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-EAT THE OTHER

TTYL - Teens build relationships, find temporal freedom via TXT MSGS

"Dad! No body emails anymore!!"

This is a direct quote from two daughters (spoken in stereo) exasperatedly exclaimed to a friend of mine recently. This caused me to conduct an informal survey of teens and pre-teens about their texting habits and social network usage.

Overwhelmingly, texting as communication was the most popular for several reasons: ubiquity ("it's on my phone which I always have with me"), functional privacy ("this way mom/dad can't hear what I'm saying") and perceived privacy ("a boyfriend and girlfriend sent each other photos of themselves which was OK, until their parents found out then they got in trouble").

A mere 20 years ago, the modes of discourse for teens were the telephone, in person speech or more metaphorically and abstractly, the mix-tape. Now it's the cell phone and texting or instant messaging within a social networking platform like Twitter, Facebook or Myspace. The mix-tape has been replaced by the CD or viral video. Although it seems unlikely, teens still communicate face to face, but these situations are frequently punctuated by back-channel chat and commentary "stuff you just couldn't say aloud" i.e.: when a voice call is impractical, impossible or unacceptable.

It is ironic that fearful, helicopter parents seeking control over their children's whereabouts purchased these phones for tracking purposes only to discover that the devices are being used by their children to engage in private, un-moderated conversation.

Confiscating the mobile phone is one of the more popular forms of punishment for the behavioral infractions of misbehaving youth. Over 60 percent of parents admitted to doing this and 64 percent of those same parents admitted that they viewed the content of their kid's phone according to a study by The Pew Internet and American Life project.

But what is it about texting? Why is it such a preferred mode and what has made it so commonplace? Is it the immediacy, the speed that mimics a face to face conversation? Does the text message encourage a sense of intimacy which in turn creates a feeling of limerence?

Ah limerence! A feeling that teens (girls especially) are familiar with. Limerent bonds manifest as intense feelings of attachment and preoccupation with the object of affection. Intrusive thoughts invade, cognitive obsession grows. Teens of both genders have reported that texting and participating in virtual social networks have an addictive quality. The need to remain connected is strong and "reachability" is highly valued. They report feeling a need to "keep up" with what was happening currently. They felt lost not knowing what people were doing or where they were while participating in a voluntary break from Facebook for a 24 hour period.

StudentSpeak Webisode 2 from Spotlight on Vimeo.

Texting also allows teens to multi-task. "It's a lot easier to be doing my homework or watching TV while I am texting." Texting also allows them to carry on multiple conversations, "I'll probably be texting five or so of my friends over the course of an evening." These interactions can range from homework questions, quick social check-ins "hi!" and complaints "my sister's being a B*tch". They have their own acronyms idk, gtg and lingo. Teens carry out conversations with one another without being expected to reply within a short amount of time, as in a mobile phone conversation where reception can be shoddy. Texting offers a flexibility and freedom from temporal constraint.

Teens communicate in this way all day long, even falling asleep in the virtual company of their correspondents -- effectively texting themselves to sleep. But the sound of a voice is just as important as one 17 year old boy told me, "I'll text a girl, but if I'm interested (in her) I'll also call her and talk on the phone too." Thus reinforcing a bond, with every call or 1 txt @ a time.

Monster Media - the social economics of Vampires and Zombies

It seems one can track the socio-economic trends in popular culture by the appearance of either Zombies or Vampires showing up in our consciousness.

Right now we seem to be in Vampire overdrive with the Twilight series and HBO's True Blood though Zombies have been making a steady showing in films such as Zombieland and in remixed versions of classic literature with Pride and Prejudice and Zombies. Either way, the monsters are among us, either sucking us dry or eating us alive.

Vampires are the monsters of our intellect. They suffer our existential dilemmas, some even our guilt and shame. They are the ultimate prisoners of body consciousness, trapped in an eternity that mortals always tend to romanticize because we are (as yet) incapable of living for centuries. In Freudian terms, vampires are the super ego made manifest. These graceful dandies drive fast cars as they struggle to control their carnal desire for human blood. You can find a comprehensive history of vampires here.

Zombies on the other hand can be seen as manifestations of the id. Zombies are dim-witted, staggering louts, poor conversationalists. They are anonymous, remorseless, endless in number, viral. They are all about self-gratification, excess, engorgement, acquisition of more. And oddly, any organized authority is unable to stop them. Zombies are only defeated by a rag tag band of individuals teaming up together to wipe our their scourge - one gore-spattered shotgun blast at a time. What better Zombie movie has there ever been than George Romero's Dawn of the Dead where a shopping mall is the common ground. Zombies frantically search for food in a lusty frenzy while the living are holed up, determined to cling to their last outpost of humanity? A cinematic Zombie timeline is here.

Zombies and Vampires are us, transformed version of humans, our monstrous selves. Writers and artists have used them as metaphors for our political, social and economic fears. They stand in for despotic regimes, our psychological terrors, fears of the other and fear of intimacy, for miscegenation, sexism, xenophobia, communists, homosexuals, consumers. Our fears concerning sexually transmitted disease, mental illness, technology and class division have all been addressed by these fantastic creatures of our mind who define and create by destroying others. If one looks back over the 20th century, it's possible to view the boom times through a filter of Zombies (1950's, 1980's) and the bust with Vampires (1970's, 1990's) so the trend would appear cyclical and somewhat predictable. Which ever genre has the upper hand, there appears to be no end to our monster mania as long as we remain human.

Mashup vs Remix - a tale of two text types

What are the similarities and differences between these two moving image commentaries? Below are some definitions and interesting examples.

A Remix - is an alternate version of an original source, a newly created version from source material. Elements are re-assembled in a new way.

A Mashup - is a version using multiple sources sometimes with little or no relation, often lampooning or referring to another text or source. It is a derivative work with properties of intertextuality where a texts' meanings are shaped and informed by other texts.

This bricolage idea of use what you have is not a new one, but with the easy availability of multiple texts and technology, the remix and mashup are moving from messages passed between peer groups into broader realms of social commentary and education. Aided by the speed of social networking, they can move from one phase to another in a matter of hours.

A Fair(y) Use Tale by Eric Faden - a remix illustrating copyright law, derivative but not lampooning. It's a great example of remix explaining Fair Use and Copyright law. Note that he cites his sources at the end.



The measurements for fair use involve elements of criticism, news reporting, teaching and parody. Keep these in mind as you review the following pieces below.

Once Upon a Time in Afghanistan - Jason Stakeman's remix incorporating mashup techniques intended to educate the viewer about the war in Afghanistan as well as comment on American foreign policy and culture. It compares the US invasion with the westerns of John Ford.

Click To Play

Edward vs Buffy - a remix by Rebellious Pixels/Jonathan McIntosh lampooning the romance genre in a mashup style and commenting on male/female relationships.


And another by Rebellious Pixels - a remixed commercial for a popular SUV.


Here's a mashup lampooning the Twilight series and the music video Wanted Dead or Alive that was created to market fake engagement rings by Ms. Taken.



Here's a mashup of a mashup - the Hitler video parody. Using a clip from the 2004 German film Der Untergang (Downfall), these videos number in the hundreds at least. Seeing Bruno Ganz as Hitler rant about current events and setbacks seems to have an endless appeal. The film's director Oliver Hirschbiegel seems to get the spirit in which they are presented, while Constantin Films, the production company, has requested the videos be removed.

Open Source – The End of Scarcity means More

IBM has estimated that the amount of digital information will double every 11 hours in 2010.

That’s an abundance of unlimited content, access, and information. Something barely imaginable. It is frightening and exciting at the same time. It is a huge paradigm shift for a culture used to a previous world driven by scarcity, preciousness and exclusivity.

The potential here is best understood in the context of education.

At Itunes U any number of amazing and free lectures from places like MIT, the Sorbonne, Cambridge and UNC Chapel Hill can be downloaded.

It’s a remix of the traditional idea of education: get some experts, people eager to learn and start a discussion. Where it takes place is less relevant, though to draw students the content must be strong and the sense of Bakhtinian sobornost – “togetherness” or “true sense of community” must still exist.

More control and choice for learners creates a P2P environment where students are both learners and teachers as well as creators and consumers. Knowledge flows freely rather than being stockpiled.

A unique example of this is happening at Purdue University. They have designed an app called Hotseat. It functions like Twitter for the lecture hall and in fact was developed with the idea that students were already texting anyway -- why not create a faculty endorsed distraction to focus that back channel discussion? With this app, students are commenting on the commentary and asking questions. Student to student sharing has been embraced by Purdue rather than seeing it as a threat for it’s potential to encourage cheating and non independent learning. In this way, redundant academic work becomes more vibrant and open. Hotseat is remediative - a new way of showing an old media form. Ie; the "class discussion" experience.

The Spectacular Society: why the open source movement could lead to a conscious revolution for social justice

Kite running in Afghanistan is a dangerous sport. Lives are endangered in this endeavor so distracting that Afghans have plunged to their death from great heights or been gravely injured chasing their beloved kites, as precious and revered as baseball and apple pie for Americans.

Guy Debord, the author of “The Society of the Spectacle” suggests that mass media offers a distraction by showing a fake reality to obfuscate the degradation of capitalism. After being subjected to a few minutes of the reality TV series “The Real Housewives of New York” in a physician’s waiting room, one might suspect he was on to something.

Could distraction be the metaphor for our involvement in international conflict? Is the pursuit of war a massive spectacle to distract the ordinary citizen? The phrase, “Go fly a kite” comes to mind. In other words, beat it, so the important work can get done.

Victor Klemperer’s writing regarding the language used by the Nazi regime illustrate the importance of observing how those in power manipulate language. Ironically after surviving the oppression of this regime as a Jew he went on to serve in the Volkskammer of the former German Democratic Republic, one of the most oppressive states of the 20th century.

Repeated negative images, news of death and failure, unemployment, the continuing spill of oil into the Gulf all cause us to suffer from “compassion fatigue”, burn out, secondary traumatic stress disorder. Where political events and our private lives in the post 911-era intersect, it appears that scaremongering and schadenfreude create compassion fatigue which in turn is remedied tidily by spectacle.

The disconnect caused by spectacle has also engendered a sense of desperation for contact. We are so obsessed with the need to be ‘in touch” that we repeatedly reach out to our colleagues and family members via text message and Facebook. In a dislocated, spectacular world, our constant seeking of reassurance that everything’s “okay” drives us as intensely as the Afghan kite runners.

A little distraction is probably okay, within the realm of normal even. But how can we be assured that we aren’t completely disconnected from human suffering and injustice? One way is by reclaiming the message we’re given. If everyone can possess the means to reshape the images and messages sent to us, then meaning can be re-framed and the hegemony of those who have power over our language can be challenged.

New meaning can be recreated, communities formed and social change created. In this way, much like the open source software movement, open data and information access can be the tools of compassionate social change.

Towards a more robust discourse of meaning in media

Open source media paves a new way of communicating ideas collaboratively so that the old models of journalism and documentary narrative no longer apply. The monopoly of a handful of media moguls is crumbling. Bloggers, citizen journalists and aggregators have disrupted the system of distribution and now provide ever expanding alternatives to the traditional distribution streams. A new, New Journalism is on the rise with social networking creating a linchpin culture of leaders within this movement.

One of these cultural linchpins is the Brave New Foundation’s Brave New Educators (BNE) project. BNE’s mission is to engage people in a narrative to provide context and meaning. By using access to primary sources of moving imagery we practice constructing meaning and use these sources to create a new, unique and evolving sense of perspective in a digital form narrative.

BNE creates an incubator for social change by engaging educators and their student scholars with the catalysts of shock, shame, fear, and anger – the elephants in the room that people avoid.

Though critics may suggest that this bricolage methodology is documentary filmmaking 2.0, however documentaries don’t fully engage their audience. They tend to present an “ain’t it awful” scenario, leaving the viewer feeling disengaged and disempowered. The difference with the experience of Brave New Educators is that the activity of remixing exposes the creator to the negative material while allowing them to move through it and create their own narrative from it, thus empowering students and giving them essential tools for critical thinking in a media convergent society. These multimedia, hypertextual digital texts are light years from the traditional, dry college essays. Students in the BNE pilot program reported that while they found the material surprising, shocking and disturbing, it was the act of engaging with material they found uncomfortable that helped them gain new perspectives and create their own narrative.

Collaboratively involving others in a collective organized movement is a work of activism. Remixed narratives ignite the thought process and become a catalyst for collaborative change. In this way, ideas function as viruses, jumping from place to place until they go viral and create a wave of participatory culture that has the power to effect real change. This sharing and collaboration produce an innovative hybrid in the truest democratic form – organized chaos. The wisdom of crowds is founded on diverse opinions and ideologies. The new media is the catalyst for that.