Undergrad

MLS: Response to Kumi Yamashita Documentation

by Tom Tenney on February 13, 2010

I’m still trying to figure out my whole blog strategy, now that I have one personal one, and one academic. According to Shannon Mattern, we needn’t separate these two completely, nor should we, as each informs the other.  However until I find a way to merge them in a way so that my academic work isn’t infected by stories of debauchery and drunkenness (and vice versa) – I will maintain the two as discrete entities.  I’m also going to use this one to document all my academic writing, and will be posting work from all my classes, using tags to differentiate them (MLS = “Media Language & Society,” etc.)  The following is a recent response to a YouTube video documenting Dialogue, a work at the New Museum by Kumi Yamashita.

My reaction to the video documentation of Kumi Yamashita’s piece may not be the expected one.  On the surface, I suspect we were to relate the “talking” heads aspect of the piece to the idea of dialogue explored in the previous assignment, but  I’d like to approach it from another angle.  This video was clearly a *documentation* of a piece of art that was meant to live in a live space.  While I’m not entirely sure how it worked,  it appeared as though there was one piece (the white one) living in 3-D space on a pedestal, and casting a shadow on the wall behind it, so that the shadow appeared to be “talking” to the live art.   This is an intriguing concept, and I would have loved to have seen it when it was installed at the New Museum, but the video documentation left me cold.   With any live art, or art that is meant to be experienced communally, there is an “energy” that defies translation from the real world to another medium.   Walter Benjamin called the energy of an original work of art its “aura” – it’s something that exists not only for visual art work, but dance, theatre, performance art, and even film.  Live art is meant to activate a space and the people around it, creating a unique relationship between the art and its viewers and the viewers with each other.  This relationship is the kind of ‘dialogue’ that I find valuable in art, and that almost inevitably disappears in its documentation.  I come from a background in performance (actor, director, producer) and the day after a particularly electric performance, I’d always be excited to watch the video – and was almost always disappointed at how the video failed to capture the electricity.  In the last minute of the Yamashita video (which was inexplicably 9-minutes long,) the camera tries to simulate the experience of the viewer walking around the piece, viewing it from different angles.  However, doesn’t this take much of the agency away from the viewer, and leave it up to the camera to tell her/him *how* to see it?  If art is a dialogue, then by definition it takes both parties (art/artist and viewer) to contribute to the conversation. By allowing a camera to do my seeing, I feel as though I am being deprived the right to express myself as a viewer.

This complaint is one that I have not only of this type of video documentation, but the way in which much of the new art – being created by new artists using new technology – is experienced.  Whereas experimental filmmakers in the 50s and 60s had cafes and venues (like Cinema 16) in which to present their work  before a live audience, today’s artists often have no place but YouTube – which takes the live social aspect of art out of the equation altogether. I think it’s a mistake to assume that because something is “video art,” that all we need to experience it is a screen.  Like all art, we need others as well.
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Light, Sound & Time

by Tom Tenney on December 29, 2009

I wrote the following essay for my class on ‘Art of the 60′s & 70′s’ at The New School.  The assignment was to create my ‘dream exhibition’ using 3 artists of the period. This was the most fun I’ve had writing a paper in a long time….my choices were Robert Wilson, John Cage, and Dan Flavin in a 24-hour/7-day multimedia production called ‘Light, Sound, and Time.’

Dan Flavin, John Cage and Robert Wilson in Light, Sound, and Time

The three artists I have chosen for my fantasy exhibition are Robert Wilson, Dan Flavin and John Cage – in a show entitled Light, Sound, and Time.  Each of these artists represent one of each of the three elements comprising the title: Dan Flavin’s represents light with his playful, minimalist sculptures shaped from fluorescent tubing; John Cage, of course revolutionized the way we listen to music, if not the way we hear altogether, and Robert Wilson’s experiments with time – juxtaposing extreme slowness with a visual brilliance and emotion, has been challenging the boundaries of contemporary theatre from the 60’s to the present.  The goal of this exhibition is to place each of these artists’ works in relation to the others, so that the experience for the visitor should not be one in which they are merely exposed to three artists with disparate styles who happen to be working in roughly the same time period, but one of cohesion and wholeness, a single “performance” where the qualities of each artist both challenge and enhance the others.  To that end, I have chosen works from each of them that I feel will bring the necessary elements to the gestalt of this theatrical experience.

The Venue

The setting for my dream exhibit is the location formerly known as the Brooklyn Anchorage – a vast and cavernous space that exists inside the foundational pillars of the Brooklyn Bridge.  The Anchorage served as a performance and art exhibition space from 1983 until 2001, when it was shut down for security reasons following the attacks of September 11th.    When the bridge was completed in 1883, the space was planned as a commercial arcade, but served as a farmer’s market and playground until the 1930’s when it was walled off and used for municipal storage.

The Brooklyn Anchorage

The first thing one notices when entering this space is a sense of majesty.  The ceilings are 150 feet high, grand archways invite visitors into the various areas of the seemingly endless space, and the walls are of old, exposed brick – all qualities evoking comparisons to a medieval castle.   Tunnels and corridors go off in many directions, and many are lined with rooms and cubbies of various sizes.  While exploring its spaces, it’s hard to believe that this enormous sprawling catacomb is the same structure that looks so austere and narrow from the outside.  It’s almost as if one’s sense of space has been magically altered.  Time is shifted as well – with no windows or allowance for natural light whatever, it is always dark inside the space, allowing one to forget the time of day or night, and instead focus entirely on the art existing in this enveloping environment.  Vertical structures throughout the space resemble indoor turrets of a tower, and feature stairways and ramps that lead to the tops of the structures, and are lined with various rooms of different sizes.   Many of the anchorage’s paths and passageways crisscross each other so that there are even bridges, several feet in the air, that cross over many of the ground-floor corridors.   The photo here, the only one I could find of the interior of the Anchorage hardly does justice to its grandeur, but hopefully gives at least an inkling of what this space looks (or looked) like. [continue reading this post...]

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Media Hot & Cold Revisited

by Tom Tenney on November 30, 2009

Repost: originally written for my Social Media Mashups class, and posted on inc.ongruo.us

cold_tvThe following is my reaction to Eduardo Navas’ excellent article posted on Remix Theory, about how McLuhan’s ideas about “Hot & Cold” media apply to a contemporary media landscape that is vastly different from the milieux in which McLuhan was writing in the 60′s.     I originally posted this on the Social Media Mashup blog.

After Media (Hot & Cold) begins with Navas’ discussion of Marshal McLuhan’s 1964 theory of “Hot and Cold” media, published in Understanding Media: The Extensions of Man.  McLuhan defines “hot”  media as those which are  loaded with information and streams one-way towards a passive receiver.  Cold media is “dumber” and requires more participation on the part of the user.  The first sentence I have scribbled in the margins of my printout of Navas’ post is:  “Hot/Cold are irrelevant.  Why are we even still talking about this?  We need a new metaphor, new philosophers.”    I wrote this because it seemed like media was a lot simpler when McLuhan was writing, and could be boiled down to an understandable dichotomy, whereas today media has gotten far too complex for binaries.    As it turns out, I scribbled a bit too soo, as this is partly what Navas’ essay turned out to be about.

One of Navas’ main theses in this article is that media is being “cooled” by the devices on which they are delivered, but makes the point (often) that this is not just driven by technology, but he implies that corporate greed is also at work, in that “the cooling of hot and cold media is used to push people to consume increasingly.”  Later in the article, he says [the cooling has] “taken place out of economic interests from media developers who need to find ways to stay productive.”  I won’t say there isn’t some truth to what he’s saying, after all profit is in fact the raison d’etre of pretty much all corporations. However, having worked in digital media for television for the past 12 years, I can say with some confidence that it’s less about some corporate conspiracy to “drive for profits” but largely that media is just following technology.  And why shouldn’t it?  What’s wrong with staying productive?  This is what businesses need to do to survive.   Also, with this cooling of media, users expect to have more control over the media they consume, and it’s imperative that content creators are able to live up to that expectation and deliver a positive experience in that regard, which means making the content available on as many platforms as possible and as often as possible.  It only makes good business sense to do so.

[continue reading this post...]

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Art Stars: The Children of Jack Smith

by Tom Tenney on August 1, 2009

Repost: originally posted on inc.ongruo.us

This is a short, 9-minute microdocumentary that I made last spring for my Art/Core class at the New School.  The basic thesis is that cinema – underground films from the 60′s and 70′s, as well as mainstream cinema – has had an effect on the kinds of work contemporary performance artists in NYC today are producing.  It consists of interviews with 3 artists: Reverend Jen Miller, Robert Prichard, and Velocity Chyalld.

There is also an accompanying short paper, which you can read below  if you wish.

[continue reading this post...]

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Written as final research paper for the class: “Fake News, Politics & Popular Culture;” Spring 2009

Since the mid-90’s, proponents of the Internet have championed the new technology as a reviver of democracy, a way for individual voices to be heard in a political landscape where politicians increasingly favor their own interests over of the people they are elected to represent.   In 2001, Pierre Lévy wrote, in Cyberculture,

True electronic democracy consists in using the possibilities for interactive and collective communication offered by cyberspace to encourage the expression and elaboration of urban problems by local citizens themselves, the self-organization of local communities, the participation and deliberation by those directly affected by them, the transparency of public policies and their evaluation by citizens.

The idea of new technology affecting a change in the way Americans see and “do” democracy has also been applied to a broader range of technologies such as fax machines, call-in talk radio shows, and cable television (Jones 40-48).  15 years after its introduction into mainstream culture, has the Internet – or these other new technologies – really had a profound impact on the level of political participation engaged in by average citizens?  Specifically, I would like to focus on whether the political late night talk shows, or “New Political Television” (NPT) as coined by Jeffrey Jones, is actually causing its audience to become more politically active, and if so, how and to what degree.  By surveying a sample of The Colbert Report audiences, I have tried to determine whether satirical political comedy is providing audiences with tools or incentive to act politically, or whether these shows are seen simply as entertainment with little or no resulting political action.  While merely thinking more about politics can be seen as a positive result of these types of shows, it is only through the political participation of informed and engaged citizens that a healthy democracy can be restored.

In “Reconfiguring Civic Culture in the New Media Milieu,” Peter Dahlgren examines the charge that media are major contributors to the cynicism and stagnancy that seem to characterize contemporary American democracy.  He notes, however, that many critics of mass media are more optimistic when discussing the Internet and digital media, suggesting that they see these technologies as having the capacity to jump-start political participation and breathe life back into democracy (151-152).   Dahlgren proposes the idea that “civic culture” – a process consisting of a series of cultural practices whereby people become citizens – is a prerequisite to democratic participation, and absolutely essential to the survival of democracy itself (152-153).   These attitudes, practices, and conditions that comprise civic culture, he says, are not “political” themselves, rather they exist at the level of everyday experience.  They can, however, lead to political action, and should be thought of as preconditions for democratic participation.   He models civic culture as “a dynamic circuit” to which he assigns six discrete dimensions: values, affinity, knowledge, practices, identity, and discussion – each providing an important condition for the health of democracy (156).   For the purposes of this study, I’d like to focus on the modalities of knowledge and discussion, as these are the two with the most relevant application to the examination of the relationship between NPT and political action.  Knowledge, Dahlgren says, is indispensible to a healthy democracy, as it provides citizens with skills to communicate effectively.  He claims that there is an ongoing evolution of the “modes of knowledge” enabled by new technologies like the Internet, which allow for new methods of thought and expression.  However, he offers a caveat that these new modes “may not be politically effective” (158), a warning it will be helpful to keep in mind when we analyze the results of our audience research.

Discussion is the dimension that Dahlgren describes as being “the cornerstone of the public sphere” (159), and the one he claims has moved, to a great degree, onto the Internet.  Dahlgren dismisses the claims of critics that the Internet is at best having a negligible effect on democracy, and argues that although only small minorities of people are participating in online democratic and civic activities, that “in the margins, may be something profound that is beginning to take shape in how democracy gets done. If we switch the lens and look from this alternative view, there is evidence that speaks for a much more robust contribution.” (165).  Disappointingly, Dahlgren’s evidence consists of a number of websites – alternative news portals and discussion forums – but very little in the way of empirical evidence to counter Margolis and Resnick’s claim that political life on the Internet is simply an extension of life off the net (164).

Andrew Kohut, on the other hand, citing a 2000 Pew Research study, offers evidence showing that people who get their news online are only slightly better informed than those who get it through traditional sources.  Kohut reports that although online users may be consuming more news, they generally are only looking for stories on topics they are interested in, and that this specialized news consumption is not enhancing or increasing public participation in politics or democracy.   This idea is reinforced by more recent studies by Tolbert and McNeal (2003) and Nisbet and Scheufele (2004).  In the former, Tolbert/McNeal conclude that although the Internet has potential for opening new avenues of political discourse and communication, the new technologies may –as Kohut suggested – narrow exposure and exclude differing viewpoints, thus engendering a “bonding” among like-minded citizens, rather than “bridging” experience, which fosters tolerance for social, cultural and intellectual diversity (184).  The 2004 study conducted by Nisbet/Scheufele finds that the Internet has only had a modest effect on public life, and that the effect is most profound where it is aided by the support of traditional media.  Like Margolis/Resnick, Nisbet/Scheufele assert, “the Internet’s effects are strongly linked to an individual’s ‘real world’ social environment” (891).

In Entertaining Politics, Jeffrey Jones adopts Dahlgren’s model of the six-dimensional circuit, but instead applies each of the modalities to New Political Television (NPTV), and argues that NPTV exhibits each of these conditions, and is thus creating a fertile ground for greater political and civic participation (Jones 187-196).  Citing the example of how the Howard Dean 2004 presidential campaign broke new ground in use of the Internet as a communication tool, and mobilization of a constituency using interactive technology – he makes the claim that NPTV similarly creates a public space where meaningful civic discourse overlaps with popular culture and everyday life (188), creating a precondition for political participation.   Understanding the ways that Jones applies NPTV to Dahlgren’s model will help us construct a definition of audience “participation”, the degree of which I will try to determine from the interviews with The Colbert Report audiences.

For the modality of Discussion in Dahlgren’s model, Jones makes the claim that NPTV contributes to this practice though its “role as an instigator of discursive activity outside the act of watching television” (190).   This is a claim that can be easily measured through our research, and will therefore contribute to our definition of participation.  Dahlgren defines the second modality, Practices, as recurring daily activities – the routines that make up our everyday lives.  Here, Jones contends that television is a “ritualized practice, and politics is one of many topics that audiences interact with on a daily basis” (191) and also that NPTV creates an overlap between politics and our “affective relationship to popular culture” (191). While it may certainly be true that this may engender a mindset necessary for participation, it connotes no specific action on the part of the audience, and will therefore not contribute to our definition of participation.  Similarly for the third modality, Values, which Dahlgren argues is necessary for a citizenry to share in order for democracy to exist.  Jones claims that NPTV provides a public forum where shared values such as honesty and accountability can be “mulled over” (192).  Again, this neither requires nor implies any explicit action on the part of audiences, and so cannot be used in our definition of participation. Additionally, the very terms “honesty” and “accountability” are subjective and open to multiple interpretations, further hindering any kind of empirical measurement.  Knowledge (the fourth modality), however, can be more easily demonstrated.  Both Dahlgren and Jones agree that an informed citizenry is a sine qua non of a healthy democracy.  While it is difficult to ascertain the level or depth of knowledge through an audience interview, we can determine if an interviewee takes certain actions in order to “keep informed” – such as watching the news or reading the newspaper.   Affinity, the fifth modality, is described by Dahlgren as “a sense of commonality among citizens […] that they belong to the same social and political entities” (Dahlgren 157).   Jones argues that both the humor of NPTV and their representation of common sense ideas serve to create this type of affinity among audiences (194).  He also contends that the last modality, Identities, is engendered by NPTV by allowing audiences to think of themselves as citizens by aligning their citizenship with their affective relationship to humor, entertainment, and popular culture (195).  Again, these last 2 modalities are problematic from the standpoint of empirical measurement, and do not require specific action on the part of the audience.  Therefore they, too, will be excluded from our definition of participation.

From Dahlgren and Jones’ discussion of civic culture, we can extract 2 ideas that help define political participation: discussion and knowledge.  We can further determine what other kinds of action audiences take either as a result of, or ancillary to, viewing The Colbert Report by asking about the audience members’ online and political activities.  Therefore, I will attempt to determine participation using the following questions:

  1. How often do you consume the news? (Knowledge)
  2. Do you discuss the content of the show with friends or co-workers? (Discussion)
  3. What kinds of topics come up? (Discussion)
  4. Have you ever posted a comment on the website? (Discussion)
  5. Have you ever shared a video clip? (Discussion)
  6. Is The Colbert Report an informative show? How so? (Knowledge)
  7. Has the show’s coverage of a specific topic (in this case, the economic crisis) taught you something? (Knowledge)
  8. Has The Colbert Report gotten you more involved in politics? (Political action)
  9. Do you participate in online discussions or groups? (Discussion)
  10. Do you vote? (Political action)

To conduct this research, I used a sample of 16 interviews with audiences waiting to see a live taping of The Colbert Report.  The sample consisted of nine men and seven women, 56% of whom were between the ages of eighteen and twenty-two, 25% between the ages of twenty-five and thirty-five, and 19% between the ages of fifty and sixty.  38% of the sample declared a college degree as their highest level of education, 31% are currently attending college, 25% have post-graduate degrees, and 6% (1 respondent) claimed high school as his highest level of education.

In order to facilitate discussion as it relates to the ideas of Dahlgren and Jones, I have categorized my findings into three areas: Knowledge, Discussion, and Political Action.

Knowledge

When asked about news consumption, most (81%) claimed that they consume news on a daily basis, with the other 19% receiving their news “sporadically.”  When asked where they get their news, online sources were mentioned the most frequently (18 times) followed by print  (11 times), television (10 times), and radio (2 times).    While this indicates that audiences of The Colbert Report keep themselves at least moderately well-informed, it’s impossible to tell whether their high level of news consumption is in any way a result of watching the show, or whether, perhaps, The Colbert Report simply attracts more well informed people as its audience.  In other words, there is no way to make a causal connection between watching The Colbert Report and increased news consumption.   A more telling metric in this regard lies in the responses to the question: “Is The Colbert Report an informative show?”  To this question, we received exactly the same percentage as in the previous question, with 81% saying they find the show informative, and 19% saying they do not.  However, it’s important to note that only one of the respondents answered that he consumes news sporadically and does not find the show informative.   One avid consumer of the news who did not find the show informative answered that “if you don’t know what he’s talking about, you wouldn’t get the jokes.”  Another audience member gave a qualified “yes” when asked if the show was informative, but added, “if you don’t know what’s going on, you might not really get it.”  These responses lend credence to the idea that The Colbert Report attracts a well-informed audience.   Other responses indicated that audiences were, in fact, learning something from the show.  One woman told us that “I read a ton of online news but I still find that the show will either occasionally break something new or mention an aspect of a story that I haven’t come across yet.”  Another woman who reads the news everyday, indicated that while the show might not be informative for her, it may be for others, stating, “maybe for people who don’t keep up as much with the headlines they could learn something about politics or just news in general.”

The idea that respondents believe others may be informed by the show without being informed themselves, is reinforced by the responses to the question “Has the coverage of the current economic crisis taught you something you were previously unaware of?”  To this, only 12% (2 people) said that it had, and only 6% (1 person) indicated that their perception of the crisis had been changed by something they saw on the show.

Based on the answers to these questions, it would appear that while The Colbert Report certainly attracts a well-informed audience, the program might not increase their level of knowledge in a meaningful way.  There may be some evidence, also, to indicate that they feel as though they are participating in a forum that increases the general knowledge of the audience, even if they do not consider themselves the beneficiaries of such knowledge.

Discussion

The first question that was asked on the topic of discussion was simply “Do you discuss the content of the show with friends or co-workers?”  To this, almost all (94%) answered in the affirmative.  However, when asked what kinds of topics come up, only 63% said that it often or sometimes leads to political discussions.  The topics that were specifically mentioned included electoral politics, “issues that we care about that come up in context”, NASA, and how the show “exposes politicians and media for the fools they really are.”

While these responses suggest a high level of face-to-face discourse as a result of watching the show, the picture is a bit different when it comes to online discussion and participation.  Not a single respondent said that they had ever posted a comment on the website, either in response to a video clip or in the discussion forum, and 81% said that they do not participate in discussions, groups or forums on the Internet.  2 respondents (12%) said that they “occasionally” participate, and one indicated that she is more of a passive participant, i.e. she reads the discussions but does not contribute to them.

It is interesting to note that an large majority (88%) has watched either a video clip of the show or a full episode online – in fact 3 people said that that’s exclusively how they watch the show – and of those that have, 36% say they have shared a clip with someone else.   In a recent article, Professor Henry Jenkins discusses the phenomenon of online sharing of parody videos, and how this is an example of the participatory culture in which we now live.   This culture, Jenkins says, is “shaped by increased contact and collaboration between established and emerging media institutions, expansion of the number of players producing and circulating media [emphasis mine] and the flow of content across multiple platforms and networks” (189).  In short, Jenkins suggests that this type of sharing constitutes a new language, a new mode of discourse that transcends traditional notions of “discussion.”    If this is true, then The Colbert Report audiences are certainly participants in a form of online discussion as a direct result of watching the show.

Political Action

To the question, “Does The Colbert Report get people more involved in politics, the majority (75%) said that they thought that it did, 12.5% said no, and 12.5% said they don’t know.   When asked who was getting more involved, 42% (of those that said they thought it got people involved) specified “younger people” explaining that The Colbert Report makes news “more fun,” that it is “not as stuffy” as other news programs, or expressed a hope that younger people “will get angry and inspired.”  One 20-year-old man said, “I just think people my age are more inclined to get entertained, and if you can get both, they will take both [sic].”

In the above section on Knowledge, we identified a potential disconnect between audiences thinking the show made people more informed, and the fact that it doesn’t feel as though it makes them more informed.  When asked if the show gets them more involved in politics, we witness a similar phenomenon – only 19% claimed that it got them more involved.  One man in his 50’s with a post-graduate degree told us “I have always been informed, and vote.  [Stephen Colbert] just validates what I believed all along about politicians.”  Once again, these results suggest the possibility that The Colbert Report is simply attracting audiences that are already informed and politically engaged, and that the show reinforces their beliefs without affecting a significant change in their political behavior.

In terms of political participation in the voting process, 100% of the respondents claimed to be registered voters, and all but one voted in the last election.  Only half said that they voted in the election before that, but this was likely due to the age of the respondents, over half of which were between the ages of eighteen and twenty-two, and thus ineligible to vote in the 2004 election.

Conclusion

While Dahlgren’s six-dimension model of civic culture is useful in understanding the ways in which it may be possible to become active participants of democracy, they do not, in and of themselves, provide any assurances that this will occur.  Through close examination of two measurable modalities, Knowledge and Discussion, and the resulting Political Action, I found that audiences of The Colbert Report are certainly well informed and engaged enough with the content of the show to bring it into meaningful discussion, especially with their friends and family.  However, there seems to be a lack of evidence that the show encourages these audiences to participate in political or civic discourse beyond their familial and social circles.  While virtually all respondents in the sample participate in the voting process, only a tiny minority participates in online groups and discussions, or comments on the show’s video clips and message boards.  In the cases of both voting and online activity, it’s difficult to tell whether there is a causal relationship between The Colbert Report and this participation, or whether their civic engagement is a precondition of both their online participation and their involvement with the show.

This is not to say that The Colbert Report does not create a vital forum with the potential for all six of Dahlgren’s conditions and practices to be realized.  Perhaps it’s too early in the evolution of both the Internet and NPTV to be able to determine how these new spaces for thought, humor, critique and participation will open up into the public sphere and create room for a transformation in the way citizens “do” politics.   Perhaps, as Dahlgren, Jones, and Jenkins suggest, this is already happening – that a revolution is underway “in the margins” (Dahlgren 165) and that it is this small minority of engaged and intrepid participants that will lead the way into a future participatory culture that will engage us all.

Works Cited

Dahlgren, Peter. “Reconfiguring Civic Culture in the New Media Milieu.” Media and the Restyling of Politics: Consumerism, Celebrity and Cynicism.  Ed. John Corner and Dick Pels. Thousand Oaks: Sage, 2003. 151-170

Jenkins, Henry.  “Why Mitt Romney Won’t Debate a Snowman.” Satire TV: Politics and Comedy in the Post-Network Era.  Ed. Jonathan Gray, Jeffrey P. Jones, and Ethan Thompson. New York: NYU Press, 2009. 85-103.

Jones, Jeffrey P.  Entertaining Politics: New Political Television and Civic Culture.  Lanham: Rowman & Littlefield. 2005.

Kohut, Andrew. “Internet Users are on the Rise; But Public Affairs Interest Isn’t.” Columbia Journalism Review. January/February, 2000. 68-69.

Lévy, Pierre, and Robert Bononno, trans.  Cyberculture. 1997.  Minneapolis: University of Minnesota Press, 2001.  166.

Nisbet, Matthew C., and Dietram A. Scheufele. “Political Talk as a Catalyst for Online Citizenship.” Journalism and Mass Communication Quarterly. Winter, 2004. Volume 81, Number 4. 877-896.

Tolbert, Caroline J., and Ramona S. McNeal. “Unraveling the Effects of the Internet on Political Participation.” Political Research Quarterly. June, 2003. Volume 56, Number 2. 175-185

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Midterm paper for the class: Fake News, Politics and Popular Culture; Spring 2009

On the November 5th, the day after Barack Obama won the 2008 presidential election, Jon Stewart asked his audience on The Daily Show “How are we gonna make this shit funny?”  Stewart stepped into the role of host of the show in 1999, the tail end of the Clinton administration, but for the past 8 years, he has come into his own as a satirist, media critic and political commentator, largely due to his skill at poking fun at, and poking holes through, the often-absurd policies of the Republican administration of President George W. Bush. While Jon Stewart has himself stated that The Daily Show doesn’t represent the left or right, but “the distracted center” (Jones 114), it can hardly be denied that for the past 8 years, Republicans have given Stewart and his writers a wealth of material on which, it could be argued, the success of the show has been built.  With a liberal democrat now in the White House, will Stewart and his writers modify their tactics in order to maintain the reputation and status they have gained as our culture’s scathingly honest purveyors of political critique?

Before attempting to answer this question, I will first examine the rise of new political late night television, especially The Daily Show, and its role in providing a public mouthpiece that speaks “truth to power”.  I will then look closely at how it accomplishes this through the use of parody as tool of political and social critique.  My aim is to show that it has been well established that The Daily Show speaks truth to power before presenting my research, which will examine whether and how this may have changed since the inauguration of Barack Obama. [continue reading this post...]

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The Politics of Media Ownership in Remix Culture

by Tom Tenney on October 28, 2008

Written for class: ‘Introduction to Media Studies;’ Fall 2008; Prof. Chuk

In Manufacturing Consent, Noam Chomsky outlines 5 filters through which the dominant elite is able to control the media and regulate information.  They are: concentrated ownership, the influence of advertising, reliance on information from the government, flak (backlash) and “anticommunism” as a control mechanism[1].   Nowhere does he cite direct government control (i.e. regulation by legislation) because, as he states in an interview with Le Monde Diplomatique, democratic societies (as opposed to totalitarian states) “…operate differently. The [official] line is never presented as such, merely implied. This involves brainwashing people who are still at liberty.”[2] His assertion of “brainwashing” implies that the filters act solely on the minds and attitudes of citizens who are still, at least by virtue of our laws and constitution, free to choose

Twenty years after the publication of Manufacturing Consent, the world – particularly the media landscape – looks much different than it did in 1988.  The rapid rise of the Internet and the advancement of media technology have put tools into the hands of everyday citizens, allowing them to control their media in ways that were impossible 15 years ago.  Current technology gives us the freedom to watch television without advertisements on computers and DVRs, share digital music and movies freely on file-sharing networks, and even create new works, digital collages called “mashups” or “remixes” in the current vernacular, by superimposing different types of media on top of each other.  While media corporations have made claims that these types of sharing have caused significant damage to their businesses, government has been slow to respond to their appeals for broader legislation to protect their financial interests.  Instead, corporations have used other means to regulate the way media is shared and used.  In this paper I will explore the methods that content creators (i.e. media corporations) have used technology and other means to regulate and curb the spread of file sharing, paralleling and adding to Chomsky’s arsenal of “filters” used by corporations to control what citizens can and cannot read, watch, and listen to.  I will also examine the claims of big media that file-sharing, or “piracy” as it is sometimes called, infringes on their rights and harms their business – or whether, in fact, the abridgement of the right to share and remix media is a violation of the consumer’s constitutional rights and how this affects the political economy of media.  Finally, I will offer my own suggestions for actions that can be taken by individuals to become more “new media” literate and advance the cause of media sharing.

Alternate Methods of Regulation

The First Amendment of the US Constitution guarantees that “Congress shall make no laws…abridging the freedom of speech.” In 1789, when the Bill of Rights was ratified, it was unlikely that there were many means of regulating expression other than passing laws.   In Free Culture, copyright attorney and activist Lawrence Lessig outlines four modalities of constraint that work together to “support or weaken the right or regulation”[3], they are: Law, Market, Norms, and Architecture.   Law is the constraint provided by legislation – it is the most obvious, arguably the most powerful, and the one that media companies are lobbying the congress to support.  Although the other three constraints act more subtly, they are nonetheless extremely effective when it comes to control, and have been used frequently in recent years by media companies in an effort to protect what they see as their rights as copyright holders, and the ones I will focus on here.

Market is the modality that regulates via price constraints, and is traditionally thought of as punishment by fines or monetary sanctions.  For example, it is assumed that one drives the speed limit not only to keep from being thrown in jail, but because one doesn’t want – or can’t afford – to pay a hefty fine for his actions.  It is also the modality that Chomsky refers to when he writes about advertising used as a filter used to control content.  He says, “an advertising based system will tend to drive out of existence or into marginality the media companies and types that depend on revenue from sales alone.”[4] This is the marketing constraint at work.   This constraint, however, has come into play in a different way in the context of copyright battles.  Over the past several years, media companies have gotten into the habit of suing private citizens over alleged copyright violations.  Since the plaintiffs have deep pockets, and the average American could never afford to defend against a lawsuit brought by them, they are able to force settlements, which may tacitly imply an admission of guilt by the defendant – even though no law may have been broken.  An example of this is the case of Jesse Jordan, a college freshman who built a website with a search engine that was able to index all the files on his college’s closed network.  The site “only allowed people to view the names of music files that other students were willing to share, but did not help them copy those files.”[5] Regardless, because some of these files happened to be music files, the Recording Industry Association of America (RIAA) sued him for a sum of $15,000,000 [sic].  Jordan wanted to fight the case, but was told that it would cost at least $250,000 in legal fees alone.  Instead, he accepted an offer to pay a settlement of $12,000 and shut down his site in exchange for the RIAA dismissing the suit.  Big business had “won” without anything being decided as to the legality of his actions.  Still, even paying the settlement fee hurt Jordan financially.  When the case was over, his father said,  “Jesse’s worked very hard for three years, every summer, every weekend, to save up money for college. Now we’re in a bind. How is he going to have enough to pay for next year?”[6]

Norms are the constraints that keep people in line by imposing social sanctions for certain behavior, as opposed to legal or monetary ones.  Chomsky asserts that the filter of “anticommunism as the national religion” is an ideology that “helps mobilize the populace against an enemy” and “serves as a political-control mechanism”[7]. This idea has a parallel in the war on piracy in the aggressive PR campaigns waged by the recording, movie, and broadcast industries against file-sharing and remixing.  Posters declaring such slogans as “Piracy is Theft”, designed to make anyone who rips a song from a CD feel like a felon, have been ubiquitous since the late 1990’s.  Even celebrities have been recruited to exert influence over potential music downloaders. In 2000, the rock band Metallica filed a lawsuit against the file-sharing service Napster, stating that the practice of sharing music is “morally and legally wrong. The trading of such information — whether it’s music, videos, photos, or whatever – is, in effect, trafficking in stolen goods.”[8] In 2003, Madonna flooded peer-to-peer networks with spoof MP3 files – decoy tracks pretending to be tracks from her new album, American Life.  When played, the listener was greeted with the voice of Madonna saying “What the fuck do you think you’re doing?” and then going on to chastise the downloaders for stealing music.[9]

Architecture is the modality of regulation that has no direct analogue in Chomsky’s model, but has become a pervasive method of control in the digital age.   The way something is built – a piece of software, a DVR, or even a discrete piece of media (CD, digital video file, etc.) – can dictate what can and cannot be done with that thing.  If a record company builds copy-protection technology into a music CD so that the person who buys it cannot create MP3’s from the music tracks, then they are building there own “law” right into the product itself.  Any arguments of “fair use” are irrelevant at this point, because it’s simply not possible to create digital files in the first place.  Lessig says, “Architecture is a kind of law: It determines what people can and cannot do.  When commercial interests determine the architecture, they create a kind of privatized law.”[10] Obviously, when corporations create this kind of “privatized law”, they are circumventing both law and the constitution, and the argument over whether this kind of Digital Rights Management (DRM) is a constitutionally justifiable practice becomes an intensely political debate.

File-Sharing: Piracy or Free-Expression?

The “sharing” of media, whether it be its use in the work of another artist (“sampling” in hip-hop, e.g.) or simply its free distribution, has a long history in the United States as a method used by artists and others for both the creation of new works and the dissemination of information.  In 1928, Walt Disney created the first widely released sound cartoon, Steamboat Willie – a parody of a popular Buster Keaton silent film classic called Steamboat Bill, Jr.[11] This creation followed a long tradition of artists (also scientists, inventors, etc.) “borrowing” the work of others to build upon it and create something new.  In 1928, this was fairly easy to do – it was not only the “norm” of the time, but common law copyright statutes allowed a work to pass into the public domain after a period of 28 years.  With the Copyright Act of 1976, and the Sonny Bono Copyright Term Extension Act of 1998, corporate authorship of a work can now remain in copyright for up to 120 years. Today, it is virtually impossible for an artist to legally “borrow” a work to build upon it and create something unique.  These laws have created an atmosphere of restriction in this country that severely limits the ways in which citizens are able to express themselves by utilizing the artifacts of their culture.

With regard to file-sharing (i.e. the distribution of music and video files over peer-to-peer networks), I concede that musicians and artists should be compensated for their work.    But file-sharing services such as Limewire and Kazaa make media available that otherwise we wouldn’t have access to.  For example, my search for the song “Back When My Hair Was Short” by ‘one-hit-wonder’ 70’s band Gunhill Road yielded no results on iTunes.  My guess that the song is long out-of-print was confirmed by a visit to the music database website, allmusic.com.   If I wanted to listen to this song, even for my own personal use, I’d have no recourse but to download the file from a P2P network.  By doing so, I have, in effect, become a “pirate”, an outlaw.   Record companies have long maintained that such downloading is “stealing” and is killing their business, but is this really the case?  First, if they are not profiting from the sales of the song/album/video in the first place, then who is it I’m stealing from?  Second, the numbers don’t seem to support their claims that file sharing has a direct causal effect on declining CD sales.  According to Lessig, “In the same period that the RIAA estimates that 803 million CDs were sold, the RIAA estimates that 2.1 billion CDs were downloaded for free.  Thus, although 2.6 times the total number of CDs sold were downloaded for free, sales revenue fell by just 6.7 percent.”[12]

An example of how the file-sharing issue is negatively impacting our political economy is the recent controversy surrounding TV networks and their demands that video files of the presidential debates and political ads be removed from video sharing sites, citing copyright infringement.  CBS, CBN, Fox and NBC have all issued takedown notices to YouTube, which they see as their right under the DMCA (Digital Millennium Copyright Act).  This, clearly, is an abridgement of our rights as citizens to have access to the kind of political information that we need to thrive as a democracy.  In a statement issued by the Electronic Frontier Foundation, copyright attorney Fred von Lohmann says, “This is not piracy, but fair use, no different from what Saturday Night Live and The Daily Show do every night. Sending unfounded takedown notices is not only against the law, it also threatens to interfere with the vibrant political debate occurring on community video sites like YouTube. Remixing the news to make your point is what political speech looks like in the 21st century.”[13]

In summary, the ability to use and build upon previous works is essential to creating a culture of innovation and a democracy where ideas can be shared freely.  The restriction of this ability can be considered to be an infringement of our First Amendment right to free expression without governmental or private control of ideas.  In a 1996 article in the Yale Law Journal, Neil Netanel writes, “As all authorship involves a degree of borrowing from earlier works, an overly broad copyright represents an unacceptable burden on creative expression.”[14] In Free Culture, Lessig makes the point that permission to use works may still be granted, but that “it is not often granted to the critical or the independent.  We have built a kind of cultural nobility; those within the noble class live easily; those outside it don’t.”[15] Thus Chomsky’s idea of mass media being controlled by the dominant elite has firmly taken root in digital culture.

Solutions

Clearly, governmental and corporate response to new technology by means of copyright legislation and DRM is creating a climate in which media control is becoming ever more restrictive, creating “filters” that Chomsky couldn’t have imagined in 1988.   As citizens of a democracy, however, there are steps that we can take to mitigate the effect of these restrictions, and perhaps even reverse them.  Luckily, the same technology that corporations are attempting to control has also put tools of activism in the hands of everyday people.  The most important way that we can be “new media” literate is to be aware of our rights, know when they are being violated, and to do something about it.  Bloggers have gained much ground over the past several years, and have started to bring about a fundamental change in the way news is reported.  Social media tools such as Twitter and Facebook can also be used effectively to disseminate ideas and spread news stories and viral memes that undermine the corporate agenda.    An awareness of existing alternatives to corporate control is another important means for bringing about change.  The open source software movement, which provides alternatives to commercially controlled technology, and the Creative Commons, which provides a new way for artists to assign their own “copy rights” to their work, are both excellent alternatives to the corporate agenda.  Remix culture is here to stay, and we owe it to our country and our culture to find effective solutions that allow us to remain free.


[1] Noam Chomsky, Manufacturing Consent: The Political Economy of Mass Media (Pantheon Books, 1988)

[2] Le Monde Diplomatique, Democracy’s Invisible Line, http://mondediplo.com/2007/08/02democracy; August, 2007

[3] Lawrence Lessig, Free Culture (Penguin Press, 2004) p. 121

[4] Noam Chomsky, Manufacturing Consent: The Political Economy of Mass Media (Pantheon Books, 1988)

[5] Amy Harmon, “Suit Settled For Students Downloading Music Online”, The New York Times, May 2, 2003

[6] ibid

[7] Noam Chomsky, Manufacturing Consent: The Political Economy of Mass Media (Pantheon Books, 1988)

[8] Christopher Jones, Metallica Rips Napster, Wired, April 2000

[9] Matt Mason, The Pirate’s Dilemma: How Youth Culture is Reinventing Capitalism (Free Press, 2008) pp. 68-69

[10] Lawrence Lessig, Code 2.0 (Basic Books, 2006) p. 77

[11] See Lessig, Free Culture (Penguin Press, 2004); Chapter One: “Creators” pp. 21-30

[12] Lawrence Lessig, Free Culture (Penguin Press, 2004) p. 71

[13] Electronic Frontier Foundation, TV Networks Must Stop Blocking Election Videos on YouTube, http://www.eff.org/press/archives/2008/10/20, October 20, 2008

[14] Neil W. Netanel, “Copyright and a Democratic Civil Society”, Yale Law Journal 106 (1996); http://www.history.ox.ac.uk/ecohist/readings/ip/netanel.htm

[15] Lawrence Lessig, Free Culture (Penguin Press, 2004) pp. 10-11

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