Episode Summary
Are the media arts a sensitizing force? What is media art's capacity to respond to political conditions? Cultural practitioners and scholars explore the role artists play as innovators of media technology and instigators in the public and media art realms.
Co-presented with Freewaves
Participant(s) Bio
Anikó Imre is an Associate Professor of Critical Studies at USC's School of Cinematic Arts. Her main interests are global media and cultural studies. She has published several books, including Identity Games: Globalization and the Transformation of Media Cultures in the New Europe; East European Cinemas; and Transnational Feminism in Film and Media. She co-edits the Palgrave book series Global Cinemas.
Henry Jenkins is Provost's Professor of Communication, Journalism, and Cinematic Arts at the University of Southern California. He has written and edited more than a dozen books on media and popular culture, including Convergence Culture: Where Old and New Media Collide. His other published works reflect the wide range of his research interests, touching on democracy and new media, the "wow factor" of popular culture, science-fiction fan communities, and the early history of film comedy. Prior to joining USC, Jenkins spent nearly two decades at the Massachusetts Institute of Technology as the Peter de Florez Professor in the Humanities. While there, he directed MIT's Comparative Media Studies graduate degree program from 1999-2009, setting an innovative research agenda during a time of fundamental change in communication, journalism, and entertainment.
Reed Johnson is an arts and culture reporter for the Los Angeles Times. From 2004 to 2008 he was the paper's Latin America cultural correspondent, based in Mexico City.
Fabian Wagmister teaches audiovisual creativity and new forms of digital creation at University of California, Los Angeles. As a professor in the department of Theater, Film and Television, he was instrumental in the creation and growth of the Laboratory for New Media, the HyperMedia Studio, and the Program on Digital Cultures, a center converging regional studies (Latin America) and digital communications to support the development of empowered technological identities. A native of Argentina, Fabian maintains active collaboration with artists and theorists throughout Latin America. Currently Fabian is director of UCLA's Center for Research in Engineering, Media, and Performance (REMAP), where faculty and students of engineering and of theater, film and television, develop theoretical fundaments, creative procedures, and technological toolsets for participative cultural systems.
Kenneth Rogers is Assistant Professor in the Media and Cultural Studies Department at the University of California, Riverside. His research and publication is broadly concerned with the intersection of attention, labor, political economy, and social media. He is also engaged with the practical application of digital tools and social media in experimental pedagogy and direct action politics. Rogers has been a fellow at the Center for Ideas and Society at UC Riverside. His current book project, The Attention Complex: Media Technology and Biopolitics, maps the complex of political and social forces that have, over the last two decades, dramatically reshaped how human attention is theoretically understood, technologically managed, and psychiatrically and biologically treated.
Henry Jenkins is Provost's Professor of Communication, Journalism, and Cinematic Arts at the University of Southern California. He has written and edited more than a dozen books on media and popular culture, including Convergence Culture: Where Old and New Media Collide. His other published works reflect the wide range of his research interests, touching on democracy and new media, the "wow factor" of popular culture, science-fiction fan communities, and the early history of film comedy. Prior to joining USC, Jenkins spent nearly two decades at the Massachusetts Institute of Technology as the Peter de Florez Professor in the Humanities. While there, he directed MIT's Comparative Media Studies graduate degree program from 1999-2009, setting an innovative research agenda during a time of fundamental change in communication, journalism, and entertainment.
Reed Johnson is an arts and culture reporter for the Los Angeles Times. From 2004 to 2008 he was the paper's Latin America cultural correspondent, based in Mexico City.
Fabian Wagmister teaches audiovisual creativity and new forms of digital creation at University of California, Los Angeles. As a professor in the department of Theater, Film and Television, he was instrumental in the creation and growth of the Laboratory for New Media, the HyperMedia Studio, and the Program on Digital Cultures, a center converging regional studies (Latin America) and digital communications to support the development of empowered technological identities. A native of Argentina, Fabian maintains active collaboration with artists and theorists throughout Latin America. Currently Fabian is director of UCLA's Center for Research in Engineering, Media, and Performance (REMAP), where faculty and students of engineering and of theater, film and television, develop theoretical fundaments, creative procedures, and technological toolsets for participative cultural systems.
Kenneth Rogers is Assistant Professor in the Media and Cultural Studies Department at the University of California, Riverside. His research and publication is broadly concerned with the intersection of attention, labor, political economy, and social media. He is also engaged with the practical application of digital tools and social media in experimental pedagogy and direct action politics. Rogers has been a fellow at the Center for Ideas and Society at UC Riverside. His current book project, The Attention Complex: Media Technology and Biopolitics, maps the complex of political and social forces that have, over the last two decades, dramatically reshaped how human attention is theoretically understood, technologically managed, and psychiatrically and biologically treated.
Credits
