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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.

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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.

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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.)

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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.


Sasha Costanza Chock on Immigrant Rights and Transmedia Organizing

Today’s Comparative Media Studies colloquium features one of our own, Assistant Professor of Civic Media, Sasha Costanza-Chock. His new book, “Out of the Shadows, Into the Streets!” explores the world of transmedia organizing and the immigrant rights movement.

His talk tonight focuses on his background in media making, activism and scholarship, before zooming into the immigrants rights movement specifically, and one aspect of his work, the professionalization and accountability of social movements

Sasha’s background is in the world of independent media, including production of movies like “This is What Democracy Looks Like”, shot and edited by teams of activists working together. On moving to LA to work on his dissertation, he began working on the VozMob platform, a tool that allows people with low-end mobile phones to publish content online. The tool continues to be used by working class immigrants in Los Angeles to document their lives and work.

On coming to Center for Civic Media, Sasha worked with our developers and others to build a hosted version of Vozmob, Vojo.co, which is now used by over 100 groups to collect and disseminate information, including the Sandy Storyline project, which won a major documentary award for their documentation of Hurricane Sandy.

More recently, he’s helped launch Contratados, which is basically a Yelp for migrant workers, reviewing labor brokers, the people who recruit agricultural workers to jobs in the United States. Contratados is a transmedia project, using online tools, radio, paper flyers and others to bring information about immigration rights and practices to vulnerable populations.

Sasha explains that his work is best understood as participatory research, which sometimes looks like media making, sometimes like activism and sometimes like research. This book is based on ten years work in the immigrant rights movement as an activist and scholar.

To understand this space, Sasha uses the concepts of Media Ecology to understand the complex world of English and Spanish language media, online and offline media, as well as concepts like Transmedia Organizing, Social Media Movement Practices, and Critical Digital Media Literacies. He suggests we think about media in terms of a read/write/execute movement – we need to consume media, make it ourselves, and use it to make change in the world. Sasha argues that making media is a critical path towards engagement in activism: making media is often a first step towards a deeper involvement and engagement in activism.

Stepping back to explain the content of the immigrant rights movement, Sasha explains that the immigrants rights community has been deeply disappointed by the Obama administration’s aggressive enforcement of immigration laws – he is often termed “the deporter in chief”. Activists are incensed by a massively expanded immigration enforcement budget, now over $3 billion a year and programs like SCOMM (secure communities), which collects biometric information on anyone who is arrested (even if they are not charged or tried) and checks to see if they have legal status to remain in the US. This program was rolled out as an optional program, but local law enforcement discovered that they would not receive federal monies if they opted out. Many local law enforcement agencies dislike SCOMM, as it tends to break down trust between local law enforcement and communities.

Bills like SB1070 – the “driving while brown” bill, which allowed people to be stopped under suspicions of being undocumented – have been challenged in courts, but there’s a large number of dangerous regulations on the books.

Sasha offers the observation that there are complex economic reasons why we might be seeing a rise in militarized immigration enforcement. Private prisons and detention facilities, biometric systems are powerful political and economic actors. Of the 30-40,000 people incarcerated on any given night, roughly half are housed in private prisons, and represent a growth segment for companies like Corrections Corporation of America.

It’s not just about profitability – it’s about the expansion of the security state. Surveillance and security systems have a tendency to expand, even if they’re not effective or profitable. Once you begin building SCOMM, there’s a compelling logic to expanding it to each county, to link it to other databases. Systems like e-verify are only roughly 50% effective, but they continue to expand.

The criminalization of immigration in the US is characterized as a racial project, a reproduction and maintenance of whiteness and racial hierarchy, Sasha argues, citing a long history of research on American immigration and discrimination against the Chinese and other groups. Our version of immigration also supports heteronormativity and patriarchy, allowing immigration for reunification of families, but only traditionally structured families (no same-sex marriage included.) He reminds us that the US is an ongoing project of settler colonialism, a consolidation and control over the borders and “body” of the nationstate, which is ultimately a colonized and occupied state taken from native peoples.

What do immigrant rights groups do in this hostile context? How do they tell their stories and work to shape these systems? We need to consider the shape of an English-language mass media system that tends to be overwhelmingly negative towards immigrant mobilization and narratives. A center-left media occasionally pays attention to issues of the undocumented, but tends to paint immigration as a balance between border security and “a path towards citizenship”. Even in the center-left, there’s an acceptance of the idea of “good immigrants”, implying bad immigrants who need to be kept out.

The rise of outlets like Univision, Telemundo and La Opinion have led to a more subtle dialog on Spanish-language media. This group has become quite powerful in mobilizing, with Spanish-language DJs cooperating to call people in the streets to protest a Sensenbrenner immigration bill. Sasha urges us to consider community media as well. Even with small reach in comparison to the national outlets, these outlets serve as legitimators to activist and community organizations.

Social media plays a role as well, both in terms of organizing actions and giving participants a voice. Sasha wants to focus specifically on how social media can augment relationships with reporters, allowing activists to amplify their message more effectively than sending out press releases. All these pieces function simultaneously, and smart actors in this space learn to operate across these media through transmedia organizing.

The term is descended from Marsha Kinder and Henry Jenkins’s work on Transmedia Storytelling. Kinder looked at the way that stories expanded not just through film but through toys and marketing tie-ins, creating storyworlds that are shaped in part by their expansion into multiple medias and markets. Jenkins sees this work changing the nature of storytelling and changing the media itself, sometimes making it more open to participation and counternarrative. Sasha expands this to consider how storytelling can be accountable and open to movement actors, and how creating media can transform people into movement participants.

In the immigrant rights movement, work is cross-platform: posters, mobile applications, films. What’s important is that people’s media strategy is explicitly cross-platform. Organizers are smart enough to know that they need Spanish language media to cover actions, then push those stories to their base via social media.

This media is participatory – Sasha points to the “Undocumented and Unafraid” campaign as a strategy in which creating media and disseminating it is a key action in joining a movement. A street action was complemented by a Tumblr (for people who couldn’t participate in person) and a video produced after the fact (which Sasha shows.) The movement draws explicitly on the LGBT struggle for acceptance through coming out, and looks specifically at the idea of Undocuqueer – coming out as undocumented to LGBT peers and as LGBT to the undocumented community.

Media production is rooted in a particular community action being taken. Sasha shows us a capture from a UStream of an occupation of an Obama campaign office in Colorado – the stream allowed thousands to follow the campaign for executive action to grant relief to undocumented youth. Dreamers succeeded in forcing Obama to make significant changes to deprioritize deportation of undocumented youth, and there’s now a discussion about the possibility of a return to sit in and occuption to seek change at a moment where change through Congress looks impossible.

The movement is careful in discussing framing. They are concerned with the framing of “I was brought here through no fault of my own”, because that’s a narrative that criminalizes parental behavior. Which narrative you pick – no fault of my own or a broader narrative – helps determine what you advocate for: reform for undocumented youth, or for all undocumented people.

Finally, Sasha reminds us that this work is transformative. By learning how to make and share media, the movement is expanded and the movement’s reach and capabilities are expanded.

Sasha sees this dynamic of transmedia organizing happening in other activist movements, including the Occupy movement. It’s also not unique to contemporary movements – he references research by Rogelio Lopez, carried out at Center for Civic Media, that looked at participatory and transmedia organizing by the Farm Worker movement from 1962-72.

Sasha closes by looking at one of the issues he explores in his work, the professionalization and accountability of social movements. There’s a long scholarship around this issue, looking at ways in which social movements become 501c3 nonprofit organizations. When you make the change from social movement to nonprofit, Sasha points out, you lose the right to advocate for specific candidates. When organizations make this change, start doing the dance with funders, they become increasingly service oriented and depoliticized.

In parallel, there’s a professionalization of transmedia production. Some years ago, “transmedia production” was a hot new topic – in 2010, the Producer’s Guild of America began issuing “transmedia producer” credits associated with films. You can now hire a transmedia producer to create an ad campaign or a cross-platform strategy to market a film.

In the last two years, we’ve seen three professionally produced transmedia campaigns. “Define American” is a campaign from Jose Antonio Vargas, a Pulitzer-winning journalist who identifies as undocumented and queer. The project launched with a video, “Define American”, and a website, which lean heavily on web-based media like Tumblr and Facebook posts, as well as YouTube videos. Vargas has now produced a full length documentary called “Documented”, which explores this movement as well as Vargas’s personal journey. Sasha points out that the film was produced by an undocuqueer individual and has several undocumented production team members. However, there’s an argument that the documentary continues to support a narrative of “the good immigrant”.

He shows us a second documentary, “The Dream Is Now”, produced by the Emerson Collaborative, a foundation started by Steve Jobs’s widow. It’s a professional production, put together by people involved with An Inconvenient Truth, and was screened within the White House. But there are problems with the project. When you arrived at The Dream Is Now website, a modal box pushes you to sign a petition to support the DREAM Act. But the movement had moved on, Sasha tells us, and was now pushing for comprehensive immigration reform, not throwing DREAMers parents under the bus. Activists demanded that The Dream Is Now push a different set of action, but it took months to convince Emerson to change to meet the needs of the movement base. It was a beautiful and powerful piece of media, Sasha notes, but there are issues about accountability to the base of the social movement.

FWD.us is the third project Sasha features. He first shows “the leaders behind the movement”, who are (predominantly white) Silicon Valley CEOs. The campaign focuses on the ways in which immigrants represent a large percentage of the American workforce. One of the main emphases of the film is the need to increase the number of high skilled visas and allow DREAMers to contribute to the US economy. The video features 400 groups fighting for immigration reform… which turn out to be Silicon Valley companies. Sasha points out that most movement actors don’t have a problem with more high-tech workers… but the first policy plank of FWD.us is “secure our borders”, which is a policy that pushes people to cross the US/Mexico border in increasingly dangerous and insecure ways. They support e-verify, a program that auditors have found has a very high rate of false positives, in part because Silicon Valley will get the contracts to build these systems. While this is a deeply professional campaign, it’s unaccountable to the base of the movement and is erasing the broader movement history, replacing citizen organizations with tech firms.

There’s a nice narrative – organizations that have larger budgets are less accountable to the base of the movements. But it’s messy – Jose Antonio Vargas teamed up with FWD.us to promote his documentary. And undocumented youth wrote a letter to Vargas critiquing him for supporting a good immigrant/bad immigrant narrative, making it clear that he did not represent all the undocumented.

Sasha ends with questions: do greater resources always mean less community accountability? Is there always a tension between artistic freedom and strong storytelling and community accountability? Sasha believes we can have accountability mechanisms that don’t require the community to sign off on each stage of film production, but do have a powerful relation to community issues. Ultimately, Sasha is interested in building a culture of activism centered on the idea of “Nothing About Us Without Us”, framed by disability rights activist James Charlton.

Sasha invites Sofia Campos, one of the leaders of United We Dream, to the stage to react to his presentation. She points out that the movement has a culture of reflection, but hasn’t been able to publish a book like the one Sasha has. These meta-conversations about the movement can be repetitive and draining, and it’s helpful to have a careful consideration of the history of the movement to refer to. She agrees with Sasha’s contention that the media is a critical piece of the movement – before the Internet, she didn’t know that there were other undocumented people outside of California. In 2010, the internet allowed the movement to come to a higher level of organization and collaboration with unprecedented speed. Knowing that people were working across the country on the issues was a powerful feeling for movement actors.

Critically, the movement has been able to build its own narrative, and it’s been critical to move in the directions they’ve needed of going. She notes that the movement still needs mechanisms for accountability, which makes it helpful to have scholars like Sasha thinking about how the movement and those who want to help push it forward get engaged.

Desi asks why media making is such an important onramp to movement participation. Sasha makes clear that he doesn’t think media making is the most important aspect of movement building, just an important and understudied onramp. In sitting down and deciding how to tell your story, you are likely to contact others and share your experiences, as well as reflecting on the structures you’re struggling against. That struggle tends to lead to a social movement identity. Sofia that producing media is a way of combatting the isolation associated with the experience of being undocumented, and seeing support from others throughout the US going through the struggle you are experiencing.

A questioner makes clear that he’s frustrated by this as a “one sided” presentation advocating “illegal immigration”. He asks whether those who oppose illegal immigration can use the same tools to challenge unrestricted immigration. Sasha notes that the right has used every media at their disposal to make arguments, and argues that those counterarguments are as emotional and manipulative as arguments from the immigrants rights movement. He argues that it’s not an even playing field between powerful corporate actors who control broadcast TV and are likely to shape opinion against immigrant, and that the enthusiasm for social media may reflect a hope of countering those narratives.

Ian Condry asks whether there are new ideas about framing the immigration debate. Is the frame of “lawbreaking and amnesty”, which is gaining some traction, more successful than a narrative of the benefits of immigration, which seems well supported by American history. The idea of DREAMers clearly got through, he suggests, and wonders if there’s a way to embrace its power without the consequence of throwing parents under the bus. Sofia notes that issues of movement politics as well as deep legacies of racism and colonialism come into these questions of framing. The DREAMer framing was powerful because it was a narrative that came from the immigrant community, but sometimes failed to respect the radical, rooted message that the entire system of immigration needs reform. Within that framework, there’s then a question of what’s feasible, and how to negotiate for what people need now in terms of relief. Sasha notes that there’s an instrumentalist approach to media in which you A/B test your way through messages, but that this approach to framing runs the risk of coming into conflict with the community you are messaging around. The path forward has to give the affected community the ability to control the messaging, which may lead to less effective messaging in the short term, but will allow for a messaging driven by ethics and values in the long term.

Jim Paradis notes that he’s impressed with the range of objectives the movement is taking on, from inclusion in higher ed, to broader reform around immigration. He wonders how the movement is putting together a strategy to choose between competing objectives. Sasha notes that it’s a matter of constant debate within the movement: what are we working for short and long term? Political operatives tend to advise we pick a small, specific thing and message around it. But there’s a recognition that there’s a broad cultural shift around the idea of who’s a rights-holding human being. To transform ideas about immigration, we may need to win the larger battle to shift a vision of who’s human.

Jing Wang asks whether there are cross-racial alliances in the immigrant rights movement and what the dynamics of those alliances are. She wonders if the framework Sasha is advocating is equally good for movements led by Asian immigrants. Sasha notes that there is organizing and coalition work across different communities. Sofia notes that there are cultural challenges in this organizing, not just with activists but in connecting their parents, but that these movements are moving forward. Also, the movement is now trying to expand beyond immigration and into the broader space of challenging the for-profit prison movement.

A questioner who works on immigrant rights notes that he rarely attends academic presentations because of concerns about community accountability. He thanks Sasha for his consideration on that issue and asks how the activist community can best work with engaged scholars. Sasha notes that it’s easy for people with privilege, including scholars, to extract stories from communities and make profits with them. He points to work he does at MIT, teaching a Collaborative Design Studio course that brings MIT students together with community organizations to work together productively. This includes laying out explicit expectations about responsibility, participation and ownership in these processes. We need a broader transformation in institutional processes, Sasha argues, to ensure that research serves the needs of a community.

Rogelio Lopez closes with a question about the ways in which movements can spread across the world, where the Ferguson “Hands Up” protest appears on the streets of Hong Kong. What does this mean for movements when these frames spread across nations? Sasha notes that this is an exciting moment, when symbols and tactics circulate at greater speed than any other moment in human history. We see local instantiations of these techniques, and they bubble up at different moments in time – Occupy stalled in the US but came to the fore again in Hong Kong. Power is continually threatened by the potential of horizontal, people’s power. Sofia notes that the spread of ideas on the internet really benefits from the face to face organizing we’ve seen in the immigrant rights movement, which can keep it rooted in communities.


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