporary cities full of homelessness and desperation, passing without seeing is a survival mechanism, a means of avoiding conflict and contradiction and getting about one’s business.

To go from the fictional to the real, we can take my current hometown of Tampa, Florida, where I moved a year and a half ago. Tampa is a radically stratified and geographically bloated place, whose population is starkly divided between haves and have-nots – here very closely related to the drives and the drive-nots. There are traditionally segregated neighborhoods in Tampa – places like Channelside and South Tampa where elites can be left undisturbed. My own neighborhood, though, is more paradigmatic of 21st century distributed urban geography – Seminole Heights, and adjacent Ybor City, are neightborhoods in redevelopment. I knew within a few weeks of arriving in Tampa where I ‘belonged,’ and a traveler of my social ilk would have known the same thing within a few hours. This is a map representing the path between places like Ella’s Americana Folk Art Café, the Independent tap room, Microgroove Records, Yesterdaze Vintage, the Mermaid Tavern, Tempus Projects art gallery, etc. etc. etc. What would not show up on a visitor’s map is that Ella’s is right next to a pawn shop, the Mermaid is right next to a used tire store, and across the street from an hourly hotel. Tampa is two cities, three cities, many cities existing side by side, but the map reduces it to the one you want it to be.

This sort of situation holds in any number of redeveloping neighborhoods in cities from the south to the rust belt, for example in Columbus, Ohio’s Short North, where I really tried to encourage Sangeet to buy a condo a couple of years ago. These trends, roughly dateable to the mid-1990s, are a reversal of the urban planning realities of the 1960s through 1990s, best characterized by City of Glass, Mike Davis’ poetic study of what he termed “fortress Los Angeles,” in which opaqueness and impenetrability were politicized strategies for dealing with the frictions of urban class disparity. For Davis, the early projects of the architect Frank Gehry, with their “walled compounds and cities . . . offer powerful metaphors for the retreat from the street and the introversion of space that characterized the design backlash against the urban insurrections of the 1960s.” Between those insurrections and the crack wars of the 1980s, there was a powerful, mounting sense of a nationwide confrontation between the forces of urban 'order' and dispossessed, predominantly nonwhite citizens. This mounting tension culminated in the Los Angeles Uprisings of 1992-1993.

But since that nadir, many urban centers have experienced a change in the social fabric that is, if not total, certainly drastic, and that has significantly altered the nature of the barriers confronting visitors and outsiders. With the exception of outliers such as Baltimore and Detroit, America's largest cities have experienced almost uncanny drops in the crime rate since 1993. The phenomenon is still not entirely understood, but it is at least partly underpinned by new technologies and practices of relocation – particularly, GIS-driven ‘smart’ policing which has, in turn, fed a pathological expansion in the relocative prison-industrial complex, removing and neutralizing entire segments of the population seen as foolish enough to engage in open, violent class warfare.

With this oppressive support, urban geography and planning have begun to reflect a superficially gentler mode of class coexistence, primarily characterized by 'urban renewal.' Though this can often consist of large-scale municipal projects or high-dollar developments, it also encompasses the smaller, fragmentary efforts of middle-income, mostly young, often white professionals to take advantage of inexpensive housing and retail stock in neighborhoods that are no longer perceived as zones of class warfare. Thus the fortress mentality of high-dollar enclaves in Los Angeles may now be less typical than the appearance of coffee shops and trendy restaurants in struggling neighborhoods now seen as full of ‘potential’.

They can be scattered geographically and cater to highly specialized social niches. Smartphone location applications including Yelp!, Foursquare, and Layar are technological corollaries for this re-entry into the city, and of at least some degree of retreat from the late 20th century ‘fortress’ mentality – but, in a classic illustration of the tenets of neoliberalism, the appearance of systemic neutrality – ‘we’re just helping you get where you want to go – is based on, and reinforces, displaced inequality and subtler mechanisms of exclusion. In addition to the looming shadow of the prisons, these proliferating individualized sites present their own implicit cultural barriers to strangers, visitors, and community members, while creating rich distraction from persistent despair in the urban landscape.

In moving from one of these islands of gentrification to another, with the aid of a locative app like Yelp!, the user is enacting a radical reversal of the ‘global village’ envisioned by Marshall McLuhan and other optimistic thinkers of the network era. They are using what Mark Graham has termed “virtual portals,” connections of the same sort that connect distant points and drive macro-globalization. But rather than crafting international connections that shorten long distances, in this case virtual portals erase local space, creating phenomenological shortcuts that craft a different, narrower city out of the variety of raw materials at hand, in a process of very selective collage by which social and economic worlds that share continuous physical space are separated into tiers of varying value and power.

So, while the automobile was perhaps the gravest blow to this democratizing ideology of the flaneur, with its expectation of randomness and joy in experience, personal GIS is its final death. The flaneur is replaced with an elite urban subject who is a strategic neoliberal maximizer. We are able to instantly determine, in any city where we as the mobile international elite might find ourselves, the right ‘kind’ of places for our ‘kind,’ represented on screens that erase the spaces between them – the spaces of the poor, dirty, and hungry. Thus the pursuit of pleasure renders us terrifyingly fixed within an informational-social matrix – a prison of excess knowledge.

Conclusions: Writing the City

That a technology promoted as an enhancement to seeing might actually have the effect of hampering it isn’t surprising. All vision and representation is inherently interpretive, not a progress away from filtration or blockage or distortion, but a choice between the different varieties of modulation and meaning-making inherent in human sociability. In this sense (not to be too much of an intellectual imperialist) critical cartography is inherently a branch of media studies. That personal mapping technologies are overwhelmingly capitalist (rather than, like the old maps, statist) is the defining vector of their meaning.

The new city-being-written through the confluence of network technology and mobile locative media echoes in microcosm the global trends in social stratification brought about by networks. Just as Manuel Castells diagnosed early in the process, the construction of a global ‘network society’ has produced increasing stratification within particular geographic spaces, in the place of differentials between geographic spaces.

Thus, under network regimes that both demand personal GIS systems and are reified by them, the reintegration of cities across various lines of difference may be less relevant to the task of social integration and democratization than it might have been under previous technological regimes. Through writing networks of difference and similarity – particularly networks of class-inflected taste – into everyday experience, these technologies not only re-map, but re-segregate the new, more physically integrated city of the 21st century. This amounts to a limitation of Lefebvre’s ‘right to the city,’ insofar as the management and construction of the city is taken out of any public process and into the commercialized meta-spaces of information crowdsourcing.

Locative mapping more generally literalizes or embodies the gap in meaning-making processes between built human space on the one hand, and the broader, delocated social discourses that shape their meaning, on the other. As with so many media phenomena, this is not a truly new thing entering the world. Older media regularly pointed towards and lent meaning to spaces at a distance, and often in explicitly commercialized form – through advertising, through restaurant reviews, etc. But the immediacy of this new mapping draws down substantially greater barriers between particular spaces, circuits, and citizen-customer-users. As all places become written-on, and particularly as the taste dimension of these places become more and more intensely and rigorously reified, the chance encounters that embody the democratic and discursive possibilities of city life will be further and further curtailed.