MIT’s commencement was Friday, and (despite the fact that most of my Masters students are continuing to work on their theses over the summer) my official summer began yesterday. Yes, I’m looking forward to catching up on reading, not driving into Boston and the general wonder of the Berkshires in the sunshine… but I’m most looking forward to working from my walking desk.
I have been restructuring my life around walking over the past couple of years. I’ve found that it’s the only exercise I can consistently get myself to do when I’m at home, in Cambridge or on the road. In Cambridge, I now stay in a bed and breakfast three miles away from my office, in part so I can get almost half of my daily walking goal during a 50 minute walk to work. When I travel, I try to wake up early and take hour-long walks around the city I’m staying in, which is good for combatting jetlag and for getting the lay of the land.
At home, though, I have become a reluctant treadmill user. It’s shockingly lovely where we live, and hiking is one of the very best ways to encounter the Berkshires. But home time is wife and kid time, and so I try to be efficient enough in my workdays at home that I have time to throw a ball with Drew or watch bad TV with Rachel. For the past two years, I’ve tried to schedule 1-2 hours a day of conference calls in the afternoon so I can drive to a nearby rail trail to walk and talk. (And yes, I certainly do see the irony of driving to walk. We live on a twisty mountain road where it’s just not especially safe to walk, and where it’s damned hard to carry on a conversation while trudging uphill.) When it’s too cold or rainy to walk outside, I’d tried a new trick – walking on the treadmill after Rachel went to bed, watching old episodes of LOST.
Rachel started using that treadmill – a noisy hand-me-down from friends – to walk while “syncing” in the morning (checking email, social media, etc.) and found that taking half an hour in the morning to do so made her happier for the rest of the day. I tried it and decided that, while I could sync and walk, I needed a desk for real work and a treadmill that was dramatically quieter if I was going to use it to walk and talk.
Last month, we took the plunge, and bought Lifespan’s TR-1200, which seems to be the entry-level walking desk treadmill of choice. (Lifespan makes cheaper treadmills, but this one is rated for several hours of use per day, and with the two of us sharing, it seemed a better option than the cheapest model.) Because Rachel and I are close in height, I was able to build in a desk that’s comfortable for both of us. I bought a new 27″ LCD monitor and a swing arm, repurposed an old desktop speaker set, and bought a remote control fan to mount on a ceiling beam behind the treadmill.
For the past month, we’ve each been using the desk about an hour a day when we’re in town. This week, working from home, I’m putting in closer to 3 hours each day and starting to get a sense for how the new setup does and doesn’t work for me. Some lessons learned:
– The right treadmill matters. I love the guys at Instructables, and I think their advice to “just do it” and build a walking desk around an existing treadmill is conceptually sound, but not practically possible for me. If you can comfortably hold a conference call on your existing treadmill, perhaps then this is a good idea. My hand-me-down treadmill squealed like a stuck pig, and the first step in moving to a standing desk was taking the plunge and making the purchase of the Lifespan treadmill.
– You don’t have to go all in. I’m not an absolutist. Some of the folks who write about switching to treadmill desks encourage you to go all in, moving your full office setup to the treadmill desk. As a road warrior, I don’t have a particularly robust desktop set up at home – I work outside under an umbrella if it’s nice, in front of the fire if it’s cold. The treadmill desk has become another locus for work, but I doubt it will ever become my only workplace.
– Match the task to the workplace. The desk is magical when I’m on conference calls. I can walk at 2.5 – 3mph and no one seems to notice. I get the occasional comment when on Skype or Google Hangout, as my head does bounce up and down, but no one has groused yet. (One Kenyan caller was surprised that he was reaching me at the gym, but that may have had as much to do with how I was dressed as my walking motion.) And, like Rachel, I find that checking email and social media is perfectly reasonable at 2 mph, though I sometimes slow to 1.5 mph to reply. Thus far, I wouldn’t move major writing, programming or reading onto the treadmill… and, for better or worse, I usually have enough conference calls and email to give me 2-3 hours on the treadmill, which is enough to get my 15,000 steps a day.
– Walking is great for combatting distraction. The tasks that work best on the treadmill for me are ones where I don’t need my full focus. When I sit at my desk during conference calls, I don’t pay close enough attention because I end up reading news in another tab. Walking seems to lessen the need to multitask. It may be that I know I’m doing something good for myself physically, or it might be that the little bit of effort it takes to keep the legs moving forward and keep the hands on the keyboard means I have less cognitive surplus to deal with. Amy Harmon, writing in the New York Times, speculates about this as well, pointing to a study by the Max Planck institute in which children and young adults performed better cognitively when walking at their preferred pace.
The moments where I notice this the most are when I’m answering email I don’t want to answer. At a desk, I flit from tab to tab, reading this, tweeting that. At the walking desk, I seem to be able to focus better, perhaps because I know I’m going to use the walking time as email time, then sit down to concentrate on something more engaging.
– Don’t be an idiot. There have been several posts questioning whether it’s possible to work efficiently while walking. This one, by Alyson Shontell, titled “The Truth About ‘Working’ On A Treadmill Desk, makes the experience sound like training for a marathon. At the end, she reveals that she wasn’t so much testing the walking desk as a work choice, but competing with a fellow Business Insider reporter who’d walked 17 miles the day before. I’m finishing this post on the treadmill, having walked 6 miles over 3 hours today, and that’s more than enough for me. Getting in an hour’s walk a day would be a good change for most people, while spending 8 hours walking probably isn’t good for anyone’s productivity.
I realize that hearing other people talk about their work and exercise regimes is roughly as interesting as hearing them talk about their dreams, but the walking desk really is one of the more exciting things in my life right now, and I’m not able to resist evangelizing.
I would be sad to return to the pre-internet days of music fandom. I think back to the days of paper fanzines with hazy nostalgia, but in truth, it was pretty wretched to hear about a band you might or might not like, order a 7″, wait weeks and discover that just because some dude with an exacto knife, glue stick and access to a xerox machine loved a band, it didn’t mean they were any good. I try to remember to be thankful every time I look up an unfamiliar band on AllMusic.com, when I surf a band’s back catalog on YouTube and buy CDs I would never have found without online retailers who stock the long tail of musical tastes.
That said, one casualty of the digital age is the demise of the local record store. I am blessed with an excellent local record store, Toonerville Trolley Records in Williamstown, MA, and I was thrilled to see a line of patrons waiting to get in to celebrate Record Store Day a few months back. (I took Drew to buy his first LP. Four and a half seems like the right age to start building a record collection.) But despite how fortunate I am in terms of local record shopping (both in Williamstown and in Cambridge, which has great stores like Weirdo and Armageddon), I feel the loss of the institution of the record store when I travel to different cities.
This past week, I was in Nairobi, Kenya, with Media Lab students, staff and faculty, working to build a partnership between the Lab and iHub, the remarkable tech incubator and coworking space built by the founders of Ushahidi. I wanted to make sure my Media Lab friends saw Nairobi for the wonderful, exciting city that it is, and I especially wanted to show Joseph Paradiso, the other lab faculty member on the trip, some different sides of the city. Joe is a celebrated builder of analog synthesizers and a massive prog rock fan, and while I knew finding music to suit his tastes in Nairobi might be a challenge, I figured a visit to a record store was in order.
Johnstone Mukabi and Peter Rugenye perform at the Melodica Music Store in Nairobi.
Visiting Melodica Records in Nairobi is as much pilgrimage as shopping excursion. The proprietor, Abdul Karim, has been managing the store since 1971. Located in Nairobi’s Central Business District, Melodica is part musical instrument shop, part performance space and part archive. It was quiet on the Saturday afternoon we came by, staffed by Karim, his mother and an assistant, and we were the only customers exploring the stacks.
Like many African music stores, Melodica burns CDs for customers rather than selling packaged CDs. (Teju Cole writes movingly in Every Day is For the Thief of finding John Coltrane CDs in a record store in Lagos, then discovering they are astronomically expensive to buy, as they are designed to be kept as the reference copy, parent of the copies for sale.) Joe immediately begins grilling the sales clerk, asking for the weirdest, most experimental music the shop stocks. The first track the clerk plays is Kanda Bongo Man’s “Zing Zong” – not exactly what Joe was looking for, but I recognize it immediately and shout out the title based on the opening notes. That earns me admission to the back room, packed with piles of dusty vinyl, and an invitation from Karim to use his turntable to listen and discover.
Melodica dates from the days when African record stores weren’t just selling a product – they were recording studios, producers, distributors and retailers. Many of the records Karim hands me are ones on the Melodica label, which he produced in the 1970s. As I’m picking through a stack of dusty Luo ballads, looking for Lingala dance music, Karim explains that musicians would travel with reel to reel masters from Kinshasa or Brazzaville to Nairobi to press their work and bring it to audiences throughout central Africa.
The production on the records varies widely. Some were originally recorded badly, and the saturated tape leads to gnarly, distorted records despite Karim’s engineering efforts. Others have the wide-open, echoey sound that’s characteristic of my favorite Congolese music, a sound that somehow evokes both all-night, outdoor dance clubs and distant vistas. Karim and I talk about what types of records I like and he does his best to find records that feature organ and synth crossing into traditional song structure, the local parallels to styles like Afrojuju in Nigeria (my genre of choice.)
I note a promising album propped up on the studio window, the scratched plexiglass producers once sat behind to offer hand signals to the band recording in what’s now the store’s main space. It’s “Mandingo” by Black Blood and Karim explains that he can’t sell me the album as it is his sole remaining copy, but urges me to download tracks from it from the store’s website. Karim’s role is at least as much preservationist as proprietor these days. A search for “Black Blood” on Afro7, a site dedicated to East African vinyl, offers the clue that Black Blood was a group of expatriate Kenyans playing in Brussels, but there’s little else about them online. Karim’s copy is surely not the sole one extant, but it’s one likely to ensure that a funky, ferocious band survives another generation.
Crate-digging, the art and science of searching for rare grooves in record stories, antique shops and yard sales, is a celebrated, if controversial, practice. Classic hiphop was built on the art of the sample, and the more obscure the sample you could find, the better. (Afrika Bambaata had notoriously deep crates, and was legendary for soaking the labels off his hottest breaks and replacing them with other labels to throw rival DJs off.) After a successful lawsuit by George Clinton’s publisher, Bridgeport Music, established a precedent that any sample, identifiable or not, would merit royalty payments, mainstream hiphop moved away from the world of crate-digging… but the best DJs didn’t.
Recently, DJs like Diplo have built their reputation on finding inspiration in global dance sounds from musical cultures unfamiliar to North America and Europe. (I discuss Diplo’s work at some length in Rewire.) German DJ Frank Gossner has established himself as an “archaeologist” of African vinyl, making multiple trips throughout the region to find rare grooves he can throw into his dance sets. This practice has its critics – DJ Boima Tucker draws parallels between the search for undiscovered African vinyl to the quest by colonial powers for natural resources in Africa, while allowing that these records may simply disappear if someone doesn’t rescue them from obscurity. (A comment by Gossner on Tucker’s post gives you a sense of just how nasty these conversations can get when one DJ accuses another of colonialism…)
Visiting Melodica gives a certain perspective to the crate-digging versus preservation conversation. I didn’t exactly have to fight off an army of European and American DJs desperate to throw some vintage Congolese rumba into their sets. And Karim is hardly a naïf, unaware of the treasures in his store. Instead, he’s acutely aware that the work he’s doing to preserve the music he grew up with requires this music to find new and broader audiences.
Joe and I each buy half a dozen compilation CDs featuring 7″ singles of taraab, rhumba, and afrorock that Karim has digitized. His assistant burns the CDs for us and prints fresh covers for the CDs – it’s hard to believe the roughly $1.20 we pay for each CD pays for more than the disc and the printout. I choose four of the records I most enjoyed and Karim apologizes before charging me $6 for each, explaining that his stocks are slowly dwindling for the old vinyl.
That evening, I had dinner with some of the members of Just a Band, one of Kenya’s most exciting artistic collectives – the group includes filmmakers as well as musicians, and they are at the center of a scene that includes designers and installation artists as well. One of the filmmakers listens to my story about Melodica and says, “I’ve been meaning to do a film about that place.” I hope he will: Kenya’s music scene has a rich past and a promising future. It would be great to see the next generation honoring such a historic treasure.
Kentanzavinyl has a great database of the sorts of artists I found at Melodica, as well as a good blogroll of African record collectors, many of whom post digitized audio from their finds.
Melodica is in the Elimu Co-op House, across the street from KTDA on Tom Mboya Street. Abdul Karim is always happy when fans of east African music visit.
Special bonus tracks:
“A.I.E. A Mwana” by Black Blood
“Africans Must Unite”, by Geraldo Pino, one of the 7″ I bought at Melodica
The Atlantic was kind enough to run a lightly edited version of this post. I’m posting here after their publication so that this remains in my archives.
Pharrell Williams is a happy man, but he’s crying. He’s one of the most in-demand record producers in the world, and had a hand in the two hottest songs of 2013, “Get Lucky” by Daft Punk and “Blurred Lines” by Robin Thicke. While those songs were inescapable on radio and television last summer, Pharrell’s most recent hit, “Happy”, has taken a different path to prominence.
French director Yoann Lemoine and production team We Are From LA worked with Pharrell to create a unique video for “Happy”. The video is 24 hours long, and was shot all across Los Angeles, featuring dozens of celebrity cameos interspersed amongst shot after shot of people dancing happily. It took 11 days to shoot the video, though many of the shots were single takes. The video follows the course of the day in LA, with footage from dawn to dusk and through the night, with Pharrell appearing each hour.
The original “Happy” video
The video quickly spawned thousands of fan remakes, featuring workplaces, business schools, college dorms who are all happy. Faced with a viral hit, Pharrell’s label, Columbia Records/Sony Music, has turned a blind eye to possible copyright violations, and one can easily spend hours on YouTube flipping from one fanvid to the next.
There’s a special subcategory of these videos that I think of as “georemixes”. The georemix builds on the idea that the original “Happy” video is a love letter to Los Angeles, a portrait of the city’s architecture, landscapes, people and spirit, and moves the party to a new location. More than a thousand georemixes of “Happy” exist, and they portray happy people on all six continents.
Pharrell, on Oprah, crying over “Happy”
Pharrell is on Oprah, watching a compilation of these remixes that bring his song around the world, from Detroit to Dakar. In the 30 seconds of the video Oprah shows, we catch glimpses of happy Taiwanese women on a spa day, Icelanders dancing on a glacier and Londoners strutting with Big Ben in the background. Pharrell’s reaction is the one many of us have had to the remixes of his video: he cries for a long time, overwhelmed not only by his success but by the experience of watching a simple idea – film yourself being happy – as it spreads around the world.
“Happy” is not the first video that’s been georemixed. Last summer, I gave a talk at the MIT8 conference focused on remixes of PSY’s Gangnam Style and Baauer’s Harlem Shake. In researching these localized remixes, my students pointed me to Jay-Z and Alicia Keys’s “Empire State of Mind”, remixed in remarkable fashion into “Newport State of Mind”, by comics M-J Delaney, Alex Warren and Terema Wainwright. (The parody was further parodied by Welsh rappers Goldie Looking Chain, who complained that the Newport parodiers lacked local knowledge and cred.)
The original “Empire State of Mind”
“Newport (Ymerodraeth State of Mind)”
The georemix dates back at least as early as 2005, when Lazy Sunday, produced by The Lonely Island (Saturday Night Live’s Chris Parnell and Andy Samberg) was remixed into parodies like Lazy Muncie, showing midwest pride, and Lazy Ramadi, which replaces a search for cupcakes with a confrontation with Iraqi insurgents.
The Lazy Sunday georemix was born out of a mock East Coast/West Coast rap beef, which quickly set the tone for georemix videos. Each response is a retelling of the core story, transposed to a new location, bragging about local landmarks and habits. While the braggadocio in these remixes is pure parody, there’s a sense in which each of these videos makes a claim to share the stage with the original. YouTube’s related videos feature means that there’s a chance that some of the 2 billion viewers of PSY’s Gangnam Style video will encounter Zigi’s “Ghana Style”, a georemix that relocates Seoul to Accra and replaces PSY’s horse dance with Ghanaian Azonto. (And if not through YouTube, viewers may encounter Zigi through the hundreds of listicles that advertise “10 Best Gangnam Style Parodies”)
Zigi’s Azonto version of Gangnam Style
I think of the georemix as a claim to attention, a way of demanding part of the spotlight that shines on a popular video. It’s a very basic demand: accept that we’re part of this phenomenon, too. In remixing Gangnam Style, Zigi sends the message that Ghana has YouTube, is clued into global cultural trends, has its own distinct sound and dance style to share with the world, and can produce videos as technically proficient as anything coming from other corners of the world. To me, “Ghana Style” reads both as lighthearted celebration of a catchy tune that truly went global, and a political statement about a world where culture can spread from South Korea to Ghana to the US, not just from the US and Europe to the rest of the world.
Of course, the georemix can also be purely political. Ai Wei Wei’s Gangnam style, titled Grass Mud Horse Style, moves the dance into his studio in Beijing and is filmed almost entirely within the walls of that compound, alluding perhaps to the artist’s frequent arrests and detentions. (If the location doesn’t set the theme, his appearance a minute into the video, spinning handcuffs certainly does.) Other georemixes take on specific issues explicitly. Consider Dig Grave Style, a protest video made by students from China’s Henan province, in which dancers rise from the earth to protest the moving of graves from villages to open land for real estate development.
Dig Grave Style
Remixing a video is a shortcut to creating original content. The script is partially written – the creativity comes from changing the lyrics and the setting. The popularity of the Harlem Shake meme (which was georemixed around the world, and saw political georemixes in Tunis and Cairo) came in part from the extremely low levels of effort required to participate in the phenomenon – simply film people behaving in an ordinary way, then dancing like madmen in strange costumes and you’ve got your localized Harlem Shake.
“Happy” benefits from this low barrier to entry. There are Happy remixes that function as shot-by-shot remakes of the short, official Pharrell video, and there are vastly more that adopt the spirit of the video and transpose it to a local context.
Loïc Fontaine and Julie Fersing deserve much of the credit for the georemixes that made Pharrell cry, though neither has made a video. Fersing, an interior designer in Nantes, began collecting georemixes of “Happy”, searching YouTube to find new material. When she’d located 21 of the videos, she turned to her husband, Fontaine, who’d begun a career in website development nine months earlier. Together, they launched We Are Happy From, a portal that now hosts 1682 videos from 143 countries.
Once the site had attracted about 50 remixes, Fontaine contacted the We Are From LA production team, who gave the project their blessing. While Fontaine had not spoken to Pharrell when I interviewed him a month ago, he felt quite confident that the project was consistent with the artist’s wishes and would survive, pointing out that Sony had not taken action to remove the vast majority of remix and parody videos posted online. Indeed, the success of the song has likely had a great deal to do with the widespread participation online, giving “Happy” an online life and prominence that no amount of radio payola could provide. (Pharrell has embraced the notion of the georemix, urging people around the world to produce their versions of the video as part of a UN-sponsored International Day of Happiness.)
We Are Happy From is simply an index, pointing to videos hosted on YouTube, Daily Motion and other platforms. While the videos have a consistent look, usually opening with a black on yellow title screen (as Pharrell’s video does), Fontaine doesn’t provide any production help or guidelines. Still, the videomakers are clearly conscious of We Are Happy From’s role in promoting “Happy” videos as a global form, as many videos feature a screencap of the We Are Happy From map.
While anyone can submit a video to We Are Happy From, not all videos appear on the map. Fersing is the curator, and she watches all videos before adding them to the map. (As of April, the couple were receiving 20-40 videos a day.) Videos that are overly commercial or connected to political or social causes don’t make the cut. Fontaine explained that some French political parties produced Happy videos as campaign materials – We Are Happy From chose not to feature those videos. An Italian version of Happy with an environmental message was also not included, nor was Porto (un)Happy, which features activists dancing through unfinished construction sites in Porto Allegre, Brazil, along with subtitles that critique government spending on public works projects. (Manaus is unhappy as well.)
I asked Fontaine why he and his wife had chosen to become active curators of the project. It was a practical decision, Fontaine explained: “They say it’s black, someone else says it’s white. How am I to judge?” Rather than evaluating the validity of political claims, he would rather focus on what he sees as the core message of these remixes: “We Are Happy From is purely about the happiness. We just want to show a simple message about being happy about where we live.”
For me, as a student of civic media, the dissident videos excluded from the We Are Happy Map are the most interesting ones. Fontaine has kindly shared the list of rejected videos with me, and I hope to spend some time this summer watching those 500 remixes in the hopes of developing an understanding of how “Happy” can work as a script for advocacy (or how videomakers think it might act as that script.) But for Fontaine and his wife, the mark of success wasn’t raising awareness for a cause or an issue – it was documenting the spread of happiness globally. When I interviewed Fontaine, he was celebrating the spread of “Happy” to Antarctica, with a video from French research station Dumont d’Urville.
The 1600 videos on We Are Happy From may not advocate for a political party or a cause, but they are “political”. When the residents of Toliara, Madagascar make their version of “Happy”, they’re making a statement that they’re part of the same media environment, part of the same culture, part of the same world as Pharrell’s LA. This assertion isn’t quite as anodyne as Disney’s “Small World After All” or the “I’d Like to Buy the World a Coke” campaign. Even with Fontaine and Fersing’s curation, we get distinct glimpses of how different it can be to be happy in different corners of the world: Happy in Damman, Saudi Arabia features wonderfully goofy men, but not a single woman. Beijing is happy, but profoundly crowded and hazy – intentionally or not, the video is a statement about air pollution as well as about a modern, cosmopolitan city.
A few weeks ago, We Are Happy From added a video from Tehran, Iran to the map. If you don’t know where the video is from, it’s unremarkable. A dozen twenty-somethings, men and women, dance on a rooftop, wear silly outfits, and wave their legs while lying on a bed. It’s remarkable only if you know that women in Iran are forbidden to appear in public without their hair covered and that men and women are prohibited from dancing together in public.
Happy in Tehran
Given context, the video is an incredibly brave statement. The young women in the video covered their own hair with wigs, keeping themselves technically in line with local Islamic law, and kept clothing around so they could cover up if seen from neighboring buildings. One of the videos stars, identified only as Neda, said, “We were really afraid. Whenever somebody looked out of a window or someone passed by, we ducked behind a door to make sure we were not seen.”
The makers of the video, forced to apologize on state television
Neda and her compatriots were right to be afraid. Six people involved with making the video were arrested and forced to appear on state television, testifying that they were tricked and duped into making the video. It is unclear what consequences the filmmakers will suffer beyond public humiliation, and a hashtag, #FreeHappyIranians is emerging to protest their detention. Pharrell, to his credit, has tried to call attention to the situation:
It's beyond sad these kids were arrested for trying to spread happiness http://t.co/XV1VAAJeYI
— Pharrell Williams (@Pharrell) May 21, 2014
It’s clear from Neda’s interview with Iran Wire that the intention behind the video is precisely Fontaine and Fersing’s intention. ““We wanted to tell the world that the Iranian capital is full of lively young people and change the harsh and rough image that the world sees on the news.” They chose a middle-class Tehran home to make the point that ordinary Iranians, not just the elite, were happy, creative, modern and globally engaged. And the video, with subtitles and credits in English, was clearly created for a global audience, designed to be part of the International Day of Happiness, though it was turned in too late for inclusion: “We want to tell the world that Iran is a better place than what they think it is. Despite all the pressures and limitations, young people are joyful and want to make the situation better. They know how to have fun, like the rest of the world.”
Perhaps a video that asserts that you and your friends are part of the wider world is political only if your nation has consciously withdrawn from that world. Perhaps it’s political any time your city, your country and your culture are misunderstood or ignored by the rest of the world. We Are Happy From is cultural politics in the best sense of the word, a good-natured assertion that what brings us together is more important than what divides us. That the Tehran video has led Pharrell to a different type of tears is a reminder of how powerful and threatening this sort of statement can be.
Three years into my time at MIT, I’m trying to get back into the habit of blogging, something that was a near-daily habit for me during the years I was at Berkman. For me, blogging is a fairly selfish activity. If I write something helpful for you, that’s a happy accident. I write because it allows me to get ideas straight in my head, and because it helps me find other people working on similar problems.
In “The Power of Pull”, John Hagel and John Seely Brown argue that in information-saturated societies, one way to navigate information overload is to pull resources and people towards you, announcing the connections you need and drawing them towards you. It sounds both new-agey and privileged, and it’s a strategy that is surely easier to implement if you are in a position of power and authority where you can expect to be heard when you ask for help. But it’s also a strategy that often works, and in surprising and unexpected ways.
A few weeks ago, I wrote about the idea of monitorial citizenship and the work my students and I are doing on the topic in Brazil, where we are prototyping our Promise Tracker tool. Luigi Reggi, co-founder of Monithon, an Italian citizen monitoring project, read the article and contacted me, and two weeks ago, we met in Perugia, where we were both attending the International Journalism Festival.
The name “Monithon” is a contraction of “Monitoring Marathon”, a working method Reggi and colleagues were demonstrating in Perugia. They’d assembled a small group of concerned citizens and taught them how to identify a local project supported through EU funds and how to evaluate its success. In Perugia, the team examined a web portal that allowed citizens to compare the performance of local internet service providers. While the tool worked reasonably well, fewer than a hundred people had used it in the year it was online, leading the monitors to conclude that it was a partial success, at best, as a use of EU funds. They posted a detailed report, which included suggestions for ways the project could be improved. The report is accessible on the Monithon site and linked to an map of the country (made using Ushahidi), which shows all completed monitoring efforts.
Reggi and colleagues found the project in Perugia through OpenCoesione, a government-initiated open data portal that (quite beautifully) visualizes spending of €99 billion on over 700,000 projects in Italy. Reggi works for the ministry of development and cohesion, which oversees these funds, and while he believes every country will end up building transparency sites like OpenCoesione, he also believes that open data is not enough. With a small team of dedicated volunteers, entirely outside of his time working for the government, Reggi is building a method that will allow citizens to evaluate each of the projects paid for with EU funds.
Some of the projects are carried out by the Monithon core team. Two team members from Bari have been monitoring projects associated with a new train that connects the center city and the airport, identifying issues with the train’s timetable that makes it difficult for commuters to use. Other projects are carried out by established citizen groups, like Libera, a national anti-Mafia association, who became Monithon’s partner in Naples, focusing their monitoring on the rehabilitation of seized Mafia properties. In Palermo, an existing group of transport activists are using the Monithon methodology, while in Calabria and Tornio, new groups have formed to begin monitoring projects using the Monithon method.
This is one of the similarities I see between the work Monithon is doing and work we’re hoping to do in São Paulo: partnership with existing civic groups. Our partner in São Paulo on Promise Tracker is Rede Nossa São Paulo, a network of existing citizen organizations who focus on tackling a wide range of local civic issues. We believe citizens will be most effective in monitoring issues they already care and know about, so we’re trying to help existing citizen groups find promises Mayor Haddad has made that are in their areas of interest and expertise, hoping we’ll identify groups eventually willing to take on the government’s 123 promises.
Another alignment is around the concept of monitory citizenship. The Monithon team is shaping their work around the broader idea of monitoring as a form of participatory citizenship. Their logo features an Umarell, an affectionate term from Bologna to describe older men who spend their time watching – and commenting on – public works and other activities in their communities. Embracing the idea of the good-natured, loveable busybody, part of Monithon’s goal is to train new generations of monitors, more digitally-connected than the umarells, but motivated by the same mix of curiosity and public interest.
The ministry of development and cohesion is helping bring new monitors into the mix through the Open Cohesion School (A Scuola di OpenCoesione), which offers five lessons on monitoring projects using the open data released by Reggi’s ministry. Using resources from the school school and through Monithon, Reggi and colleagues are now working with 17 year old high school students to identify and monitor local projects, contributing to the data set and helping the students understand the processes behind the EU funds, their dispersal and their impacts on local communities. High school students are often a major part of the teams who show up at “open data days”, which have drawn as many as 250 to come work together on monitoring projects.
I think the decision to work with high school students is a stroke of genius, and hope that funders will take note and support this aspect of the work in particular. (For now, the project is completely volunteer-driven and has no financial support. Reggi jokes that he may try to support it by selling t-shirts or other umarell-branded merchandise.) Part of my interest in this space is around a question my colleague Erhardt Graeff is interested in: how should we teach civics in a digital age to high school students? Teaching them to identify government projects in their communities and evaluate their success looks like a pretty good start.
I also suspect that a surprising outcome of these monitoring efforts may be increased enthusiasm for EU spending. It’s easy to condemn government spending in the abstract – it’s possible that examining projects and finding them sometimes flawed, but well intended, may lead to more nuanced debate about EU cohesion funds and support for the European Parliament more broadly.
Antonella Napolitano interviewed me and Reggi about Monithon in Perugia, and rightly asked whether citizen monitoring is becoming a mainstream phenomenon. Reggi was clear that it’s not yet – the people involved with Monithon are clearly civics geeks and the folks they’ve been able to bring into the cause. But it’s possible that the Monithon method could bring hundreds or thousands more volunteers to the table.
As I learn more about the citizen monitoring space, I’m finding other inspiring projects like Social Cops, an Indian social monitoring project, that’s brought thousands of participants into projects like monitoring garbage pickup using mobile phones. While Monithon focuses on single projects and on suggesting solutions to imperfect projects, Social Cops leverages network effects, using hundreds or thousands of reports to identify systems that aren’t working well and demanding accountability. I suspect there’s a sweet spot for projects that both leverages networks and asks people to solve problems, not just collect data.
Speaking at the Los Angeles Museum of Contemporary Art last Friday gave me the personal experience of worlds coming together. Friends from different corners of my life came out to see me – classmates from Williams, former volunteers from my Geekcorps days, friends from the internet and social change community and the internet studies world, and wonderfully, a friend I’d not seen since 1988 when we spent a high school summer together at Cornell at a program of the Telluride Association.
Maybe it was Zocalo’s kindness – they published an excerpt of my book, reactions to some of the questions I address from other scholars, as well as inviting me to speak – or the incredible warmth of old friends in the room, but I had a terrific time introducing the book and answering questions about Rewire and the research that surrounds it. Zocalo offers a video of the talk – embedded above – as well as a podcast, should you wish to listen without the uncomfortable sight of me in a suit for 50 minutes. Or you could read their excellent summary of the talk and following Q&A. I believe, at some point, they’ll be publishing a “green room” Q&A with me, which includes me discussing strategies for self-defense in the case of zombie attack.
A few weeks earlier, I had the chance to consider some of the questions I address in Rewire from a different perspective. Colleagues Rodrigo Davies, Helena Puig Larrauri and others organized the Build Peace Summit at the MIT Media Lab, an event that explored ways in which technology might allow people to approach long-standing conflicts and build peace using technology. My talk there was somewhat skeptical, given some of the challenges I’ve seen using web technologies to insulate ourselves instead of building connections. Skepticism aside, I looked for a few hopeful examples I’ve seen of people confronting hateful speech in online spaces and building connections across cultural barriers. That talk is newly online as well, embedded below, for anyone who really needs a double dose of my public speaking this weekend. (If you’re a member of that set, allow me to suggest that there are many better things you could be doing with your life.)
Thanks to the hosts at both events.
It’s nearing a year since my book, Rewire, was published. I’m thrilled that some critics have liked it, and that it’s had some recognition, notably from the lovely folks at Zocalo, who are hosting me at the Los Angeles Museum of Contemporary Art this evening to speak about the book. Last week, I had the pleasure of speaking about Rewire with Italian journalists and activists at the International Journalism Festival in Perugia, Italy, where friends Luca diBiase and Jillian York were kind enough to share the stage with me and discuss the potentials and limitations of digital cosmopolitanism and the ways in which the internet does and doesn’t connect our conversations.
The most satisfying outcome of the book, though, has been working with colleagues to build new tools that might help us break out of our cognitive bubbles and experience a wider world. Last year, Nathan Matias and Sarah Szalavitz developed a tool called Follow Bias that examines who you follow on Twitter and offers a simple overview in terms of men, women and brand and bots. If, like me, you discover you’re following a lot more men than women, Follow Bias can act as an encouragement to broaden your horizons and find new, remarkable women to follow.
— Hanan Abdel Meguid (@hmeguid) May 7, 2014
I showed the tool to Hanan Meguid, an Egyptian tech entrepreneur, the other day and she immediately tweeted me to alert me that she was a remarkable woman I should be following. And now I am.
Follow Bias includes a basic recommendation engine, suggesting women other users recommend I follow, and alerting me that I’d need to follow 93 women to raise my personal statistics by 5%. It’s not hard to imagine a version of the tool that’s expanded so it helps you see and address geographic or other biases in who you’re paying attention to on Twitter.
Catherine d’Ignazio’s Terra Incognita tracks geography, not gender. If you’re a lucky alpha tester of the tool, Terra Incognita lives in your Chrome browser and keeps track of what news stories you read and what cities are mentioned in them. When you open a new tab in Chrome, you’re greeted with the map of a city you’ve not read about and suggestions for articles you might read about the city. There’s a game layer to the system – you can gain credit for reading the most articles about a city, or for suggesting the best reading for that city.
Part of the challenge of building Terra Incognita has been finding appropriate, engaging readings associated with a thousand global cities. (Each UN member nation is represented by at least one city, even if it’s tiny. After that, the list includes cities with urban populations of over 100,000 or so.) It’s one thing to catch a glimpse of a city on a map, and something significantly more complicated to find a reading that offers an introduction to what makes a city unique and worth knowing about.
Since Catherine began working on this project, my attention has been drawn to projects that give you a glimpse of what life looks like in an unfamiliar part of the world. Part of what makes Terra Incognita such a beautiful system is that (once you’ve installed it), it offers you a glimpse of somewhere unfamiliar every time you open a web browser. These invitations to wander, I think, are all too absent from a vision of the Internet that’s often obsessed with efficiency, with giving you exactly what you want, when you want it.
My friend Kevin Slavin and his students have been working on a poetic and beautiful project based around the idea of multiple, sustained glimpses of another person’s life. 20 Day Stranger is a mobile phone application that matches you with a geographically different stranger. For twenty days, you and your partner catch glimpses of each other’s life, photos selected from Flickr and Foursquare that illustrate places you’ve been near, without revealing your exact location. The ap tells your partner when you’re moving or still to provide context, but offers no interaction with your partner until the end of the 20 days, at which point you have an opportunity to send a single message. Kevin’s partner on the project is the Dalai Lama Center on Ethics and Transformative Values, suggesting that there’s a deep significance to watching – and, perhaps, caring – about someone from afar.
The notion of offering a glimpse into another part of the world is not a new one: “video wormholes” are continually open videoconferencing channels that attempt to link distant offices or workspaces, allowing casual interaction between people who work together but would rarely meet in the halls. There’s one in the corner of MIT’s State Center, connecting a lunchroom there to one at Stanford. I’d love to do a project that connects similar but distant locations across languages and cultures – a KFC in Canton, Ohio with one in Guangzhou. But I suspect some of the most effective tools for unexpected encounters with a wide world are inadvertent.
I heard about Larry Larson’s 4’33” ap on TLDR, On the Media’s short-form net culture podcast. (I’ve been publicly revealed as a podcast addict this week, so there’s no reason to keep hiding my habit.) 4’33”, of course, is John Cage’s most famous composition, a piece of music where the sound is the “silence” of the performance venue, which is far from silent (as all spaces are.) The 4’33” ap invites users to record a performance of 4’33” in their own space and upload the results.
The 4’33” ap site features a map of recordings, each a 4’33” snippet of silence… which often turns out to be the fascinating and intricate background noise from a different corner of the world. (You need to purchase the $0.99 ap to enjoy the silence. Yes, it was all I ever wanted, all I ever needed.) It feels a bit odd to assemble a playlist of silences, but the net effect is a much quieter version of exploring We Are Happy From, the remarkable collection of georemixes of Pharrell’s “Happy”.
I’m a country mouse: the only city I’ve ever lived in is Accra, and that was twenty years ago. I’ve never developed the big city habits of averting my eyes from an unblinded window. When I stay in big city highrises, I inadvertently end up staring into other people’s living rooms, kitchens, bedrooms. I think we need ways to catch glimpses of each others’ lives, locally and around the world, that somehow balance the power of serendipitous connection and protection from the creepiness of voyeurism. I’m glad smart people are working on the problem.