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Re:publica Keynote: The System is Broken – That’s the Good News

I’m at the wonderful Re:publica conference for a single day, racing home to teach tomorrow… and thus far I’ve given a keynote and done over 12 interviews, so I haven’t gotten the whole feel of the conference yet. Still, it’s one of the most wonderful and high energy venues I’ve ever spoken at, and I’m having a great time.

My talk this morning focused on civics in the age of mistrust. The organizers (wisely?) put a different title on it, but the audience clearly got the core idea: we’re at a moment in time where mistrust in institutions is at a very high level, and any approaches to revitalizing public life or fixing civics needs to start from understanding mistrust and harnessing it productive.

At some point soon, I hope to annotate my speakers notes, likely on FOLD. But here are the rough ones now, for those who missed the talk, or for those who are interested and want to know what I meant to say.


I want to begin my talk by showing you a christmas gift I received in 2012 from my friend, journalist Quinn Norton.

quinnsbrick

I received the postcard a few weeks after she published an essay that was both brilliant and troubling. It was titled “Don’t Vote” and it was, in part, an apology to her great-grandmother, who had marched in the streets to demand women’s right to vote, the right Quinn was now urging us to stop exercising. She writes “I have decided that I am on strike as a voter, until voting means something.”

Quinn is opting out of voting not out of ignorance, but out of knowledge and frustration: with gerrymandering, with legalized corruption, and with her growing sense of impotence at changing these problems through the ballot box. She closes the essay by urging us to “let your body be your ballot” – to make change in how you act in the world, what you stand for, for how the organizations you work with or companies you work for treat people.

Her postcard is a much simpler statement: it’s an elegant essay reduced to a cartoon. The picture is of a brick with a logo that’s unmistakeable to any American voter – it’s the sticker you receive when you vote. It’s like the ash they smear on your forehead on ash wednesday – visible, public evidence that you’ve done your civic duty. The postcard is a cartoon, not a concrete suggestion: it’s not an encouragement to riot so much as it is a reminder that participating in a system that’s badly broken is an endorsement of it

Quinn wrote her essay after spending much of a year reporting on Occupy, while embedded within the movement, visiting 14 of the camps, and wrote a moving eulogy for Occupy in Wired. In her reporting, she is clear that she was in, but not part of, Occupy, covering it as press and treating it with the seriousness that it deserved, as clear evidence of people dissatisfied with how systems are working and looking for ways to change them, or replace them with something different.

I pinned Quinn’s brick above my desk so that I would look at it every day.
represented a tension between two sorts of civic engagement that I have been losing faith in: electoral, representative democracy and public protest.

I’m certainly not the only one losing faith in democracy’s ability to make change. We are seeing falling voting rates in the United States, with 2014 registering the lowest turnout in history for a US congressional election.

And the US is not alone. 2014 also saw the lowest turnout for an EU parliamentary election, and while EP elections always have lower turnout than national elections in Europe, both have been trending down in Europe since 1979, much as they have been in the US.

Lots of reasons have been offered for why participation in voting is decreasing. Many of these explanations blame the ignorance or laziness of voters: if only we weren’t so distracted by our phones and the internet, if only we weren’t so lazy, we’d take part in our critical civic duty. But this argument misses the critical fact that while participation in elections is shrinking, we’re experiencing a golden age of protest. And say what you will about people who take to the streets to protest their government, they may be many things, but they’re not lazy.

Protests are an essential part of democracy. They can be deeply effective as a way of demanding immediate change from those who are in power. Last week, my country watched people come out into the streets in Baltimore, NYC, Boston to protest death of Freddie Gray, a young man fatally injured after he was arrested by local police. After a week of protests, six police officers are now facing murder and manslaughter charges. Certainly doesn’t always work, but it can be powerful in forcing institutions to do the right thing

Protest gets more complicated when you’re not protesting a single incident and demanding a response, but protesting against a larger system that’s broken.

2011 was a pivotal year for protest with the arab spring protests, a wave of popular protests legitimately seeking to change oppressive governments. They’ve had a mixed outcome, as governments have gotten better at fending them off. The current tally gives us one clear success (Tunisia), three civil wars (Syria, Libya, Yemen), violent repression (Bahrain, Sudan), and the deeply complicated case of Egypt, where a successful revolution led to election of Islamist government, popular protests led to a military coup.

We’ve learned that protests are good at counterpower, at ousting a surprised and unaware government, but that protests have a much harder time building governments than toppling them. Even though it’s philosophically more easy to be excited about protests leading to revolution in monarchies than in democracies, by the middle of 2011, democratic movements in Europe, North and South America had picked up the spirit of the Arab Spring and turned it into an anti-politics movement – protesting against repressive and disempowering systems, not against singular injustices.

In Spain, the Indignados movement brought people into the streets, starting on May 15, 2011. Activists protested unemployment brought on by austerity policies, lack of opportunities for young people, and a general sense that Spain was being run on behalf of a wealthy elite at the expense of ordinary citizens. While the movements in the streets ended within a year, some supporters of the movement have build the political party Podemos, which is the second largest in Spain by number of members, but finished 4th in recent elections with only 8% of the vote.

The Occupy movement, began in NYC on September 17, 2011 with Occupy Wall Street. The movement focused on inequality, financial corruption, housing and college debt burdens, and had some measurable successes on local scales, fighting eviction and buying back outstanding debt. It has brought discussions of inequality into the political dialog in the US, and has helped establish a template for protest globally, with movements like Occupy Central in Hong Kong adopting tactics and rhetoric… but even its most ardent supporters will concede that the movement has not led to major changes to the US political or economic system.

These protest movements throughout Europe, North and South America have demonstrated huge energy and enormous popular support. But it’s hard to point to tangible, systemic changes that parallel the scale of mobilizations that have taken place. This may point to a paradox of these broad, anti-political protests in democracies. Unless you’re going to overthrow a democratically elected government, the likely outcome of a protest is that you’re going to get invited into government to try to fix things. And as activists throughout history have figured out, fixing the problems of inequality, corruption and lack of opportunity is a lot harder than motivating people to protest against them.

I want to offer two other reasons to be skeptical of systemic change through protests.

Zeynep Tufekci is a brilliant scholar of social change and of protest. She conducted fieldwork focused on the Gezi Park protests, which brought at least 3.5 million Turks into the streets of 90 Turkish cities from May to August of 2013. Zeynep reports that the rallies featured an incredibly diverse group of protesters – from ultranationalists to gay and lesbian rights activists – and that they fell apart very quickly. While they were dramatic, they were also incredibly ineffective. The one shared objective of the movement – ousting Erdoğan – failed utterly, as Erdoğan was elected president in 2014 without need for a run-off.

Why? Zeynep argues that it’s much, much easier to bring people out to protest than in years before – you can organize on Facebook, report on Twitter, livestream on UStream and now on Periscope. Combine all these channels for mobilization with a message behind the protests that was maximally inclusive – quoting a poem by Rumi, the movement’s motto was “Sen de gel” – You come, too! But in years past, took months of organizing behind the scenes to bring 50,000 people in the streets. Bringing 50,000 meant that you’d held meetings with different groups and made deals and compromises to find a common agenda. Now you can bring out 50,000 people by announcing what you’re against and inviting people to join you. But when the authorities crack down, or when it comes to turn from mobilization to making demands and setting an agenda, movements split and dissipate much more easily – and political leaders know this, and are less threatened by a million in the streets today than they were by 50k a decade ago. What we may be building in the wake of the Arab Spring and the Occupy protests, Zeynep warns, is a form of protest that can mobilize but can’t set an agenda or build a movement.

If that sounds like bad news, here’s some worse news from another scholar, Ivan Krastev, chairman of the Center for Liberal Strategies, in Sofia, Bulgaria.
He worries that even if protests like the Indignados or Occupy succeed in ousting a government, much of what protesters are asking for is not possible. “Voters can change governments, yet it is nearly impossible for them to change economic policies.” When Indignados grows into Podemos, Krastev predicts that it’s going to be very hard for them to truly reverse policies on austerity – global financial markets are unlikely to let them do so, punish them by making it impossibly expensive to borrow

Krastev offers the example of how Italy finally got rid of Silvio Berlusconi – wasn’t through popular protest, but through the bond market – the bond market priced italian debt at 6.5%, and Berlusconi resigned, leaving Mario Monti to put austerity measures in place. You may have been glad to see Berlusconi go, but don’t mistake this as a popular revolt that kicked him out – it was a revolt by global lenders, and basically set the tone for what the market would allow an Italian leader to do. As Krastev puts it, “Politics has been reduced to the art of adjusting to the imperatives of the market” – we’ve got an interesting test of whether this theory is right with Syriza, a left-wing party rooted in anti-austerity protests now in power, and facing possible default and exit from the Eurozone this month. What Krastev is saying is really chilling – we can oust bad people through protest and elect the right people and put them in power, we can protest to pressure our leaders to do the right things, and they may not be powerful enough to give us the changes we really want.

If you’re feeling depressed at this point in the talk, that’s a good thing – it means you’re listening. But it also means that you may be looking for a new way forward, a third path between elections and protest. And for a lot of people – particularly for people like those in this room – we’ve hoped the way forward is through technology, through the mobile phone and the internet and the ways they might make engaging with society more fair, more participatory, make governments more responsive and closer to the will of the people.

I’m part of the first generation to use and build the world wide web – I dropped out of graduate school in 1994 to help found one of the world’s first social media companies. Like a lot of people who were working on the internet in the mid-1990s, I wasn’t there for the money, because frankly, no one was making money online at that point. I was there because people believed that the internet was going to change the world.

We believed that the internet was going to oust powerful companies that dominated markets with monopolies and make it impossible for other monopolies to take their place, because it was so easy to create new businesses online that no one would ever control the whole market for something as essential as search or online messaging.

We believed that the internet routes around censorship and that publishing online would allow people to speak freely, that censoring the internet was like nailing gelatin to the wall, as President Clinton once said, and that when countries like China encountered the internet, their governments would fall as people learned how they were controlled and manipulated.

We believed that the internet would let people interact with each other in new and honest ways, because no one knew who we were online. In a space where no one knew whether you were male or female, black or white, European or African, we would overcome the prejudices of the offline world and have conversations that were fully inclusive of all perspectives.

We believed that governments didn’t care what happened online, that they weren’t paying attention to it, and that if they were, the internet was far too vast to monitor all of it, and that even if they did, the companies we were using to communicate would protect our privacy, and that we could use unbreakable encryption to protect anything that truly needed to be secret.

In other words, we believed a lot of dumb stuff

It turns out that the internet doesn’t magically make the world a better place. We’re starting to wake up to that now – when the inventor of the World Wide Web launches a campaign to build “the web we want”, a web that’s very different from the one we’ve all built over the last twenty five years, it’s a pretty clear sign that this remarkable technology alone doesn’t transform the world in the ways we might hope

Of all the missed opportunities and wrong turns, the most disappointing may be the way the internet has failed to transform politics and government.

Some hoped that the internet would transform elections, making it easier for exciting new and unknown candidates to build a political base and take power. It works, sometimes – I had lunch yesterday with my favorite German politician, Malte Spitz of the Green Party, and it’s hard to imagine him getting elected without the internet. But it turns out that existing political parties have gotten very good at using the internet to raise money and disseminate propaganda, and to target advertising to persuade us how to vote for candidates who aren’t using the internet to solicit ideas and input.

We hoped that by demanding transparency, we would expose waste and corruption and make government more responsive and efficient. But it turns out that it’s a long path from releasing data sets to exposing systemic flaws in governance, and that it’s a task that requires not just coders, but journalists, artists, storytellers and activists. Even when we’re confronted with a trove of secrets, leaked diplomatic and intelligence documents, it takes enormous work to turn leaks into revelations and into actions. Transparency is a neccesary but not sufficient requirement for change.

We hoped that we as citizens might take on the work of actually crafting and shaping legislation, stepping back from the compromise that is representative democracy to participating directly in writing the laws that govern our societies. And while we’ve had precious few successes, it’s worth celebrating those victories we have, like the Marco Civil Do Internet in Brazil, written not only by professionals, but by a thousands citizens. Ronaldo Lemos and his colleagues at the Institute of Technology and Society in Rio are releasing a new platform, Plataforma Brasiliana, which will make it easier to collectively author legislation, but questions remain: yes, surpremely geeky Brasilians were willing to take time to author laws about the internet, but will anyone show up to write better tax policy?

Micah Sifry, co-founder of Personal Democracy Forum, is one of the smartest people thinking about the internet and politics, and he’s recently published a brave and terrific book, The Big Disconnect: Why the Internet Hasn’t Transformed Politics (Yet). It’s brave because Micah thoroughly acknowledges that we haven’t gotten what we wanted from twenty years of bringing the internet to politics – indeed, in the US, our politics on a federal level are far worse than they were two decades ago. Fixing this is going to require us to build some tools that are very, very difficult to build. We need to solve the hardest problem in politics – how do you let people deliberate at scale, so that people can work together to build movements, to advocate for issues, to work together with elected officials to bring new solutions into the world. And he’s hopeful that people may be starting to build these tools, looking to people like Pia Mancini, the leader of Argentina’s Net Party, which is building Democracy OS, a set of tools that let citizens vote on policy proposals and work with legislators in the Net Party to promote new legislation.

I think Micah’s right that we need new tools. But I think the problem is even deeper than he imagines. When you ask Americans whether they trust their government to do the right thing most of the time, 24% answer yes. That’s down from 77% in 1964. For my entire lifetime, there’s been only one moment when a majority of the American people trusted the government to do the right thing… and that’s the moment George W. Bush was leading us into a disastrous war in Iraq.

But it’s not just confidence in government that’s dropping in the US – it’s trust in institutions of all kinds. From the 1960s to now, Americans tell you that they have less trust in newspapers, in churches, in non-profit organizations, in corporations, in banks, in the medical establishment. The only institutions where trust is increasing in my country are in the military and the police (though trust in the police is changing very quickly right now.)

I don’t have data at the same granularity for European nations as I do for the US, and I don’t want to make the mistake of treating European nations as a group, but I want to note that one survey sees several European nations has having a bigger problem with institutional mistrust than the US. Edelman’s Trust Barometer is built annually by asking 1000 citizens in each of 33 nations questions about whether they trust the government, NGOs, business and the media. They found that trust is at an all time low, and that Germany, Italy, Poland, Spain, Sweden and Ireland all have a lower level of trust in institutions than we are experiencing in the US.

I don’t know what’s causing this increase in mistrust in the US and Europe – I don’t think it’s a single thing, but a combination of factors. Inequality is on the rise, globally, as Thomas Piketty has been telling us, and it’s easy for trust to decline when we feel like very few people are getting rich and we’re getting poorer – whether we blame government, corporations or banks, we lose trust in those institutions. Transparency, for all its benefits, means that we know more about the failings of institutions, about corruption or just sheer incompetence – it’s hard to learn about the causes of the 2008 financial crisis and come out with trust intact in the global financial system and those responsible for regulating it. The professionalization of politics has something to do with mistrust – once we start seeing politicians as a different class of people rather than as people like us, representing our interests, we don’t trust them to have our best interests at heart. I think mistrust can come from a sense of powerlessness – if governments and corporations and the media can’t rally together and make real progress on a critical issue like global warming, are they really as powerful as we think they are?

I fear that mistrust has something to do with globalization, and increasing diversity in our societies. Mistrust began to rise in the US during the reforms of the civil rights era that began ensuring equal rights for African-American citizens… and it’s possible that people started trusting governments and universities less when they were providing services not just to people like them, but to people of other ethnic or national backgrounds. This might be a way to think about euroskepticism and rising nationalism, as some people mistrust institutions that are redistributing wealth across the continent to people they identify as “other”

Political scientist and economists are generally pretty scared of mistrust. There’s a low level of mistrust that you need to have a liberal democracy function: the legislative, executive and judicial branches all look at each other with a low-level of mistrust so that they’re able to act as checks and balances to each other. But high levels of mistrust end up being corrosive. If people don’t trust banks, they don’t deposit money and eventually the bank can’t make loans. If people don’t trust governments, they don’t pay taxes and the government can do less and less. Institutional mistrust is corrosive in large doses – it leads to societies where we interact and trade only with people we trust deeply, like family or tribe.

Many of my friends around the world who are trying to revitalize interest in civics are working to increase the trust in institutions. Whether they’re encouraging people to monitor elections, releasing government data sets or helping cities find and fill potholes, they’re working to lower the cost of civic participation and give people a better chance to have a positive experience with the institutions they’re affected by. I think this work is important and admirable, but I also think it’s not nearly enough to tackle the problems we face today.

The radical idea I want to put forward is that we can’t reverse the rise of mistrust. Instead, we’ve got to figure out how to channel it productively. We have to start treating mistrust, our deep skepticism of the institutions in our lives and in our communities into a civic asset.

I’m seeing at least three different ways people are learning to harness mistrust. In our research at Center for Civic Media, we’re seeing a great deal of civic activism that’s unfolding outside of government institutions. People who have a high degree of frustration and mistrust, but who are finding ways to make change outside of winning elections and passing laws.

In his book Code, Lawrence Lessig observed that there are at least four ways we regulate behavior in our societies. We pass and enforce laws to prohibit certain behaviors; we use markets to make some behaviors expensive and others cheap; we use code and other architectures to make some behaviors technically possible or impossible; and we use norms to make some behaviors socially desirable and others taboo. When we lose faith in some kinds of institutions, say in governments’ abilities to pass and enforce good laws, we see people channeling their desire for change towards code, towards markets and towards norms.

I’d like to see European governments take action to prevent the massive violations of privacy we’ve seen committed by the NSA, but I have very little faith that the American government will make significant changes to prevent the sorts of violations revealed by Edward Snowden. And since I don’t have very much faith in my government to make these changes, it’s exciting to see projects putting their faith in code to make surveillance far more difficult by making use of strong encryption routine. Mailpile, Mailvelope, Tor, Whisper Systems, The Guardian Project – these are all people channeling their frustration and mistrust into making change through code.

I’d like an international binding carbon tax, but it’s hard to have faith that the UN and other international institutions will find balance between countries like China and India, that want to give billions of citizens a better lifestyle, fossil fuel producing nations, and nations like mine where a remarkable percentage of people aren’t convinced that human beings have a role in causing climate change. But even if I’m skeptical of governments and international institutions, I can look to the market, to companies like Tesla, trying to build beautiful and exciting electric cars, and to entrepreneurs around the world working to make solar power not only the most sensible way to produce power, but the cheapest.

Many of the hardest problems we face worldwide are problems of human rights, of protecting the rights of minorities from the actions of majorities. It’s critically important that we legislate to protect the rights of all people, but it’s not enough when we lose trust in the institutions designated to protect those rights, as is happening with Americans and our police forces today. Protecting the rights of minorities, whether it’s African Americans in my country, or the Roma in Europe, requires us to change norms, to address our basic beliefs. Around the world, we’re seeing people working to change norms by making media and building movements – the #blacklivesmatter movement has created a narrative that is forcing American law enforcement to face that they’ve got a real and persistent problem with racial bias and may be the first step towards making real change.

So one way to harness mistrust is to try new theories of change, to look for ways we can make change through markets, code and norms. Another way to harness this mistrust is to become engaged, careful critics of the institutions we mistrust.

Luigi Reggi was working for the Italian government, building a massive open data system so that people could see where EU funds were being spent in his community. He built a gorgeous open data portal, but found that not only did most people ignore the data he worked to present, but they also had a general sense that Italy wasn’t getting its money’s worth from these EU projects. So, working outside the government, he started something new. Monithon is a project that invites people to monitor an EU funded community project, to ask hard questions about whether the project ever got completed, whether it’s working well or at all, whether the project meets a community’s needs. Their biggest partner is Libera, a group that works to identify and resist the role of the mafia in Italy, and they’re mobilizing not just seasoned activists to monitor the effectiveness of EU projects around Italy, but high school students, who are now taking on evaluating these projects in their community as a hands-on lesson in citizenship.

I call this idea “monitorial citizenship”, and my students and I have been working on ways we can make it work at scale, inviting thousands of people to take on the task of monitoring their government not just as a one-time thing, but as essential and important a task of citizenship as voting. We’ve launched a project in Sao Paulo, Brazil, where the mayor, Fernando Haddad, started his term by publishing 100 concrete promises – I’ll put this many streetlamps in this neighborhood, build this many new low-income housing units. He held elections for over 1000 citizen monitors whose job it is to see that the mayor lives up to these goals. And we’ve built a tool that lets citizens meet and decide what infrastructures they want to monitor in their communities – schools, playgrounds, sidewalks – and quickly build a survey that anyone with a smartphone can take. The data they collect – the photos, GPS locations, questions they answer – get posted to a shared map which can be shared with the government or with the press, or used by the community to self-organize and take on these challenges directly. We launched it three weeks ago in Sao Paulo and it’s popular enough that we’ve expanded projects into nine Brazilian cities, working with neighborhood and community groups.

Here’s the interesting thing about monitorial citizenship – sometimes you find that your mistrust of institutions is deserved, and you’ve got data to back up your suspicions. And sometimes you discover that the people who represent you are doing a better job than you’d imagined. It’s a model that can turn mistrust into advocacy for change or can lessen mistrust, and it works as well if you’re auditing the promises a company, a university or a government makes.

Some of the most exciting mistrust-fueled work I’m seeing looks at the idea that we could eliminate institutions altogether, building systems designed from the ground up to be decentralized. One of the first times I was in Berlin, more than ten years ago, I watched the folks from Freifunk build a mesh network that spanned the entire city, a network with no single point of failure and no single internet service provider in charge of it. This same impulse, to build systems that have no center, is what’s animating the interest in Bitcoin, a currency that doesn’t force us to trust central banks or currency policies, whose faith is in algorithms and distributed computation, not in the institutions that failed so badly in 2007.

These three approaches – building new institutions, becoming engaged critics of the institutions we’ve got, and looking for ways to build a post-institutional world – all have their flaws. We need the new decentralized systems we build to work as well as the institutions we are replacing, and when Mt. Gox disappears with our money, we’re reminded what a hard task this is. Monitorial citizenship can lead to more responsible institutions, but not to structural change. When we build new companies, codebases and movements, we’ve got to be sure these new institutions we’re creating stay closer to our values than those we mistrust now, and that they’re worthy of the trust of generations to come.

What these approaches have in common is this: instead of letting mistrust of the institutions we have leave us sidelined and ineffective, these approaches make us powerful. Because this is the middle path between the ballot box and the brick – it’s taking the dangerous and corrosive mistrust we now face and using it to build the institutions we deserve. This is the challenge of our generation, to build a better world than the one we inherited, one that’s fairer, more just, one that’s worthy of our trust.

Thank you.


Introducing FOLD, a new tool (and a new model?) for storytelling

This morning, Center for Civic Media at MIT is releasing a new publishing platform, FOLD. Alexis Hope (a Masters student in my lab) and Kevin Hu began working on FOLD when they were students in my class News and Participatory Media. The class asks students to take on a reporting task each week, using existing tools or building new ones to solve a particular challenge. FOLD was Alexis and Kevin’s solution to a challenge I put forward around writing “explainers”, articles designed to provide content for stories that give incremental updates to a larger story (and to develop an appetite for those stories based on deeper understanding of their significance.)

Alexis and Kevin took seriously an idea I put forward in the class – the idea of explainers with an accordion structure, capable of shrinking or expanding to meet a reader’s need for background information. Alexis and Kevin built a story that could compress into a list of half a dozen sentences, inflate to a six-paragraph essay, or expand further into a rich multimedia essay with maps, images and videos appearing alongside the text. The class loved the idea, and Alexis decided to take on developing the platform as her Masters thesis. Kevin continued collaborating with her while pursuing a different project for his thesis, and Joe Goldbeck joined the team as a lead developer.

FOLD Authoring preview from Alexis Hope on Vimeo.

What’s emerged after a year’s work is fascinating and full-featured tool that allows for a novel method of storytelling. Stories on FOLD have a trunk and leaves. The trunk is text, with a novel form of hyperlinks – instead of linking out, they link to cards that appear to the right of the trunk and show images, videos, maps, data visualizations. They can also contain other text or links to the web. This has the effect of encouraging massive linking within stories – rather than a link potentially leading someone away from your webpage, it builds a stronger and richer story on the site.

While I’ve had the pleasure of advising Alexis on her thesis, FOLD is emphatically not my project – had you asked me a year ago, I would have told you that the last thing the world needs is a new content management system. But it’s been fascinating to try writing on FOLD and discovering the ways in which it’s a tool I’ve wanted and needed for years. I often write posts with hyperlinks every other sentence and trust my readers to check those links to understand the whole story… while realizing, of course, that very few do. FOLD brings those references to the front, capturing some of your attention in your peripheral visionas you read the core, trunk text. It’s incredibly easy to add media to a story in FOLD, and I find that when I write on the platform, I’m far more likely to include rich imagery and video, which makes my stories visualizable and understandable in a very different way than blog posts.

Screen Shot 2015-04-21 at 1.11.58 PM

Alexis, Kevin and Joe are launching FOLD without a clear business model. I think that’s a good thing. I don’t think we know what FOLD is good for yet, and I think that’s exciting. It’s possible that FOLD becomes an alternative to platforms like Medium, a place that encourages people to write beautifully on a beautiful platform. Perhaps it becomes something like WordPress, which hosts content for millions of people as well as maintaining an incredibly robust platform for independent publishers. (Not only are we releasing FOLD as a platform, but as an open source codebase.) Maybe it’s a tool for a radically new form of writing, perhaps stronger for literary than journalistic writing. Maybe some of the ideas of the platform are adopted into other systems and the influence of Alexis, Kevin and Joe’s thinking spreads that way. We don’t know, and that’s exciting.

For me, personally, I’ve loved the experience of seeing something cool and potentially influential coming out of our lab that wasn’t my idea and which I’ve helped guide, but emphatically haven’t built. This feels like a shift in how I’m trying to work in the world, and one I’m starting to get comfortable with.

Like many people of my generation, I’ve changed jobs several times in the past twenty years. Rather than switching firms, I’ve also shifted careers, moving from a dotcom startup to founding an international volunteering agency, to academic research (and co-founding another NGO) and finally, at age 39, to teaching at the graduate level at MIT.

When you change careers, some skills transfer, and some don’t. The shift from research to teaching was far sharper than I’d expected. There’s an unkind saying, “Those who can’t do, teach.” I’d offer a rewrite: “Teaching well forces you to stop doing things, and focus on helping others do things.” I build less, and write less, than before I came to MIT. But I coach more, listen more, and I’m starting to love the experience of watching projects I help advise coming to life.


Glyph from Savannah Niles’s story about Cuba

One of the most beautiful stories I’ve seen produced with FOLD is “What You Need to Know About the Cuban Thaw”, written by Savannah Niles (also for my News and Participatory Media class.) The story is illustrated with animated, looping GIFs, produced with a tool Savannah has been building for her thesis called Glyph. I’m one of the readers on Savannah’s thesis, and while I’ve thought these images were very beautiful, I didn’t understand what they were for until I saw them in this story. They add a sense of motion and life to stories without interrupting the reading experience as videos end up doing. This experience of supporting work I don’t understand and then discovering why it’s important – with Glyph, with FOLD, with dozens of projects around the Media Lab and in my broader work on Civic Media – is one of the most exciting experiences of my career.

I hope you’ll give FOLD a try and help us figure out what it’s for. Let us know what works, what doesn’t, what you want and where you think the project should go.


The Civic Statuary Project

The University of Cape Town removed a controversial statue of British colonialist Cecil Rhodes last week, after a month of student protests. Rhodes, who build the De Beers diamond empire, was an unrepentant imperialist whose wealth came from purchasing mineral rights from indigenous leaders and turning their territories into British protectorates. Under his rule in Cape Colony, many Africans lost the right to vote, a step which some scholars see as leading to enforced racial segregation in South Africa. While Rhodes made major donations to charitable causes – including the land the University of Cape Town sits on – his legacy is a challenging and difficult one for many South Africans.

A month ago, student activist Chumani Maxwele emptied a bucket of excrement on the Rhodes statue on the UCT campus. Subsequent protests against the statue including wrapping it in black plastic, smearing it with paint and covering it with graffiti. When the statue was pulled down, protesters beat it with belts and chains as it was hauled away.

beatingrhodes

Protests against the Rhodes statue received widespread support online, spawning the hashtag #RhodesMustFall, and inspiring other attacks on statues throughout South Africa. Statues of Queen Victoria and George V have been splashed with paint in Point Elizabeth and Durban. Statues of Afrikaner leaders and Boer War generals have been targeted as well. The attack that’s received the most international attention was a defacement of a statue of Mahatma Gandhi in Johannesburg, part of a protest that argued that the revered activist had worked with the British colonial government in South Africa to promote segregation.

Statues are one of the oldest forms of figurative art, dating back at least to 40,000 BCE with the Lion man of the Hohlenstein Stadel. In ancient Egypt, Pharaohs were memorialized with Sphinxes, massive limestone statues that dominated the landscape – we might think of these as the first civic sculptures, public art designed to honor religious and political leaders. Fifteen hundred years later, Greek sculptors- who had previously portrayed mythological figures – began honoring political leaders in bronze and marble.

Statues erected for civic reasons are also torn down for civic reasons. Seven days after the Declaration of Independence was signed, General Washington’s troops tore down a statue of King George III that had been erected in 1770 in Bowling Green, a small greenspace at the southern tip of Manhattan Island. The decision to tear the statue down was practical as well as symbolic – the two tons of lead in the statue were turned into 42,000 musket balls for the use of revolutionary soliders. Statues of leaders who’ve been ousted are often torn down, sometimes spontaneously, sometimes with the help of conquering armies.

US marines pull down a statue of saddam hussein on
Statue of Saddam Hussein in Firdos Square, Baghdad, torn down by the US marines.

It’s not only political leaders whose statues fall. In the wake of revelations about widespread sexual abuse by Penn Statue football coaches, a statue of Joe Paterno was removed by the university. The decision to remove the Paterno statue has been controversial, and a crowdfunding campaign has raised funds for a new Paterno statue in downtown State College, Pennsylvania, two miles from the university campus.

While statues are one of the oldest forms of civic artwork and technology (their only rival for age is the cave painting), they still gain attention when people erect them today… especially when they are erected without permission. On April 6th, a small group of artists placed a bronze-colored bust of NSA whistleblower Edward Snowden atop a pedestal in Prison Ship Martyrs Monument in Fort Greene Park, Brooklyn. By mid-afternoon, the bust had been covered with tarpaulins, and later that day, it was removed entirely. The bust took over six months to construct, and cost tens of thousands of dollars to design and deploy.

snowden projection

Frustrated by the brief lifespan of the Snowden statue, The Illuminator Art Collective – a group of artists not related to the original sculptors – projected a hologram-like image of Snowden on a cloud of smoke behind the pillar. The Snowden projection is part of a tradition of artistic intervention that has used projection to create provocative art in public spaces. Polish-American artist Krzysztof Wodiczko has used projections to bring statues “to life”, turning static war memorials into active spaces for the discussion of war and peace.

(Projection is a powerful tactic for civic activism – see Hologramas Por La Libertad, which is using projections of street protests against the side of the Spanish parliament to make a point about new laws that strongly restrict public protest. But this is a story about statues, not projections, so we’ll honor the effort and move on.)

A few days before the Snowden statue and projection, we found ourselves discussing civic statues in our lab, Center for Civic Media. The issue came up not because we were having a deep discussion about the nature of statuary, but because we moved a worktable revealing an open area that might students and I thought might be perfect for a statue. We began talking about the idea of a statue that could be rapidly deployed, which could change to honor different people at different times, and which would inspire discussion about why someone was being honored as a civic hero.

We built a prototype civic statue using an old projector and a sheet of optical rear projection acrylite. (The Media Lab is the sort of place where sheets of acrylite are just kicking around and folks like Dan Novy are generous enough to lend them out.) For our demo, I decided we would honor Professor Attahiru Jega, chairman of Nigeria’s election commission, which had just conducted a presidential election widely regarded as free and fair in which the incumbent president was defeated. Nigerians on all sides of the political spectrum honored Jega’s role in administering a fair election, and “Jega” began to emerge as slang for being chill, calm and avoiding conflict: “20 people showed up for dinner at his house unexpectedly, but he was totally Jega about it and sent out for chicken.”

This week is the Media Lab member week, where sponsors come to visit our labs and see our projects. We decided to rapidly prototype the statue so we could show it off, with some simple design constraints:

– It should be quickly deployable, easy to set up and move
– It should be relatively inexpensive (our target is a standalone programmable statue that costs under $500)
– It shouldn’t require a specialized photo shoot – it should use available imagery
– It should prompt discussion within the group hosting the statue about who should be honored and how

As we thought about who to honor, I came across this tweet from my friend Liz Henry:

As it turns out, that brave and awesome man was Feidin Santana, a 23-year old Dominican immigrant who heard Walter Scott being tazed and captured footage of his shooting by police officer Michael Slager. As with Prof. Jega, we found an image online, masked it and added text to form a plaque. Savannah Niles, who is working on a project to build smoothly looping animated GIFs that she calls Glyphs, went a step further and built a statue of Santana that moves, subtly.

savannah from Ethan Zuckerman on Vimeo.

Niles explains what a Glyph is, showing the statue of Feidin Santana

Our prototype raises as many questions as it answers. Some are practical: Should this be a single unit, perhaps using a mirror to bounce the projection onto the screen? Will this work only in dim, interior spaces? Others focus on the community aspects: How do we decide who to honor? We held a brief email exchange about who we might feature, and quickly realized that there’s a real problem when people disagree about who should be honored. We’re working on a system that will allow people to propose candidates and select people to be honored by acclaim, rather than by fiat, which is how we selected Prof. Jega, Feidin Santana and feminist scholar and activist Anita Sarkeesian as our first three honorees.

As we work on this project in the long term, I’m interested in taking on a richer and deeper set of questions: What are statues for in a digital age? Is the rapid deployment and impermanence of these statues a feature or a bug? Can new types of statues help challenge long-standing gender and racial disparities in who we honor?

The civic statuary project is an experiment, and we may or may not continue it beyond showcasing it at this members’ meeting. But this question of how societies honor their civic heroes is a rich one, and I hope this experiment – and this blog post – opens conversations about who and how we memorialize.


Honor every death: Paying attention to terror in Baga, Nigeria as well as Paris

This has been an ugly week.

On Wednesday, two Islamic extremists assassinated 12 people in the offices of satirical magazine Charlie Hebdo. The next day, a police officer was killed by a pair of gunmen in another corner of Paris in an apparently related incident. Today, French authorities faced hostage crises at a kosher supermarket in the city, and at a printing plant outside the city. By the end of the week, the death toll was up to twenty – 17 victims and 3 perpetrators – in an tragic week people are starting to call France’s 9/11.

The violence in Paris demands – and has received – widespread media attention. But it has overshadowed some of the other events of an ugly, dispiriting week.

On Tuesday morning, a homemade explosive blew up outside the Colorado Springs office of the NAACP, one of the US’s leading civil rights organizations. The bombing – which the FBI has declared deliberateevoked memories of the darkest days of the civil rights struggle, where activists were the victims of bomb attacks. The NAACP bombing received little mainstream media attention, leading to a twitter campaign demanding coverage of the attack, and sparking discussion about a media tendency to dismiss white terrorists as disturbed, lone-wolf individuals, while seeing other terrorists as representing their race or religion.


Sally Kohn’s tweet from December 21, 2014 is as appropriate now as it was then.

It’s understandable that the tragedy in Paris overshadowed coverage of the NAACP bombing. But it’s harder to explain the scant media attention to another horrific act of terrorism: Boko Haram’s attack on the town of Baga.

Baga is on the border between Nigeria and Chad and has been a key battleground between Boko Haram and Nigerian forces over the few years. In April 2013, the Nigerian army, pursuing Boko Haram killed almost two hundred civilians and burned a substantial portion of the town, leading villagers to flee into the bush. On Saturday, January 3, 2015, Boko Haram seized a military base in Baga, and began launching attacks on townspeople. At least 7,000 refugees have fled into Chad and Niger.

It will likely be weeks until there’s a confirmed death toll from Baga, but Amnesty International’s Nigeria expert believes there may be as many as two thousand dead. The town has apparently been razed to the ground, as http://www.latimes.com/world/africa/la-fg-wn-boko-haram-baga-20150109-story.html#page=1>Boko Haram forces looted, then burned, houses. Since 2011, Boko Haram has killed 16,000 Nigerians, 11,000 in the past year.

Screen Shot 2015-01-09 at 8.03.32 PM

If you haven’t heard about the Baga massacre, that’s not surprising. Most major media outlets have barely covered the story. In the graph above, the orange line is the phrase “Charlie Hebdo”, and the blue is “Baga”. On January 4th, the day after the Nigerian army base fell, the top 25 US mainstream media ran twenty sentences that mentioned Baga. Yesterday, the same news outlets ran 1,100 sentences mentioning Charlie Hebdo. (Today’s count will likely be higher, but Media Cloud is still collecting today’s data, and there’s still four hours in the day.)

Screen Shot 2015-01-09 at 8.09.55 PM

My Nigerian friends have commented that the Baga story is not getting much play in Nigerian media either, and the statistics bear that claim out. Orange represents “Charlie Hebdo”, blue represents “Baga” as above, but now we’re looking at a collection of Nigerian newspapers, radio, television and social media. Baga peaks two days after the military base fell, and coverage of the Paris massacre has been stronger the past three days than coverage of the larger domestic tragedy.

Some commentators note that Nigerian President Goodluck Jonathan has expressed his sympathies to the French government, but not to the people of Borno State killed by Boko Haram. Facing re-election in five weeks, Jonathan is understandably wary of discussing Boko Haram, as it reminds voters that the conflict has erupted under his management and that his government has been unable to subdue the terror group. Jonathan has claimed that a multinational force was combatting Boko Haram, but military sources claim that Nigerois, Chadian and Cameroonian troops have deserted the cause.

I was struck by how little attention the Baga massacre was receiving and tweeted about it earlier today. People have offered helpful speculation on why this is the case. Some theories my correspondents have suggested:

– The victims of the Charlie Hebdo massacre were journalists, and journalists take special care to cover journalist deaths. (I wish this were true. But the alarmingly common killing of journalists in the Philippines suggests that some journalist deaths are more newsworthy than others.)

– Baga is hard to get to, while Paris is a global media city. Easier access equals more coverage. (Certainly true, and certainly important, but given the death toll in Baga, you might expect at least one global news crew to try to reach the scene. AP’s dateline is from Yola, almost 600km away. Reuters is reporting from Bauchi, a similar distance away.)

– Racism. We care more about the white people killed in France than about black people killed in Nigeria. Or, phrased differently, “a hierarchy of death“, in which some deaths always merit more attention than others.

I think this last theory is on the right track, but I think it’s more complex than just racism (though I believe race plays a significant factor.) When I teach “agenda setting” and “news values” (the ways in which some events become news and some don’t), I turn to a 50 year old paper by Johan Galtung and Mari Ruge, “The Structure of Foreign News”. Galtung and Ruge propose a set of twelve principals that they use to explain how events are seen as newsworthy. Four of their rules help me understand the disparities in coverage between the attacks in Paris and in Baga.

Meaningfulness: The central metaphor of Galtung and Ruge’s paper is a shortwave radio – of all the signals we tune into on the radio dial, we are most likely to tune into those that have meaning for us, say a human voice speaking in a language we understand. Meaningfulness includes cultural proximity: we are more likely to pay attention to events that affect people who live lives similar to our own. It’s hard for most of us to imagine living in a fishing village on the shores of Lake Chad and being forced to flee a rebel army. It’s easier to imagine masked gunmen entering our workplace (especially for Americans, where workplace shootings have become tragically common.) Once we’ve placed ourselves in the shoes of the Charlie Hebdo cartoonists, the police protecting them, or the grocery shoppers, the story becomes personally relevant.

Consonance: While news is usually a surprise – a natural disaster, an unanticipated death – Galtung and Ruge argue that we like our surprises to be consonant with narratives we already know and understand. The attack on a major city by violent extremists is a tragically familiar one over the past decade, a story that feels like a continuation of attacks on New York, London, Madrid and Boston.

Unambiguity: We like stories that are easy to understand and interpret – nuanced and complex events are harder to cover than unambiguous ones. A brutal attack by a group opposed to western education and most traces of modernity seems unambiguous, until one reads about the abuses the Nigerian army has committed in combatting Boko Haram. There have been two massacres in Baga in the past two years – the 2013 Baga massacre occurred when Nigerian soldiers burned the village, seeking revenge for military officers killed by Boko Haram, killing almost 200 civilians. Were residents of Baga providing support and shelter for Boko Haram in 2013? Why did those same residents become targets for Boko Haram in 2015? These sorts of questions make the massacre in Baga a hard story to understand and a harder one to tell.

Stories about people: Stories need heroes and villains. Coverage of the Paris attacks has focused on Charlie Hebdo editor Stephane Charbonnier and his willingness to “die standing than live on my knees”, and the long histories of the radicalization of Cherif and Said Kouachi. In Baga, we know neither the names or the stories of the victims or the attackers – it is possible that the attack was led by Boko Haram’s leader Abubakar Shekau, but no one has confirmed, and stories tend to focus on Boko Haram as a mass, rather than on the individual leaders of the movement.

The one campaign that has successfully called international attention to Boko Haram’s abuses is the Chibok Girls campaign, which demanded international attention for 200 girls abducted from a school in Chibok, in southern Borno state. The parents of the abducted girls have made countless media appearances, reminding Nigerian and global audiences of their absence.

If Galtung and Ruge’s principles hold, we shouldn’t expect attention to the Baga massacre to increase in the next few days. It’s too distant, physically and culturally, too complex and devoid of the personal narratives journalists use to draw audiences to complex stories. But it’s critically important that we understand what happened in Baga, not just to understand the challenges Nigeria faces from Boko Haram, but to understand who religious extremism affects.


Retweeted for illustrative purposes. Fuck Rupert Murdoch.

The brutal attacks on Charlie Hebdo’s staff reinforce a “clash of civilizations” narrative, in which Western secular values (freedom of expression, humor, critique) are inexorably threatened by fundamentalist religious values. (Teju Cole provocatively notes that the secular West has rarely been as skeptical and rational as it congratulates itself for being.) The implications of this clash of civilizations narrative are predictable and dire: commenters demand that moderate Muslims explicitly dissociate themselves from horrific criminal acts, implying that those who don’t endorse terrorism; right wing politicians suggest closing borders and deporting Muslims; Muslims face revenge attacks.

Violence from Islamic extremism is a real and frightening problem. So, for that matter, is extremist violence associated with other religions. (See Myanmar for evidence that Buddhists can be violent extremists, or review the 2002 riots in Gujarat for an introduction to Hindu extremism. Or consider Joseph Kony and the Lord’s Resistance Army, whose Christian fundamentalism is as foreign and offensive to most Christians as Al Qaeda’s theology is to most Muslims.) But the majority of the victims of Islamic terrorism are Muslims. According to a 2011 report from the US National Counter Terrorism Center “In cases where the religious affiliation of terrorism casualties could be determined, Muslims suffered between 82 and 97 percent of terrorism-related fatalities over the past five years.” In other words, attacks like the one in Baga, where extremists killed their co-religionists are far more common than attacks like the ones in Paris, where extremists targeted people of other faiths.

Following the “clash of civilization” narrative leads to demonization of 1.6 billion people, 23% of the world’s population. Understanding that terror disproportionately impacts Muslims makes it clear that terrorism is a tactic, a political and military strategy, not a feature of Islam or any other religion. By mourning the dead both in Paris and Baga, we take a step towards understanding that the enemy is extremism, not Islam.


Pronoia, beautiful inefficiency, and an artwork built for one

In the fall and winter of 2013, the writer Rick Moody experienced a set of events designed to change his life. His priest gave him a book, apparently written decades ago (though actually specially crafted just for him), to read with his daughter. It told the story of a secret room, and soon afterwards, Moody was led by friends to his own secret room, a disused hardware store in Brooklyn, where he encountered objects that evoked moments in his life and in the book. Music he encountered in the secret room reoccurred, when the artists orchestrating these events picked Moody up in New York City, flew him to Regina and drove him to an isolated prairie, where he sat in a pavilion made of hay bales and a cellist performed the composition he had previously heard. As the piece escalated, hundreds of performers followed Moody moved through New York, dancing on subway platforms and surrounding him as costumed fools in Brooklyn’s Metrotech Commons. A photo of Moody surrounded by his hundred fools suggests a moment of transcendent bliss.

Moody was the “participant” in a performance titled “When I Left the House It Was Still Dark”, created by Odyssey Works, which “makes large scale, durational, interdisciplinary performances customized for one-person audiences.” The company has been making work since 2002, but as less than two dozen people have served as the audiences for these works, it’s not surprising you may not have heard of them. Writing about the company’s work in 2012, Chris Colin wrote about the “beautiful inefficiency” of this method of working, the absurd and beautiful idea of an immense effort deployed to create an emotional response in a single person.

Odyssey Works is not alone in crafting experiences designed for a single person. Colin offers some reference points for contextualizing works like “When I Left the House It Was Still Dark”: the immersive theatre experiences of Punchdrunk, the producers of “Sleep No More“; works like “You Me Bum Bum Train” that puts a single audience member at the center of a set of scenes in the work. A set of films called “Experiment Ensam” (Experiment Alone) takes experiences normally experienced in a large group – a comedy club, a karaoke bar – and recreates them for a single person. Recently, Experiment Ensam produced a Bob Dylan concert for a single fan, a brief set with Dylan and his touring band at the Philadelphia Academy of Music. The performance was filmed with eight cameras and will be released on YouTube later this month, raising questions about whether the audience was Swedish TV personality Fredrik Wikingsson, who attended the concert, or those of us who will watch it online.

These acts of personalized theatre don’t always go well. Jorge Just produced a memorable story for This American Life about Improv Everywhere, a New York City-based troupe that creates theatrical moments in everyday life. (One of their recurrent projects is the “No Pants Subway Ride”, where subways slowly fill up with passengers who are unremarkable but for the fact that they’ve forgotten their pants.) In the “mission” TAL examines, Improv Everywhere tried to give an unknown indie rock band their best gig ever, recruiting an audience to learn their songs, sing along with the performance and shout out requests for the band’s songs. After the initial elation of playing for a large crowd wore off, the members of the band felt like they had been the butt of an elaborate joke, laughed at by the Improv performers and made fun of online. The tension between Improv Everywhere’s good intentions and the damage it caused the band makes Just’s story striking and poignant. Theatre for one is hard to do well.

Odyssey Works may surprise their participants, but it certainly isn’t ambushing them. Participants are selected through a detailed application process, which begins with an online application that asks about a person’s favorite places in her city of residence and her experiences with pieces of art. The company interviews family and friends, both to recruit them into building the experience for the participant, but also to understand what she is likely to be moved or effected by. In preparing “When I Left the House It Was Still Dark”, the producers read all of Moody’s books, interviewed thirty of his family and friends, and visited him several times before designing the work.

Abraham Burickson, co-founder of Odyssey Works, explains the logic behind this process: it’s about discovering the ideal audience for a piece of art. Artists hope their work moves the audience, but it’s a frustratingly inexact process. Armed with a deep understanding of the participant, the company deploys imagery and ideas designed to evoke a more powerful response than they would in an audience as a whole. “Art that affects you — in any medium — is very specific to you. It’s as if you have a set of subjective protein receptors in your creative-appreciation mind, and the piece is so perfectly engineered to your subjectivity that it can break you open for meaning to flood in. We wanted to see if we could achieve that by crafting an experience that would affect someone even more deeply than a randomly arrived-at occurrence might.”

This working method could be deeply creepy if it weren’t so carefully and lovingly done. Part of experiencing one of these artworks is realizing you’ve been under surveillance for months in advance and that hundreds of people have learned intimate details of your life in order to present this experience to you. In a sense, this is what web advertisers and other purveyors of personalization promise. In this case, it’s done poetically and beautifully. In that sense, it reminds me of Yuletide, in which thousands of authors write custom fan fiction stories carefully tailored for the recipient as an especially personal version of “secret Santa”. Because the Odyssey Works pieces are so immersive, Burickson explains that they tend to create a sense of “pronoia”, an irrational belief that the world is conspiring to do wonderful things on your behalf.

For reasons I cannot explain, the images crafted for Moody – particularly that of a cellist performing a composition in a prairie outside Regina, Saskatchewan – are some of the most moving I’ve recently encountered. They make me wonder about the mechanics of this method – am I responding to imagery that Moody and I happen to share? (I resonate with the prairie, but not the idea of the Cloister, the secret room Moody explores, which seems designed to connect with Moody’s Catholic background and doesn’t trigger a similar receptor in me, a fundamentalist Unitarian.) Or are Burickson and colleagues creating powerful images, inspired by Moody, but elegantly crafted to connect with a wide range of receptive audiences? By identifying an image that resonates profoundly for Moody, are they inadvertently creating deeply potent ideas that would resonate for anyone who encountered them?

Since reading about Odyssey Works, I’ve become somewhat obsessed with the idea. I don’t actually want to be a participant in one of these pieces – it’s overwhelming to think about accepting a gift of that magnitude. Instead, I want to understand what Odyssey Works created and what Moody experienced, to the point where I’m thinking about approaching magazine editors to pitch the story so I’d have the chance to interview Moody, Burickson and his collaborators.

It’s as if Burickson and his colleagues have created a work just for me, not a performance, but an impossibly fertile idea of making art that expands beyond the edges of the page and into every aspect of a viewer’s life. For all I know, the few articles I’ve read are part of an elaborate fiction designed to evoke a particular set of reactions in me as part of a carefully crafted artwork I did not consent to, but am enjoying nevertheless.

In 1994, when I was still pretending to be an artist, my art school roommates and I began designing an elaborate, multi-website fantasy, something that would later be described as an alternate reality game. (One of my roommates was filmmaker Jackie Goss, and we were extending a film she’d made about young women growing antlers.) We never progressed beyond sketches, in part because we never could figure out who we wanted to discover these sites and what we hoped they’d make of them. Twenty years later, there’s something lovely about discovering the same idea, done so well and towards such a beautiful goal.


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