I’m often asked by students for samples of writing that align with what’s required for assessment tasks. This semester is no different, so I actually spent some time digging through old courses and studios I’ve run, finding a few good examples that I can share with the students.
Very often my feedback on student reflections tends towards hoping they’ll integrate or synthesise research, ideas, and thoughts on their making. I usually find myself saying ‘take a position and argue it’, by which I mean that reflective writing — at least in an academic context — shouldn’t be about a summary of everything achieved, every decision made. Rather, choose a single point — be it a creative choice, or a quote from a journal article, or something watched — and then unpack that single point to make connections to other researchers and scholars, other makers, other reflections/insights the student generated in the class.
This is difficult to achieve, even for seasoned researchers. Add to this that the accepted conventions of academic writing — the vast majority of it in many fields — are so restrictive in terms of expression as to be incomprehensible. This means that students become terrified of approaching any academic writing. It’s seen as boring, or dense, or difficult. This greatly stifles their curiosity, or their interest in finding the connections I try to encourage.
If only, I hear them say or imply, academic writing was easier to engage with. Which reminds me that there are some truly wonderful, writerly, scholars out there. You just have to look. This is far from an exhaustive bibliography, but here are a handful of scholars that I read for the joy of experiencing good writing as much as for research.
Miles, Adrian, Bruno Lessard, Hannah Brasier, and Franziska Weidle. 2018. “From Critical Distance to Critical Intimacy: Interactive Documentary and Relational Media.” In Critical Distance in Documentary Media, edited by Gerda Cammaer, Blake Fitzpatrick, and Bruno Lessard, 301–19. Cham: Springer International Publishing.
Murray, Janet Horowitz. 2017. Hamlet on the Holodeck: The Future of Narrative in Cyberspace. Updated edition. Cambridge, Massachusetts: The MIT Press.
After ‘abandoning’ the blog part of this site in early 2022, I embarked on a foolish newsletter endeavour called Shift Lock. It was fun and/or sustainable for a handful of posts, but then life got in the way. Over the next little while I’ll re-post those ruminations here for posterity.Errors and omissions my own. This instalment was published May 5, 2022(see all Shift Lock posts here).
Twitter was already a corporate entity, and had been struggling with how to market and position itself anyway. Not to mention, its free speech woes — irrevocably tied to those of its competitors — are not surprising. If anything, Mr. Musk was something of a golden ticket: someone to hand everything over to.
The influx/exodus cycle started before the news was official… Muskovites joined/returned to Twitter in droves, opponents found scrolls bearing ancient Mastodon tutorials and set up their own mini-networks (let’s leave that irony steaming in the corner for now).
None of this is new: businesses are bought and sold all the time, the right to free speech is never unconditional (and nor should it be), and the general populace move and shift and migrate betwixt different services, platforms, apps, and spaces all the time.
What seems new, or at least different, about these latter media trends, issues, events, is the sheer volume of coverage they receive. What tends to happen with news from media industries (be they creative, social, or otherwise) is wall-to-wall coverage for a given week or two, before things peter out and we move on to the next block. It seems that online culture operates at two speeds: an instantaneous, rolling, roiling stream of chaos; and a broader, slightly slower rise and fall, where you can actually see trends come and go across a given time period. Taking the Oscars slap as an example: maybe that rise and fall lasts a week. Sometimes it might last two to four, as in the case of Musk and Twitter.
How, then, do we consider or position these two speeds in broader ‘culture’?
Like all of the aforementioned, Trump was not a new phenomenon. Populism was a tried and tested political strategy in 2015-16; just, admittedly, a strategy that many of us hoped had faded into obsolescence. However, true to the 20-30 year cycle of such things, Trump emerged. And while his wings were — mostly — clipped by the checks and balances of the over-complex American political system, the real legacy of his reign is our current post-truth moment. And that legacy is exemplified by a classic communications strategy: jamming. Jam the airwaves for a week, so everyone is talking about only one thing. Distract everyone from deeper issues that need work.
This jamming doesn’t necessary come from politicians, from strategists, from agencies, as it may once have done. Rather, it comes from a conversational consensus emerging from platforms — and this consensus is most likely algorithmically-driven. That’s the real concern. And as much as Musk may want to open up the doors and release the code, it’s really not that straightforward.
The algorithms behind social media platforms are complex — more than that, they are nested, like a kind of digital Rube Goldberg machine. People working on one section of the code are not aware nor comprehending of what other teams might be working on, beyond any do-not-disturb-type directives from on high. As scholar Nick Seaver says in a recent Washington Post piece, “The people inside Twitter want to understand how their algorithm works, too.” (Albergotti 2022)
Algorithms — at least those employed by companies like Twitter — are built to stoke the fires of engagement. And there ain’t no gasoline like reactions, like outrage, like whatever the ‘big thing’ is for that particular week. These wildfires also intersect with the broader culture in ways that it takes longer-form criticism (I would say academic scholarship, but we often miss the mark, or more accurately, due to glacial peer review turnarounds, the boat) to meaningfully engage and understand.
Thanks partly to COVID but also to general mental health stuff, I’ve been on a weird journey with social media (and news, to be fair) over the past 3-5 years. Occasional sabbaticals have certainly helped, but increasingly I’m just not checking it. This year I’ve found more and more writers and commentators whose long-form work I appreciate as a way of keeping across things, but also just for slightly more measured takes. Tepid takes. Not like a spa but more like a heated pool. This is partly why I started this newsletter-based journey, just to let myself think things through in a way that didn’t need to be posted immediately, but nor did I need to wait months/years for peer review. Somewhere beyond even the second trend-based speed I mentioned above.
What it really lets me do, though, is disengage from the constant flow of algorithmically-driven media, opinion, reaction, and so on, in a way where I can still do that thinking in a relevant and appropriate way. What I’m hoping is that this kind of distance lets me turn around and observe that flow in new and interesting ways.
Below the divider
At the end of each post I link a few sites, posts, articles, videos that have piqued my interest of late. Some are connected to my research, some to teaching and other parts of academia, still others are… significantly less so (let’s keep some fun going, shall we?).
After ‘abandoning’ the blog part of this site in early 2022, I embarked on a foolish newsletter endeavour called Shift Lock. It was fun and/or sustainable for a handful of posts, but then life got in the way. Over the next little while I’ll re-post those ruminations here for posterity.Errors and omissions my own.This instalment was published April 1, 2022(see all Shift Lock posts here).
To take a uniquely Web 2.0 perspective, one might say that ‘there is no longer such thing as a passive audience.’ It is undoubtedly true that new tools, technologies, and modes of communication have made it relatively straightforward to communicate one-to-one or among one’s networks. The result is a kind of town square both ad infinitum and nauseum, where memes and weekend warriors abound, a post-truth, “postpolitical cornucopia” where we all “fish, film, fuck, frolic, and fund from morning to midnight” (Miller 2009) In the social media age (Miller’s polite rage at user-generated content seems delightfully quaint now, in a ‘oooh, the teacher said fuck!’ kind of way), it can feel like we’re drowning in immediate reaction, and reactive opinion. In the immediate aftermath of the Will Smith slap incident at the 2022 Oscars, Ryan Broderick called it “viral pre-exhaustion”, the dread that the latest trending issue or moment will saturate feeds and streams and columns for days to come.
I used to even watch award shows or televised live events hoping for this kind of thing to happen. But now, the very thought of having the same “have you seen X meme or Y take” conversation, which now happens both online and off, feels completely draining. (Broderick 2022)
Saturation and a feeling of existential dread linked to said saturation is not a product of COVID, but the pandemi-moore certainly hasn’t helped. The distance between home and work, or study, or restaurants or, you know, outside, and the resultant necessary movement, meant that there was at least some forced breaks between the mindless absorption of hot takes. While stuck at home, that boundary, between brain and reactive opinion, between independent, critical thought and the feed, broke down as easily as that between work and life.
If global internet usage increased by a whopping 40% as a result of the pandemic (Sandvine Inc. 2020) some of that at least has to be users who specifically joined some kind of social network to rage about X or Y pandemic trending topic. Or perhaps they were already raging, and the panini simply allowed them more time and justification and reasons to do so.
It’s easy to look back and say times were simpler. Some have built careers out of it. And, sure, some of the diagrams we had when I first studied audiences were lovely.1
Karl Bühler’s Organon Model of human communication, 1934.
There has always, however, been a private and public sphere. It’s been a long time since I read my Habermas, but the notion of the latter sphere solidified around some kind of arena where debates could be had, grievances aired, authority ridiculed, speech could be free. The concept, at least according to Habermas, emerged after the Renaissance, with the opening up of global trade passages and an increased interest in ideas, creativity, and independent thought.6 What fascinated me most as a rookie media scholar was that I was seeing these 40+ year old ideas playing out live in — get ready for a flashback — the blogosphere. This was the pre-social media height of public and independent discourse, where anyone could publish whatever they wanted to their Livejournal, Blogger or WordPress, and the comments section was where the real conversation kicked off — believe it or not, they used to be rather civil.
Habermas was also partly responsible for my hybrid interests of media and film, in part because he suggested that it was in media that much of these deliberations, debates, grievances, could be encoded. While I read this, of course I was blogging about films, TV shows, and chatting about them in my uni classes: my own little filter sphere, of course, but a neat micro-example of Habermas’ thinking.
Over a decade later, and looking back over the evolution3 of internet technology and screen-based cultures, the public sphere seems at first glance to have evolved into a chaotic mess of bad takes and half-baked thinkpieces. The usual culprits cajole and dominate their target demographics, and the filter bubbles seem to close around everyone to an isolation-fuelled zenith. Social media is fragmenting into similar bubbles — e.g. monolithic Facebook/Twitter into Parler, Telegram, etc. — with little interest in public-facing discourse, and more in a kind of gated echo chamber where fringe ideas aren’t actively encouraged, but they certainly aren’t grounds for expulsion.
The mechanics of Web 2.0 still exist as we shift to web3, web2S 3D, or whatever comes next. It’s still very straightforward to set up some kind of public site for oneself and spout whatever nonsense you like (welcome to Shift Lock). But the unfortunate combination of the web of commerce/apps and the post-truth era means a siloing off: a splicing of the spheres.
So where, what, who is ‘the audience’? Is it still possible to think of a ‘public’ as a homogenous entity in the era of the platform? Ida Willig tracks this shift within media agencies, and the move from scatter-shot TV and print campaigns to tracked and targeted exposures based on behaviours. As they write:
When the media agency executive … speaks about ‘behaviour’, it is of course not our offline life he is referring to, nor is it any person in the sense of an identifiable human being, but the activity of a given IP address. This is a fundamental shift in how media agencies think about and work with consumers, and not least a fundamental shift in the knowledge that lies behind the construction of different target groups. (Willig 2022)
Despite the best efforts of corporations over the last century to assure us that ‘we’re not a number’, turns out we are after all. It makes things so much easier. In the past, salespeople would spin out an ad with no concrete idea of number of exposures or conversions to sale. Willig uses the example of a car:
With digital media, media agencies can sell ad space directed at people who are in the market for a car, or even a car of that specific brand, and track their exact online behaviour from interest to final buy. (Willig 2022)
For academics, particularly of the humanities stripe like myself, this is tricky. We’ve done our best to shun spectatorship, and the figure of the singular ‘audience’ is pretty much totally poo-pooed now in cinema studies (that took some work). But even if we shift the conversation in textual analysis to potential interpretations, we’re still treating the audience as a known unknown, or worse still, simply hiding ourselves and our own interpretations.
The subject of surveillance capitalism is treated as an individual with its own desires, needs, modes of engagement and routines. This sounds like progress until you remember that this system only cares about individuation so long as it makes you buy stuff.
For media-makers, this is a problem, too — the majority are interested in getting as many people to watch, read, listen to, play, or engage with their creation as possible. Individuated, niche segments, tiny custom campaigns direct a handful of IP addresses in predictable ways. In creating a perfect system for advertising, we have destroyed many concepts, spaces, that could be viewed as a public sphere in the Habermasian sense. Perhaps there never was a monolithic mass media audience in this way, but it was helpful to have that in mind when thinking through how media works.
So where does the public conversation play out? Instagram stories? TikTok? Whatever is trending on Twitter? Films and TV? Sure, in part. The public sphere is not just one thing, and that’s the point. It’s probably best to think of it in terms of the notion of media landscape discussed previously: a web or mesh of technologies, platforms, tools, companies and individuals, sending, receiving, storing. Add to that mesh several little silos or bubbles that have minimal connection to others, and some bubbles that encompass enormous sweeps of three-dimensional space. Conceivably, we can map The Conversation4 according to the number and frequency of connections between nodes in the mesh, drawing out themes and big issues accordingly.
This is what algorithms are built to do: they map the mesh and find the best routes to take. What they carry along those routes might be commerce-driven or content-driven, but the goal is still to get it in front of a node (person, feed, platform, screen) who’ll use it. Algorithms are the new media agencies; the more things change, etc etc.
Below the divider
At the end of each post I’ll try to link a few sites, posts, articles, videos that have piqued my interest of late. Some will be connected to my research, some to teaching and other parts of academia, still others will be… significantly less so (let’s keep some fun going, shall we?).
‘Night Shifts’, by Michael W. Clune, at Harper’s Magazine.
Miller, Toby. “Media Studies 3.0.” Television & New Media, vol. 10, no. 1, SAGE Publications, 2009, 5–6, 6.
Habermas, Jürgen. The Structural Transformation of the Public Sphere: An Inquiry into a Category of Bourgeois Society. Great Brit: Polity Press, 1989, 17-18.
Sandvine Inc., Global Internet Phenomena Report: COVID-19 Spotlight, May 2020, Waterloo, Canada, 5.
Willig, Ida. “From Audiences to Data Points: The Role of Media Agencies in the Platformization of the News Media Industry.” Media, Culture & Society 44, no. 1 (January 2022): 56–71, 63-4.
Notes
1 illustration from Lanigan, Richard L. 2013 ‘Information theories’ in Paul Cobley and Peter J. Schulz (eds.),Theories and Models of Communication, Berlin: De Gruyter, Inc., pp. 59-83, p. 65.
2 I knew I was lost to media theory/academia when I actually found his Structural Transformation (see Habermas 1989) interesting as a second-year.
3 Yes, despite overwhelming evidence to the contrary, I still believe the internet is an evolution, thanks in part to Hank Green.
4 As in The Conversation™ aka The Discourse, not to be confused with the academically-inflected publication of the same name.
After ‘abandoning’ the blog part of this site in early 2022, I embarked on a foolish newsletter endeavour called Shift Lock. It was fun and/or sustainable for a handful of posts, but then life got in the way. Over the next little while I’ll re-post those ruminations here for posterity.Errors and omissions my own.This instalment was published March 18, 2022(see all Shift Lock posts here).
Sometimes it’s good to go back to first principles.
A course I’m teaching this semester has a number of non-media students as part of its cohort. As a result, I found myself having to establish a number of core ideas from media studies that I hadn’t really thought about for quite some years.
We talk a lot in our typically siloed university about ‘disciplinary knowledge’, the sort of thing that is often taken for granted that teachers or students of a particular area will possess.
I was thinking about how to start this little project; what best to wax lyrical about as a way in to some of the deeper theoretical/philosophical questions that might lie underneath whatever it may turn out to be. This idea of disciplinary knowledge let me to think that horrible existential question: do I have any? What have I retained? What are some of the buzzwords that I use all the time without really questioning or thinking too hard about them?
One such phrase is media landscape. Given that it’s what I tell everyone I’m interested in, I should know what I mean by it, right? Or at least, have some take on it specific to my work?
Landscape evokes mental imagery of distant horizons, hazy hills, some broken-down ruin in the foreground. Invisible brushstrokes; fantasy rendered real. When I think media landscape, the first flash is of a wireframe model; something from Tron or Lawnmower Man.
Leaving questions of real/virtual and metaverses to one side for now, though (soon, don’t worry), a wire meshwork is actually closest to how I think about the media landscape. It is an effective model, given that media — broadly defined, at least for me — is a set of relations between texts, artefacts, messages, products; platforms, forms (genres?) and formats; producers, creators; tools and technicians; institutions; and audiences (semi-colonic separation very intentional, if only to bracket out potential future articles/chapters/Shift Lock posts).
Leaning into this metaphor, then, the meshwork, the lines, the connections, would represent relationships, behaviours, transmissions, shared characteristics between all of these elements.
In attempting to understand how meaning is formed in non-human minds, Tim Ingold examines James Gibson’s ecological, affordance-based, approach to perception, alongside the work of Jakob von Uexküll, who sits arbitrarily opposite Gibson. I shan’t go into affordance, Umwelt, and so on here, suffice to say that Gibson argues that properties of tools/resources — such as a stone in Ingold’s example — are available to be “taken up”, where von Uexküll offers that “they are qualities that are bestowed upon the stone by the need of the creature in question and in the very act of attending to it.”1 This singular vision of an organism to its resource means that no other possible use or perspective is possible to that organism; it is trapped in its own Umwelt, “its own particular ‘bubble’ of reality.”2
Such a uni-directional model (organism > object) would render all objects “neutral” in von Uexküll’s view. To this, Ingold rebuts:
No animal, however, or at least no non-human animal, is in a position to observe the environment from such a standpoint of neutrality. To live, it must already be immersed in its surroundings and committed to the relationships this entails. And in these relationships, the neutrality of objects is inevitably compromised.3
You may well be thinking, “Well, this is certainly a tangent.” Consider the media landscape, though, as an environment in Ingold’s sense. In many ways, we are caught up in our own little Umwelts, our little cycles of use (or self-abuse), our routines of creation or consumption. These bubbles (theory throwback, anyone?) establish relations and modes of behaviour between humans and the tools (services, platforms, apps, sites, companies…) we engage. They are as porous as we need them to be; some are siloed, others open and truly enmeshed.
So when I close my eyes and think ‘media landscape’, I think some combination of procedurally-generated wireframe world, and also The Internet map, a ‘photo’ that data scientist Ruslan Enikeev took of the internet at the end of 2011. Part of this current project is to map — conceptually, not empirically — this landscape, updating it somewhat to consider innovations in (and impacts of) algorithms, new creative technologies, and recent research in fields like psychology, social science, and ethnography.
Another part, though, is to head back to those first principles: to audience, institution, to text… and to re-evaluate these in light of the foregoing. Anyway, if that sounds like a fun time, hang about!
Below the Divider
At the end of each post I’ll try to link a few sites, posts, articles, videos that have piqued my interest of late. Some will be connected to my research, some to teaching and other parts of academia, still others will be… significantly less so (let’s keep some fun going, shall we?).
Ingold, Tim, ‘Point, Line, Counterpoint: From Environment to Fluid Space’, in Tim Ingold, Being Alive: Essays on Movement, Knowledge and Description, London: Routledge, pp. 76-88, p. 79.
A long-gestating piece of research has just been published in the Global Media Journal — Australian Edition. This piece emerged from a day of field-work conducted with the Posthumanities Reading Group from RMIT, under the stewardship of the late and much-missed Adrian Miles. The day was held in February 2017 at Pound Bend on the Yarra River, about 45 minutes north-east of the Melbourne CBD. Almost exactly a year later, on 5 February 2018, Adrian passed away while riding his beloved bike in the bush near Kinglake.
This piece is dedicated to Adrian, and his short but enormous influence on my thinking and approach to academic life.
How does it feel to make media? What goes through the filmmaker’s head right at the moment they hit ‘record’? What are the processes – mechanical, digital, physical, psychological – that occur before, during, and after the recording of sound or vision? Building on the recent embodied turn in screen production research and taking inspiration from core ideas of the new materialists, this experimental piece unfolds in two parts.
Part one takes the form of stream of consciousness writing in retort to quotes or ideas from new materialist thinkers like Andrew Pickering and Kathleen Stewart, and a reflection on one’s own media practice. The result of this is two recipes for a kind of embodied making, which were then put into practice with two pieces of media, The Yarra & I and Pieces of Pound Bend. An extended second part connects reflections on this practice to writing on cinema and time, primarily Gilles Deleuze and Jean Epstein.
This work examines where the maker fits in the nebula of media texts, tools, and technologies. What is the point of making media or – perhaps more aptly – when?
Here’s the reading list I put together to remember Adrian, and my colleague Adrian Danks’ touching tribute.
I realise that with this post I run the risk of coming off as Steve Buscemi with the skateboard. But — despite my being a reasonably tech-savvy person, even I struggled to really wrap my head around NFTs until I managed to scan, verify, and confirm my way through several phone and browser-based transactions. I’m still not sure I really get it, but here’s how it went down, for the Nifty-curious.
Note that this post is not about the IP, industrial, ethical, and environmental implications of NFT and blockchain technology, though I am working on a piece that takes all of these issues and more into account.
My current writing project is around blockchain and the entertainment industries, and mostly involves sorting hype from legitimate ideas. This is one of the first not-super-conceptual academic pieces I’ve written, so it’s interesting to sort through a whole bunch of reportage, blogs, videos, and just get a sense of what the current atmosphere around something is.
In this case, that ‘something’ is blockchain, crypto, NFTs, and how, in the wake of That Sale, everyone wants one, is selling one, or is just trying to understand one.
In much of my work — particularly around cinema — the films I’m writing about, or the technology of film itself, has been around long enough for a wide variety of opinions and theories to have circulated and settled. In this case, with web3, it does occasionally feel like it’s happening live.
If you try to get above the arguments, rage, and gatekeeping (I see you, unnamed social media platform rhyming completely unironically with ‘bitter’), the kinds of questions being asked are legitimately interesting and important. And those contributing to the discussion are a unique mixture of techs/programmers/engineers, artists, philosophers, and media pundits.
Soon, a favourable peer review pending, I guess I’ll be one of them.
The digital (PDF/EPUB) version of my new book Material Media-Making in the Digital Age is available now! Head to the Intellect site to purchase (or tell your institution’s library to do so!).
Exciting!
The cover of Material Media-Making in the Digital Age.
From the blurb:
“How might one craft a personal media-making practice that is thoughtful and considerate of the tools and materials at one’s disposal? This is the core question of this original new book. Exploring a number of media-making tools and processes like drones and vlogging, as well as thinking through time, editing, sound, and the stream, Binns looks out over the current media landscape in order to understand his own media practice.”
It’s been over a year since I worked on the weekend. Since some pretty severe burnout I’ve had to make sure that weekends and most weeknights are kept free, though sometimes the latter is unavoidable.
But this weekend, between a full and crazy week last week, and an equally insane three days from tomorrow (Monday), I literally ran out of time to get everything done.
I would now never advocate for weekend work, but occasionally – very occasionally – the grind can have its satisfactions. Particularly if it’s a typically grey and awful Melbourne day outside.
The task I ran out of time to complete was a paper I’m delivering at a symposium tomorrow. To be fair, I think I’d be forgiven for running out of time, given I organised the symposium, but I really did want something semi-decent to present.
I’ve basically kicked off conference season myself; after this talk, I have another 2-3 to prepare for late November/early December. But I think I’m being strategic here: with 4ish papers done, I can then work to convert one or two into full articles/chapters next year.
I am thrilled to announce that I’ve been invited to present at the inaugural Inhuman Screens conference, convened in conjunction with Sydney Underground Film Festival.
I’ll be presenting my research on drones and cinematography. This work considers the embodied experience of flying a drone, and some of the philosophical/existential questions that experience raises, as well as how drone shots might be brought into the language of film distinctly from other aerial footage.
All speakers, keynotes and primary stream, comprise many of my film theory faves, so I look forward mostly to getting my presentation over and done with, and simply basking in the awesome to follow.
Daniel Binns 