Aram Sinnreich

MediaCon Panel with Trevor Pinch & DJ Spooky (audio)

This weekend, I was fortunate to host a keynote discussion between media theorist (and Moog afficionado) Trevor Pinch and DJ/author Paul D. Miller, a/k/a DJ Spooky. It was part of an excellent conference called "Extending Play" organized by the doctoral students at Rutgers SC&I. 

Our panel was a lot of fun -- a freewheeling discussion that ranged from music and tech geekery to broad social theory. You can listen to the audio transcript here:

ExtendingPlay_Keynote_Sinnreich_Pinch_Miller

 

 

Aram's Keynote on Remix Ethics at DMY Berlin [video + slides]

A few days ago, I gave a keynote speech at DMY Berlin's Copy/Culture Symposium. The subject was the ethics of configurable culture, and the ways in which our cultural norms and expectations are increasingly more complex than -- and in conflict with -- our intellectual property laws.

Although the presentation drew on themes I've discussed in previously published work and presentations, it featured brand new qualitative and quantitative data from a survey I recently fielded with Mark Latonero and Marissa Gluck. My audience was largely design professionals, so I tried to keep the academic jargon to a minimum.

Here's a link to the video:

(Unfortunately, the engineer screwed up and for a few minutes, this video relies on the room microphone instead of my direct mic).

If you'd like to follow along at home, here's a link to my PowerPoint presentation:

New draft syllabus for "Visions & Revisions of Cyberspace"

I taught this course as a Masters-level class at NYU a year ago, and the syllabus worked very nicely. Now, my challenge has been to improve, update and upgrade it for my Ph.D. students at Rutgers. I think it's pretty good, but please weigh in and let me know how I can make it better (especially you, former students of mine!) (UPDATED 8/29)

9/1: Introduction

 

9/8: No Class Today

 

9/15: The Memex and the Mushroom Cloud

 

• Bush, V. (1945). As we may think. The Atlantic.
• Borges, J. L. (1941). The library of Babel.
• Rifkin, J. (1995). A view of the future. Utne Reader.
• Slouka, M. (1996). Reality is death. (from War of the Worlds)

 

OPTIONAL:

 

• Leiner, et al (2000). A Brief History of the Internet.

 

9/22: The Metaverse

 

• Nelson, T. (1974). Computer lib/dream machines. [excerpt]
• Baudrillard, J. (1988). Simulacra and Simulations [excerpt]
• Chesher, C. (1994). Colonizing Virtual Reality.
• Dibbell, J. (2008). Mutilated Furries, Flying Phalluses: Put the Blame on Griefers, the Sociopaths of the Virtual World
• Pendragon, H. (2008) Griefers: Why Dibbell’s Wired Article Was 1-Sided.

 

OR

 

• Neil Stephenson, Snow Crash (Bantam, 1992)

 

9/29: Rules and Regulation

 

• Internet Society, DNS Root Name Servers Explained for Non-Experts
• Mueller, M. (2002). Dancing the Quango: ICANN as International Regulatory Regime.
• Wu, Tim (2006). Network Neutrality: Competition, Innovation, and Nondiscriminatory Access
• Sinnreich & Zager (2008). E-Speech: The (Uncertain) Future of Free Expression
• Hinze, G. (2010). Preliminary Analysis of the Officially Released ACTA Text

 

OR

 

• Lawrence Lessig, Code v2 (Basic Books, 2006)

 

10/6: Free Love, Free Speech, Free Software

 

• Stallman, R. (1985). GNU manifesto
• Barlow, J. P. (1996). A Declaration of the Independence of Cyberspace.
• Markoff, J. (1995). A Most Wanted Cyberthief is caught in his own web.
• Turner, F. (2005). Where the Counterculture Met the New Economy.
• Christopher Kelty (2005). Geeks, Social Imaginaries, and Recursive Publics

 

OR

 

• Doug Thomas, Hacker Culture (U. Minn Press, 2002)
  
  

OPTIONAL

 

• 2600, Interview with Kevin Mitnick (video)

 

10/13: dot-com Fantasies

 

FOUR OF THE FOLLOWING:

 

• Dyson, E. (1995). Intellectual value. Wired.
• Meeker, M. (1995). The Internet Report. Morgan Stanley. [Read part 1. The rest is skimmable].
• Sinnreich, A. (2001). Remixing the Distribution Chain for Digital Music. Jupiter Research.
• CNET, Top 10 dot-com flops
• Anderson, C. (2004). The Long Tail. Wired.
• O’Reilly, T. (2005). What is Web 2.0?
• Schiff, S. (2006). Know it all. The New Yorker.
• boyd, d. (2007). Viewing American class divisions through Facebook and MySpace.

 

OR

 

• Nicholas Negroponte, Being Digital (Vintage Books, 1996)

 

10/20: Our Second Selves: Video Games and Identity

GUEST: Joost van Dreunen

 

FOUR OF THE FOLLOWING:

 

• Bogost, I. (2006). Playing politics: Videogames for Politics, Activism and Advocacy. First Monday. Special Issue number 7. (10 pages)
• Ito, et al (2008). Living and Learning with New Media (pp. 18-39)
• Brathwaite, B. (2007). Sex in video games. Charles River Media. Chapter 4, pp. 89-122.
• Parisi, D. (2007). Playing the Interface: Video Games as Bodily Techniques [Unpublished paper]. (19 pages)
• Jenkins, H. (2006). Convergence Culture. (Chapter 3)
• Costikyan, G. (2007) Super Columbine Massacre: Artwork or Menace?

 

OR

 

• Dibbell, J. Play Money. (Basic Books, 2006)

 

 

10/27: Configurable Culture

 

·      Sinnreich, A. Mashed Up: Music, Technology and the Rise of Configurable Culture (U. Mass Press, 2010)

 

11/3: The Cloud

 

·      Downes, S. The Cloud and Collaboration

·      Zittrain, J. Lost in the Cloud

·      Golden, B. Clueless on the Charles: How Zittrain’s Cloud Missive Got it Wrong

·      Doctorow, C. Not Every Cloud Has A Silver Lining

OPTIONAL:

 

·      Google Blog, Introducing the Chrome OS

·      Chappell, Windows Azure Whitepaper

 

11/10: Surveillance, Sensors and Semantics

 

• Brin, D. (1998). The transparent society.
• Berners-Lee, et al. (2001). The Semantic Web.
• Dodson, S. (2008). The Net Shapes Up to Get Physical.
• Bossewitch & Sinnreich (2009). Beyond the Panopticon: Strategic Agency in an Age of Limitless Information
• EFF, Surveillance Self-Defense Project

 

11/17: Adventures in MeatSpace

GUEST: Laura Forlano

 

·      Doctorow, C. (2004) Anda’s Game

·      NY Times (2004). Quick, After Him, Pacman Went Thataway

·      Laura Forlano (2010). WiFi Geographies: When Code Meets Place

·      Area/Code, Big Games Manifesto (1 page)

·      Patti Maes, The Sixth Sense (Video)

 

11/22 (Monday of Thanksgiving Week): Field Trip

 

·      Readings and destination TBD

·      Exact date/time TBD

 

12/1: Singularity and Fracture

 

• Vinge, V. (1993). What is the Singularity?
• Kurzweil, R. (2010). Q&A on The Singularity (pdf)
• Lanier, J. (2010). You Are Not A Gadget. [Chapters 2-3]
• Baym, N. (2010). Personal Connections in the Digital Age [Conclusion: “The Myth of Cyberspace”]

 

OPTIONAL:

 

• Vance, A. (2010). Merely Human? That’s So Yesterday

Awesome new video game magazine needs your seed capital

My friend Jamin just sent me this: a very cool-looking new magazine project called "Kill Screen," dedicated to video game culture and commentary. Along with Jamin, who covers games for the Wall St. Journal, other contributors include writers for The New Yorker, GQ, the Daily Show, Christian Science Monitor, LA Times, the Colbert Report, the Onion, and Paste.

They're aiming for $3,500 in startup capital and are about halfway there. Your pledge can help push things over the line.

All the world's a board game, and all the men and women merely tin shoes...

Well, it's finally happened. Hasbro and Google have teamed up to launch Monopoly City Streets, an online riff on the capitalist world's favorite board game, using Google Maps as the platform.

Although I think this is a great mash-up, I'm a little disappointed because, from the little the blog and site reveal (official launch is tomorrow), this appears to be more like an MMO, and less like a big game. In other words, it seems to be using computers to bring the real world into the confines of the screen, rather than bringing the datasphere out into the world we inhabit physically.

One of the spiels I find myself giving often of late is about how the moment of the metaverse has passed, and the adventures in meatspace are just beginning. With mobile smartphones, connected cameras, and emerging solutions like MIT's 6th Sense, there's no reason a game like this should be confined by the keyboard and monitor; we should be able to "buy" streets and buildings, and to pay and collect rent, by traversing actual cities as well as virtual ones.

Of course, there very well may come a day when processing becomes so ubiquitous and latency-free that there's no perceptible difference between bringing physical experience into the computer and bringing data into the physical world. But until then, I'd like to be out and about, footloose and fancy free, rather than chained to a glowing square and a brick of keys.

Visions and Revisions of Cyberspace, revised

I'm almost done with the syllabus I blogged a few weeks back. But I still need some help from all you smart folks out there. Please take a look, and let me know what I'm missing. Feel free to borrow, as well. Remember, this is for Masters students in Media, Culture and Communication.

UPDATE: Here's the final version:

Topics in Digital Media:

Visions and Revisions of Cyberspace

 

Dr. Aram Sinnreich

Description

 

Today, for the first time in history, computer-mediated culture has become mainstream for a majority of individuals in technologically developed societies. From email to texting, from online gaming to online banking, from YouTube to Hulu, from DoS attacks to Second Life sit-ins, nearly every traditional aspect of our lives has found a new expression in its digital proxy.

 

In order to understand the cultural, social, political and economic consequences of this development, we must look to the origins of today’s cyberculture, in the futuristic visions (both dystopian and utopian) that shaped the development of today’s networked technologies. We will trace the genealogy of these visions, as they developed in tandem with the growing digital communications infrastructure over the past three quarters of a century, and evolved into new forms that even the most forward-thinking of visionaries could not have predicted. Ultimately, one can argue that the Internet has both exceeded and fallen short of the hype that surrounded its birth and development, and, by comparing the myth to the reality, we may better understand what aspects of the human condition are likely to persist regardless of technological development.

 

Class will be conducted as a seminar. Students will be responsible for leading discussions on the readings, and are encouraged to critically engage the readings and class conversations.

Schedule

9/9: Introduction

 

9/16: The Memex and the Mushroom Cloud

 

• Bush, V. (1945). As we may think. The Atlantic.
  
  AND 2 OF THE FOLLOWING:
  
  
• Borges, J. L. (1941). The library of Babel.
• Rifkin, J. (1995). A view of the future. Utne Reader.
• Slouka, M. (1996). Reality is death. (from War of the Worlds)
• Leiner, et al (2000). A Brief History of the Internet.

 

9/23: The Metaverse

 

• Nelson, T. (1974). Computer lib/dream machines. [excerpt]
• Baudrillard, J. (1988). Simulacra and Simulations [excerpt]
• Dibbell, J. (2008). Mutilated Furries, Flying Phalluses: Put the Blame on Griefers, the Sociopaths of the Virtual World
• Pendragon, H. (2008) Griefers: Why Dibbell’s Wired Article Was 1-Sided.

 

OR

 

• Neil Stephenson, Snow Crash (Bantam, 1992)

 

9/30: Rules and Regulation

 

• Internet Society, DNS Root Name Servers Explained for Non-Experts
• Mueller, M. (2002). Dancing the Quango: ICANN as International Regulatory Regime.
• Sinnreich & Zager (2008). E-Speech: The (Uncertain) Future of Free Expression
• Wu, T. (2005). Network neutrality, broadband discrimination.

 

OR

 

• Lawrence Lessig, Code v2 (Basic Books, 2006)

 

10/7: Freedom to Hack

GUEST: Karl Fogel, founder, questioncopyright.org

 

• Christopher Kelty (2005), Geeks, Social Imaginaries, and Recursive Publics
• NY Times (1995), A Most Wanted Cyberthief is caught in his own web.
• 2600, Interview with Kevin Mitnick (video)
• Stallman, R. GNU manifesto

 

OR

 

·      Doug Thomas, Hacker Culture (U. Minn Press, 2002)

10/14: dot-com Fantasies

GUEST: Gene DeRose, CEO, HouseParty, former CEO, Jupiter Research

 

FOUR OF THE FOLLOWING:

 

• Dyson, E. (1995). Intellectual value. Wired.
• Sinnreich, A. (2001). Remixing the Distribution Chain for Digital Music. Jupiter Research.
• Meeker, M. (1995). The Internet Report. Morgan Stanley. [Read part 1. The rest is skimmable].
• CNET, Top 10 dot-com flops
• Anderson, C. (2004). The Long Tail. Wired.
• O’Reilly, T. (2005). What is Web 2.0?
• Schiff, S. (2006). Know it all. The New Yorker.
• boyd, d. (2007). Viewing American class divisions through Facebook and MySpace.

 

OR

 

• Nicholas Negroponte, Being Digital (Vintage Books, 1996)

 

10/21: Our Second Selves: Video Games and Identity

 

FOUR OF THE FOLLOWING:

 

• Gee, J. P. (2003). What Video Games Have to Teach Us About Learning and Literacy. Palmgrave Macmillan. Introduction, Conclusion and Appendix (20 pages)
• Smuts, A. (2005, November 2). Are video games art? Contemporary Aesthetics. (11 pages)
• Seabrook, J. (2006). Game master. The New Yorker, November 6, 2006 (14 pages)
• Bogost, I. (2006). Playing politics: Videogames for Politics, Activism and Advocacy. First Monday. Special Issue number 7. (10 pages)
• Jones, Saving Worlds with Videogame Activism. [unpublished paper]
• Ito, et al (2008). Living and Learning with New Media (pp. 18-39)
• Brathwaite, B. (2007). Sex in video games. Charles River Media. Chapter 4, pp. 89-122.
• Parisi, D. (2007). Playing the Interface: Video Games as Bodily Techniques [Unpublished paper]. (19 pages)

 

OR

 

• Dibbell, J. Play Money. (Basic Books, 2006)

 

 

10/28: Remix/Configurable Culture

·      Aram Sinnreich, Mashed Up (U. Mass Press, 2010)

 

OR

 

·      Henry Jenkins, Convergence Culture (NYU Press, 2006)

 

OR

 

·      Lawrence Lessig, Remix (Penguin, 2008)

 

11/4: The Cloud

 

·      Downes, S. The Cloud and Collaboration

·      Zittrain, J. Lost in the Cloud

·      Golden, B. Clueless on the Charles: How Zittrain’s Cloud Missive Got it Wrong

·      Doctorow, C. Not Every Cloud Has A Silver Lining

OPTIONAL:

 

·      Google Blog, Introducing the Chrome OS

·      Chappell, Windows Azure Whitepaper

 

11/11: Surveillance, Sensors and Semantics

 

• Brin, D. (1998). The transparent society.
• Berners-Lee, et al. (2001). The Semantic Web.
• Dodson, S. (2008). The Net Shapes Up to Get Physical.
• EFF, Surveillance Self-Defense Project

 

11/18: Adventures in MeatSpace

GUEST: Dennis Crowley, founder, Dodgeball.com

 

·      Doctorow, C. (2004) Anda’s Game

·      NY Times (2004). Quick, After Him, Pacman Went Thataway

·      Laura Forlano (2010). WiFi Geographies: When Code Meets Place

·      Area/Code, Big Games Manifesto (1 page)

·      Patti Maes, The Sixth Sense (Video)

 

 

11/25: MOVIE/FIELD TRIP

 

12/2: Presentations

 

12/9: Presentations

 

FINAL PAPER DUE: 12/16

My radio interview on Beatles Rock Band

Today I spent an hour on MPR's "Midmorning" (along with Daniel Radosh and Jason Della Rocca) discussing the soon-to-launch Beatles Rock Band, and some of its bigger-picture implications for the media industry and society at large. We also responded to a lot of listener questions. Altogether, it was a nice, freewheeling conversation, aided by host Kerri Miller's terrific moderation.

Here's the stream of the show:

Visions and Revisions of Cyberspace

I'm currently putting together the syllabus for my NYU Masters course this Fall, entitled "Topics in Digital Media: Visions and Revisions of Cyberspace." Usually when I teach a class like this, I tell a story on a timeline, painting cyberculture as an evolving entity. This time, however, I'm thinking about it in terms of subject areas, in which each week traces the past, present and future of a given meme or concept. My tentative list of 10 concepts/subject areas is as follows:

1: The Memex and the Mushroom Cloud
2: The Metaverse
3: Hackers and Gamers
4: OSS/FS/CC
5: dot-com Fantasies
6: Web 2.0
7: Remix/Configurable Culture
8: The Cloud
9: Surveillance, Sensors and Robots
10: Adventures in MeatSpace

I'd love any and all informed feedback on either (a) subjects I need to add, delete or merge, and (b) vital readings/viewings/playings for a given subject. Email or blog comments will do. Thanks!

Rock Band trumps iTunes for Beatles rights

News has been percolating for a few days, but EMI just put the official word out: The Beatles are coming to Rock Band. More specifically, Harmonix/MTV Games will be releasing a new title based around the Beatles' music catalog.

This is interesting for a few reasons. First of all, this is the Beatles' first major foray into digital territory. An iTunes deal has been rumored for years, but has never materialized. That the Beatles' rights-holders would choose to license to a game manufacturer before it licenses to the single largest music retailer in the world proves a point I've been making for a while -- that the industry is in the process of a massive shift away from retail revenues, and toward licensing revenues. The EMI press release doesn't say what kind of fees Viacom is paying for the privilege, but you can bet it's a HUGE advance against HUGE royalties. I'd be surprised if there's much upside left for the game publisher when all is said and done; more likely, it's a break-even scenario even at blockbuster sales volumes, whose primary strategic benefit is bragging rights and cementing the Rock Band brand and technology (just think how many millions more non-Beatles Rock Band titles will be sold because of this deal).

It's also interesting to see the Beatles' aesthetic legacy at work here. Along with the Beach Boys' Pet Sounds, the Beatles' Sgt Pepper's album was considered to be a watershed moment in the advancement of musical aesthetics and in their relationship to recording technologies. With the surround-sound, DVD-based Love album a few years back, the Beatles (driven by producer George Martin and his son, Giles) again represented a smaller music-tech-aesthetic milestone: the mainstreaming of the remix aesthetic. This game title, which is being produced musically by Giles Martin, has the capacity to represent another innovative step. Maybe it'll just be another Rock Band title, where you can tap out Ringo's beats and twang away at George's solos, but somehow I'm guessing there'll be a bit more reinvention than that. The Beatles' music is so well-known, well-loved, and synonymous with mainstream integration of avant-garde techniques and aesthetics, it's become the perfect catalog for projects such as these (when someone can afford to foot the bill).

The final point I'll make is that, unlike an iTunes deal, this project may give equal footing to the Beatles' visual legacy as to their musical one. It's important to remember that the Beatles were, from the beginning, TV, newsreel and movie personalities, and that their music has always been an element of a larger, cross-platform integrated marketing and art project. Given this fact, a video game is a much more sensible platform for their work than a digital audio file.

Anyway, I don't mean to sound like too much of a fanboy; the project could suck. But I, for one, am looking forward to playing with my brother Dan, not to mention Dunia and Simon.

My $0.02 on the Sony/BMG split

Yesterday, Sony and Bertelsmann announced that S will buy up B's half of their 50/50 joint venture record label, Sony BMG, for $900 million (plus an extra $300 in cash holdings B already "owns").

My primary take is that this is a victory for vertical integration in a period of diversifying revenue opportunities for music.

What that means in plain English is this:

Bertelsmann is a content and distribution company. Besides the record label, its main holdings are book and magazine publishers and broadcasters. They make money by producing and distributing information, which is eventually paid for by advertisers and shoppers. Given that music retail is tanking (it could have been avoided, but that's a rant for another time), Bertelsmann has no reason to be in the business any more. It's simply not worth the capital, effort and risk involved for them to try to squeeze out a tiny profit from the sale of an obsolete product category.

Sony, on the other hand, doesn't need to make a cent selling music. It makes its money manufacturing consumer electronics, producing films, and licensing its formats (e.g. Blu-ray, Playstation), and even owns some retail. While the company wouldn't turn its nose up at profits from recorded music, its music division can be an asset for the company overall without any black ink of its own. This is because the music can be licensed on friendly terms to Sony's movies, games, and distribution portals, and can be used to support new technology formats (this doesn't always succeed -- see SACD and minidisc).

The music industry is changing, from a consumer-oriented product model to a business-oriented service model. For the first time in recent history, a double digit percentage of major label income is from licensing and royalties, rather than retail. Sony is well positioned to take advantage of an industry based on diverse revenue streams and cross-channel synergies. Bertelsmann is not.

Of course, there are other issues as well, I'm sure. Corporate culture clash, tensions over globalization, etc. But if the CD retail business was still going like gangbusters, I don't think these would be big enough issues to tear the partnership apart.