March 3, 2015

NMCC Class Spotlight: Habitual New Media

Habitual New Media (COLT 607)

This term Professor Colin Koopman (Philosophy) and Wendy Hui Kyong Chun (2014- 15 Wayne Morse Chair of Law and Politics) have been teaching the seminar course Habitual New Media in the Department of Comparative Literature. This is course is intended to provide graduate students from a range of disciplines with an introduction to, and deeper engagement with, some of the major theoretical approaches to new media as an object of critical inquiry. In this course students survey emerging themes of inquiry gaining importance across a range of contemporary disciplinary formations including not only new media studies, but also science and technology studies, the history and philosophy of technology and science, and political philosophy and social theory.

Bonnie Sheehey (PhD candidate in Philosophy), and Professor Koopman, have both generously agreed to share their thoughts on the new media seminar from the perspectives of a student and as a teacher of the course (respectively).

Bonnie Sheehey

Bonnie Sheehey
PhD Candidate
Department of Philosophy

In COLT 607, “Habitual New Media,” professors Wendy Chun and Colin Koopman uniquely created a space for interdisciplinary inquiry into the ways in which new media invariably shape our present modes of habituation and the historical formation of our present selves. By weaving together a dynamic narrative through a critical engagement with theories of new media, the class was able to provide students from multiple disciplines with the opportunity to reflect on questions of temporality, sociality, and the possibility of political and ethical transformation in our networked spaces.

The course nicely culminated in the interdisciplinary symposium “Living Data: Inhabiting New Media” by bringing together a set of scholars interested in the question of living data. The class was especially significant insofar as it afforded me the chance to engage and converse with students of diverse disciplinary backgrounds for whom the questions and concerns of new media are vital, live, and timely.

Colin Koopman

Colin Koopman
Associate Professor
Department of Philosophy

The course has been a fantastic interdisciplinary learning experience for everyone involved. From the start, the syllabus itself was interdisciplinary in that it combined the approaches of the two teachers: both Wendy Chun whose background is in literary and cultural studies (though as an undergrad she focused on computer hardware engineering) and my background in philosophy and theory (and though I didn’t study computers as an undergrad I was an early adopter of BBSs long before most of us used AOL to jump on the internet bandwagon).

An Interdisciplinary Approach:

A further interdisciplinary aspect of the course is the fact that it was offered in the Comparative Literature Department, thus pushing both of the professors outside of our normal expectations. Lastly, and perhaps most importantly, the students in the course have been very interdisciplinary. We are split about 50-50 between media studies students (from the SOJC) and humanities studies (from literary fields and philosophy). This has created a number of interesting sparks and provocations as we have together worked to translate vocabularies across disciplines as we interrogate the texts and debates under consideration in the course.

Key Concepts on Habitual New Media:
Some of the main concepts we have been focusing on include habits, conducts, and archives. These have been methodological entry points for us in exploring the ‘new’ domains as ‘new media’ and ‘big data’. My view is that information cultures and media ecologies are not only interesting in their own right, but they are also interesting sites for study because they challenge many of our inherited expectations about what is involved in seeking to understand critique these sites. For instance, what familiar habits of ‘reading’ are challenged when the texts one is engaging in are encoded digital files? What assumptions about ‘interpretation’ are disrupted when the texts one is reading refuse to sit still and present themselves as fixed and stable objects? What scholarly premises are pushed around when it begins to become clear that the work of critical inquiry can no longer proceed solely on the basis of interpretation? All of these questions are provoked by the very attempt to take seriously the presence of ‘media’ — a presence that is insisted upon by the attention we give to ‘new media’ even if these turn out to be indeed very ‘old media’ too.

Useful Resources from the Course:

Probably my own favorite readings in the course have been my co-teacher Wendy Chun’s book “Habitual New Media” (but we read the manuscript for it, as the book is still to be published) (you can hear a lecture by Wendy Chun about Habitual New Media here) and books coming out of German Media Archaeology, including Markus Krajewski’s “Paper Machines” and Cornelia Vismann’s “Files”.

To point to the latter, just because it may not be as familiar to people, the archaeologists of media offer a distinctive approach that emphasizes the technical, material, and practical side of familiar media objects like files. Vismann’s book shows how files structure our lives (just think of the logic organizing your laptop), but in ways that are not so ‘new’ as ‘new media’ would have us believe. Files have been with us for a long time as an organizational logic central to modern bureaucracies and even Roman law. Her book is a fascinating exploration of the actual formats, forms, and formations upon which our informational culture has been premised with its reliance on files.

Interested in taking an NMCC-affiliated course? Classes for spring 2015 are currently posted on the NMCC website. Check them out here!

March 2, 2015

February Prof Picks Feature: Daniel Steinhart

Daniel Steinhart
dsteinha@uoregon.edu

Assistant Professor
-School of Journalism and Communication
-Cinema Studies

As a film historian who is also interested in new media, I find myself torn between the past and the present. Perhaps to reconcile this split, I’m often on the lookout for ways to bring new digital tools to the research of media history. So I wanted to highlight two online resources that offer promising possibilities for this kind of work. The first is the Media History Digital Library, a searchable database of media periodicals. The second is Cinemetrics, an online application that helps measure the editing patterns of moving images. Both resources reflect my teaching and research pursuits: the study of the art and industry of cinema.

My primary research project investigates post-World War II Hollywood productions that were shot around the world. To understand how the film trade press was covering this phenomenon, I spent several months paging through every issue of Daily Variety from 1948 to 1962. The timing of my search turned out to be unlucky. About six months later, Daily Variety made all of its back issues available in a digitized archive, although for a considerable service fee. While the time I spent with the print issues gave me an invaluable sense of the day-to-day development of international production, this searchable database could have saved me many hours and helped me avoid inhaling an unknowable amount of library must.

Media History Digital Library:

An even more exciting development in the digitization of media periodicals can be found in the Media History Digital Library. Because the available publications are in the public domain, the collection is free and favors pre-WWII publishing runs. But the range of journals are wonderfully diverse: technical digests like Journal of the Society of Motion Picture Engineers, broadcasting magazines such as Radio Broadcast, and a handful of global film publications—a particularly exciting addition for anyone doing global media history.

The collection uses a search platform called Lantern, which allows you to explore a subject across the array of publications. I think most useful is that this search mechanism helps researchers not only consider oft-cited journals like the fan magazine Photoplay but also less studied publication such as Movie Makers, the organ of the Amateur Cinema League, which designed some lovely covers. Ultimately, these kinds of digital collections allow new media scholars to track the development of old technologies and see that concepts such as “convergence” and “remediation” have long been with us.

Analyzing Change of Pace in Movies: Cinemetrics:

In the courses I teach, I can show a striking contrast of work. Recently in my Contemporary International Art Cinema class, I screened a slow, meditative Iranian film called The Circle. That same week in my Global Hollywood class, I showed a fast-paced episode of the TV show Game of Thrones. What accounts for the difference in pacing of these two works?

For a several decades now, a group of film historians have been asking a similar question about changes in the pace of movies over time. These researchers aimed to back up our intuitive feel for a film (e.g., fastness vs. slowness) with some quantitative data on editing rates. The old method for determining the frequency of edits (i.e., shot changes) was to manually count the number of shots in a film with a tally clicker and then divide that total into the film’s running time. This was a less than exact method, but it could give you a rough idea of a film’s average shot length (ASL).

CinemetricsTool — Cinemetrics Tool: “Essentially a stopwatch for edits, the tool is available in both online and downloadable versions.”

To generate a more accurate count of editing rates, the online application Cinemetrics allows researchers to calculate ASLs in real time. Essentially a stopwatch for edits, the tool is available in both online and downloadable versions. The program also turns your findings into graphs, which serve as handy visuals for getting a sense of editing patterns.

Determining the ASL of a single film, however, won’t tell you much. The real insights from ASLs come once you begin to assemble a database of films to see how editing can change over the course of a filmmaker’s career, across national cinemas, and throughout decades. Cinemetrics does just this by allowing researchers to publish their findings on the site. The current database includes 14,975 entries. Determining editing patterns certainly isn’t the endpoint of aesthetic analysis, but it can be one piece in building a more precise history of the style of not only film but also TV and new media.

CinemetricsGraph — Graph of Cinemetrics: The Cinemetrics database currently boasts 14,975 entries!

Are you a UO faculty member interested in getting involved with NMCC and/or being our next Prof Picks feature? Please contact us.

February 28, 2015

February Shelfie Feature: Alec Tefertiller

Alec Tefertiller
PhD candidate, Media Studies
School of Journalism and Communication

Discovery of NMCC:

I discovered the New Media and Culture certificate prior to enrolling at UO this past Fall, and I knew I wanted to be a part of it. As a media studies student who is particularly interested in media convergence, I was excited about the opportunity to collaborate with students around campus. One of the things that drew me to Oregon was the wide range of scholarly pursuits available across campus. The New Media and Culture Certificate seemed like a great way to tap into that community.

I am always amazed by the points of intersection I find between my research interests and those of others working in completely different departments. I am a big fan of collaboration, because I feel like we all have something unique to bring to the table. You may have forgotten more about computer programming than I will ever know, but you have no idea how audiences work. I bring audience motivations to the table, and you bring computer programming.

Useful Resource for new media students:
The Digital Scholarship Center:

This past term I have been in the Digital Scholarship class with John Russell in the library’s Digital Scholarship Center, and it’s like my world has expanded to 243% it’s previous size. I’m learning methods and approaches I had no idea existed. I thought I was going to get some useful tools to help me with what I am doing; instead, it’s transforming my approach entirely.

You can learn more about credit course opportunities at the Digital Scholarship center here. The DSC also welcomes proposals for workshops or credit courses that meet the digital scholarship needs of students or faculty. Contact Karen Estlund (kestlund@uoregon.edu) or John Russell (johnruss@uoregon.edu) with ideas.

Wordcloud generated in DSC course showing recent Twitter activity regarding SlingTV, a new streaming cable service.

Recent Research:
Currently, I am interested in streaming media, in particular streaming content providers such as Netflix and Sling. While these services deliver what we would think of as traditional media content, like television shows and films, their delivery stream is very different. It’s really shaking up the industry, as we now have new categories of consumers, such as “cordcutters” and “cordnevers,” along with new concepts, such as “bingewatching” and “connected viewing.” I’m interested in understanding how these new concepts are changing our notion of media attendance.

One thing I’ve learned in my research is that consumers are intentional about distribution window selection when it comes to when they first experience a film. With so many homeviewing options, from Redbox, Vudu, Amazon, and on to Netflix, we don’t go to movies unless they provide particular content that seems to fit the theatrical experience. I want to understand the implications of these shifts in consumer attitudes for content producers, in particular independent artists. The good news is that artists now have a host of lowcost digital tools, crowdfunding, and distribution options they can utilize to create and release their works. I want to understand how these opportunities are manifesting themselves in the real world.

Some good reads:

Useful Resources on New Media and Digital Culture:

Understanding Media Marshall McLuhan

Connected Viewing: Selling, Streaming, & Sharing in the Digital Era Ed. by Jennifer Holt & Kevin Sanson

Beyond the Multiplex: Cinema, New Technologies, and the Home Barbara Klinger

The Wisdom of Crowds James Surowiecki

The Long Tail: Why the Future of Business is Selling Less of More Chris Anderson

The Circle, Dave Eggers

What’s on your shelf? Interested in being the next NMCC Shelfie feature? Contact us!

February 26, 2015

CFP for Special Issue of TCQ: Technical Communication and Video Games

Technical Communication Quarterly Special Issue
Vol 25, Number 3 (Fall 2016)
Games in Technical Communication

Deadline: March 30, 2015

Guest editors: Jennifer deWinter (Worcester Polytechnic Institute) and Stephanie Vie (University of Central Florida)

As Jeffrey David Greene and Laura Palmer (2012) have argued, the “rich history of documentation and enormous growth in gaming” means that “technical communication and game documentation belong together” (pp. 7-8). More broadly, Julia Mason (2013) noted that technical communication and games overlap in the areas of interface design, information management, and systems development (among others). And in the recent edited collection Computer Games and Technical Communication (2014), deWinter and Moeller collect sixteen essays together that examine workplace production, fan production, manuals, testing, and teaching within this intersection. The call for more research is clear. Thus, Technical Communication Quarterly invites contributions for a special issue of Technical Communication Quarterly on video and computer games entitled Video Games in Technical Communication that explore this important intersection, specifically focusing on industry production, technical documents for internal and external use, and player involvement in document use and generation.

Games are both technical and symbolic. The gaming industry pushes technological innovation through complex dialectics amongst large and small game developers, hardware developers, distributors, consumers, hackers, congress people, journalists, ESRB raters, parents, IP lawyers, and many others besides. Further, computer games are symbolically communicative, relying on written, verbal, visual, algorithmic, audio, and kinesthetic information to convey information. Technical communication scholars are uniquely poised to investigate this intersection between the technical and symbolic aspects of the computer game complex.

TCQ seek proposals for manuscripts of 6,000-8,000 words (25-33 double-spaced pages, including references and notes) that attend to the intersection of games and technical communication.

Contributors are encouraged to consider the following possible four areas of interest when composing their proposals (however, other areas are welcome):

Production

● What types of documentation support computer games as technical artifacts?

● How do documentation practices in the computer games industry relate to technical communication as a field?

● Who are the actors in game-based documentation (technical writers, fans, game developers, etc.) and how do they shape the intersection of games and technical communication?

● How might race, gender, age, and sexual orientation play out in the computer game complex as they particularly intersect with documentation?

● How does the increasingly globalized production and circulation of computer games affect documentation practices? How might national markets and globalized markets work in conjunction or against one another complicate the types of communication that occur? What might technical communicators need to do to navigate the dynamic workplaces engendered by these tensions?

Game Culture and Documentation

● What types of manuals and supporting literature exist for games? What are the material and economic conditions within which these are created? Who creates these documents?

● How can games be used to teach procedural approaches to complex activities (in lieu of manuals, for example)?

● How does modding culture affect technical communication in games? How might the field of technical communication analyze and respond to modding?

● How are communities created and maintained in online environments (i.e., fan cultures, fan walkthoughs, communities managers, social game spaces, and so forth)? What types of documentation supports or arises in response to the technical and social exigencies of gaming communities?

User Testing and Play-testing

● What are the similarities and differences between usability testing and playtesting?

● How might experience design, narratives, art games, and the like affect user testing and playtesting? How might the field of technical communication respond to these new demands and what might we learn from them?

● What can technical communication as a field learn from playtesting?

Research Methods & Ethics

● What methodologies can researchers employ at the intersection of games studies and technical communication? How might these methodologies account for the complexities of production, global circulation, and participatory consumption?

● What are the ethical considerations concerning ownership, power, participatory culture, and content that researchers in technical communication should consider in game studies?

In addition to academic articles, we would consider contextualized interviews with a practicing technical communicator in the game industry. If you are interested in pursuing this option, then for your proposal, please include the name, position, and duties of the person that you want to interview along with a rationale that addresses what the TCQ readership would gain from a conversation with your proposed expert-practitioner.

Please send proposals of 500-750 words to Stephanie Vie, and Jennifer deWinter by March 30, 2015. Submissions should include full contact information for all proposed authors; collaboratively authored proposals are welcome. TCQ also welcomes email inquiries from potential contributors and from people who would like to serve as reviewers for this special issue of TCQ. Authors will be invited to submit full drafts of accepted articles by July 15, 2015.

For those interested in contributing book reviews on games and technical communication, please contact the guest editors directly by March 30, 2015 at the email addresses listed above.

February 25, 2015

Exciting New Media Courses, Spring 2015

Registration for spring 2015 courses opened on Monday, February 23. For those of you still searching for an extra class or two to add to your schedule, take a look below at three exciting new media related classes being offered next term.

AAD 421/521 Cultural Programming

CRN# 36192/36193
Time and Days: 10:00 p.m. – 1:50 p.m., Mondays & Wednesday
Room # LA 249
Instructor: John Fenn

Course description: In this course we will explore practice and theory related to arts and cultural programming in the public sector. A primary focus will be the intellectual history of public (or applied) folklore as it intersects with the field of community arts. Readings, guest speakers, and focused discussions will illuminate a range of opportunities available to cultural workers of varied backgrounds: folklorists, museum specialists, community arts managers, arts educators, creative advocates and artists. Exercises in project development (conceptualization, proposal writing, fieldwork plan) will provide opportunities to make initial forays into arts and cultural programming, or even to workshop an idea emerging across your research interests and academic coursework.

Chinese 607: Seminar on Digital Sinology

Monica E McLellan Zikpi Visiting Assistant Professor, Chinese Literature

CRN#: 31422
Time and Days: Thursday, 2:00-3:50
Room#: 110 PAC
Instructor: Monica E. McLellan Zikpi

Course description: This course will engage with studies and projects in Chinese literature, linguistics, or pedagogy. Sources will be in Chinese, English, or both, therefore previous Chinese language experience is required.

Journalism 610: Histories & Theories of New Media

Kim Sheehan, Professor, Honors Program Coordinator School of Journalism and Communication

CRN#: 33261
Time and Days: Tuesdays 2:00-4:50pm
Room #: 307 ALL
Instructor: Kim Sheehan
Sample Syllabus

Course Description: The emergence of new modes of communication and interconnectivity brought about by the digital revolution have radically changed our notions of self, identity and society. This course will introduce students to the history of the new media as well as to the key theoretical issues that have emerged in its wake. We will begin by considering the relationship between technology and communication and by tracing the processes that have led to the creation of a new media order. We will then investigate some crucial topics and issues that have risen in the wake of these developments: information theory , code and law, digital capitalism, network theory, and digital politics. In conclusion, we will examine how the concepts, protocols and practices associated with the new media force us to refigure traditional modes of social and cultural theory.

February 23, 2015

Department of Art Lecture Series- Casey Reas: “Ultraconcentrated: Image, Media, Software”

CASEY REAS:

ULTRACONCENTRATED: IMAGE, MEDIA, SOFTWARE

Thursday, February 26 at 6:00pm
Lawrence Hall, Room 115 1190 Franklin Boulevard, Eugene, OR

Casey Reas is an artist and educator based in Los Angeles. He has exhibited, screened, and performed his work internationally in galleries and museums around the world. Reas is a professor at the University of California, Los Angeles. He holds a master’s degree from the Massachusetts Institute of Technology in Media Arts and Sciences, as well as a bachelors degree from the School of Design, Architecture, Art, and Planning at the University of Cincinnati. With Ben Fry, Reas initiated Processing in 2001, an open source programming language and environment created for visual artists.

Within the visual arts, software is a misunderstood medium. It’s dismissed by some and championed by others, but it remains an enigma to most. Certainly, software is the dominant tool for design and production, but it can be more. Will software emerge as the next prominent art medium in the post-photographic world? What is a software studio? What is unique about working with software in the context of the visual arts? How does an artist learn to write software? Casey Reas has written custom software for over a decade to explore visual systems and emergent form. In this presentation, a hybrid of a screening and a presentation, he will share a selection from twelve years of work to address these questions.

Casey Reas, detail of Control Room (Forward Command Post), 2013, five unique C-prints, 59 x 19 inches

February 22, 2015

Symposium: Media, Democracy & Technology: Possibilities & Challenges

March 6. 9:30 am to 12:30 pm.
Knight Library Browsing Room

About: As some democratic governments, many autocracies, drug and human cartels, and terrorist groups are attacking professional journalists and independent citizen journalists in increasing numbers, this symposium will explore the possibilities and challenges that media and technology present in such environments.

All are welcome to attend this morning symposium to discuss how journalists and citizens may work together in the service of public interest and how technology may help us achieve new ways of reporting events and creating new narratives that push for and strengthen democracy globally.

Symposium organized by Gabriela Martinez: gmartine@uoregon.edu

Speakers:

Danny O’Brien: International Director at the Electronic Frontier Foundation.

Madeleine Bair: Curator of the YouTube Human Rights Channel at Witness.

Gabriela Martinez: Associate Professor in the School of Journalism and Communications and the 2014-15 Wayne Morse Resident Scholar at the University of Oregon.

Endalk Chala: Co-founder of Ethiopia’s Zone-9 Bloggers and PhD student at the School of Journalism and Communication at the University of Oregon.

Tewodroe Workneh: Post-Doctoral Fellow at the School of Journalism and Communication at the University of Oregon.

Sponsors:

University of Oregon, School of Journalism and Communication

Wayne Morse Center for Law and Politics

UO Department of Philosophy

UO Office of International Affairs

February 22, 2015

CFP: The Body’s Transformations The Body Transformations Project

Saturday 1st August – Monday 3rd August 2015
Mansfield College, Oxford, United Kingdom

Call for Presentations:
The Body. Friend, ally yet also betrayer and foe. From the cradle to the grave it is our constant companion on the journey through life. What happens to it, happens to us. What happens within it, happens within us.

It seems we are our bodies and our bodies are ourselves. We grow, evolve and transform as it grows, evolves and transforms. And yet, the symmetry is not exact. It can betray, break, mutate; it can be damaged, amputated and disabled. It can leave us feeling like a prisoner, a hostage a victim. And it can fail, wither, die and dissolve. At the same time, entire industries, philosophies and lifestyles are built on the premise of re-asserting agency and control over the body’s natural processes.

Throughout our lives we have an unavoidable relationship with the ‘stuff’ that is our body. We cannot run away from it. We cannot hide from it. We cannot hope to escape it. This project seeks to explore the long and ever changing relationship we have with our bodies. We seek to discover the influence of social and cultural influences on the body and on us. Additionally, this project also covers examples of taking agency over the body by transforming it into something else, resisting the natural trajectory of decay.

The 4th Global Conference – The Body’s Transformations welcomes participants from all disciplines and fields – theoreticians, skilled professionals, tradespeople, the voluntary sector, practitioners, artists, media, and anyone with interest in this vast field that wishes to explore this dynamic theme from all possible angles.

A variety of presentation formats are welcome:
~ papers, panels, workshops, reports
~ case studies
~ performance pieces; dramatic readings; poetic renditions; short stories; creative writings
~ works of art; works of music; short films

Presentation Topics: Mansfield College is particularly interested in presentations that explore the physicality of existence in terms that include but are not limited to:

-Change, such as growing up, growing old; shape-shifting, reconstructive surgery, transplants, hybridity, death and dying, genetic manipulation, amputations, tattoos, pregnancy, piercings, abilities and disabilities, and growth, mutants (and perhaps even superheroes)
-Bodies and medicine; health, illness and disease; drugs and medicines; pharma research on human and non-human bodies; implants; prosthetics; extending the body and the bodies abilities
-Bodies and sport; training; exercise; fitness; physical contact; extending limits; the context of adapting the body to meet challenges required in specific sports
-Race, sex, and gender, including issues of bio-identity, transgender identity, virginity, desire, pleasure, and asexuality
-Embodiment and disembodiment, including animate and inanimate bodies, avatars, the metaphysical, spirit and the body, liminality, solitude and companionship
-Body horror, including parasites, wounds and injury, infection and contagion, the politics of bio-power, pain, abjection, and violence
-Factors that cause individuals to undertake or resist body transformation
-Relationship between body transformations and cultural norms
-Connection between the body and mental or emotional states
-Ethical questions surrounding body transformations
-Experiences of body transformation
-Religious and spiritual influences on body transformations
-Cross-cultural perspectives on body transformation
-Body transformation and spiritualism
-Body transformation and the law
-Economics/business of body transformation

What to Send:
300 word abstracts should be submitted by Friday 1st May 2015. If an abstract is accepted for the conference, a full draft paper should be submitted by Friday 19th June 2015. Abstracts should be submitted simultaneously to both Organising Chairs; abstracts may be in Word or RTF formats with the following information and in this order:

a) author(s)
b) affiliation as you would like it to appear in programme
c) email address
d) title of proposal
e) body of proposal
f) up to 10 keywords.

E-mails should be entitled: BT4 Abstract Submission.

**Please use plain text (Times Roman 12) and abstain from using footnotes and any special formatting, characters or emphasis (such as bold, italics or underline).
Organising Chairs:
Nadine Farghaly: Nadine.Farghaly@gmx.net
Rob Fisher: bt4@inter-disciplinary.net

For further details of the conference, please visit:
http://www.inter-disciplinary.net/at-the-interface/evil/body-horror/call-for-presentations/

February 21, 2015

The Kimchi Poetry Project

Margaret Rhee is a new media artist and poet interested in extending poetry as a visual, technological, and tangible form. In her current project “The Kimchi Poetry Project,” Margaret explores the intersection between poetry, food, and technology. In this project she strives to create a poetry that is “free.”

Questions that inspire Kimchi Poetry Project:
1.How can poetry be participatory, feminist, and delicious?
2.What is the intersection of food, poetry, and technology?

Margaret will be sending out a call for paper’s sometime in March, so more details to come soon! Until then, please check out The Kimchi Poetry Project website for more information. You can also email Margaret at thekimchipoetryproject@gmail.com.

Tweet your kimchi poems to @kimchipomachine

Margaret is currently the Institute of American Cultures Visiting Researcher in Asian American Studies at the University of California, Los Angeles. In 2014, she received her Ph.D. from the University of California, Berkeley in ethnic and new media studies, and has a B.A. from the University of Southern California in English and creative writing (2005).

February 21, 2015

Emerging Media and Communication at UT Dallas is hiring

The EMAC program at UT Dallas is growing again. They’ve just posted a position for one or more tenure track or tenured hires in the program in Emerging Media and Communication at UT Dallas.

This expanding program emphasizes the interdisciplinary study of digital media, networks, and technologies and their social, political, cultural, and ethical implications. EMAC prepares students for innovative thinking, practice, and leadership in changing media environments. The program offers B.A. and M.A. degrees, and EMAC faculty advise doctoral students in the Arts and Technology and Arts and Humanities Ph.D. programs. EMAC is housed in the new Edith O’Donnell Arts and Technology Building.

EMAC is founded on a multi-dimensional approach to problem solving and critical thought. Faculty conduct research in a variety of disciplines, broadly clustered into three methodologies: humanistic, creative practice, and social scientific. In addition to interdisciplinarity within the program, EMAC faculty collaborate in working groups and sponsored projects with colleagues from Arts and Humanities; Economic, Political, and Policy Sciences; Brain and Behavioral Sciences; and Engineering and Computer Sciences. These collaborations stem from the university’s commitment to fostering innovative responses to evolving media ecologies.

Last year EMAC added four new tenure track faculty members to the program in Emerging Media and Communication: one humanistic scholar and three social scientists. This year they seek to hire another humanities scholar and two creative scholar-practitioners.

To check out all the current job opportunities at UTD, click the link below for more details:
http://provost.utdallas.edu/facultyjobs/pad150213

Habitual New Media (COLT 607)

Some good reads:

CASEY REAS:

ULTRACONCENTRATED: IMAGE, MEDIA, SOFTWARE

Thursday, February 26 at 6:00pm Lawrence Hall, Room 115 1190 Franklin Boulevard, Eugene, OR

Thursday, February 26 at 6:00pm
Lawrence Hall, Room 115 1190 Franklin Boulevard, Eugene, OR