The Independent Games Movement (Part Four): Behind the Scenes at Indiecade

The Electronic Entertainment Expo (E3) has long served as the showcase of the games industry. The event's host, the Electronic Software Association, announced this summer that the event was going to be discontinued, leading to heated debates in the blogosphere about what this decision might be signaling about the cultural status of games. The noisy, garish, spectacular quality of E3 had set the tone for the commercial games industry: this was the place where the buyers for the major retail chains went to see the new product and design and marketing decisions were often made with an eye to what would look really spectacular when displayed on the big monitors that dominated the floor at E3. One could even argue that the costuming of game characters were designed so that those characters could be embodied by the "booth babes" who worked the floor, trying to lather up the mostly male patrons of the convention, and get them "excited" about some new title. Many people wondered what would happen if this show disappeared. In this blog, I argued for one possible scenario:

One step is to separate out the various functions which E3 served and see whether they should be combined or remain separate. Clearly, the industry will need some ways to introduce its new products to retailers and there's some danger that the next step will be to fragment this process -- allowing the major companies to have their own shows (as Next Generation suggests) but leaving the smaller publishers out in the cold. I don't think that would be a very good thing for the games industry. A second key function would be to inform the public about the current state of the games industry. For example, the Penny Arcade Expo may function more like San Diego Comiccon in providing a space where industry figures communicate more directly with their fans, while there are moves underway to develop an independent games festival that functions more like Sundance does within the film industry, offering a place to showcase work by smaller publishers or games that fall further outside the commercial mainstream. We are seeing a growing number of gatherings with more specialized focuses, such as those centering on casual games, mobile games, serious games, even religious games, each of which serves a specific niche as compared to the general interest focus of E3. The Game Developers Conference may absorb more of the training and recruitment functions that were associated with E3. And so forth.

One of the new events which have emerged in the wake of the collapse of E3 is the Indiecade, which is presenting itself as a celebration of games and play in all of their many manifestations. As envisioned by Stephanie Barish and her collaborators, the Indiecade will be an event designed to heighten public awareness of the diversity of games production and to recognize innovative and distinctive work across all games platforms. It will be an event where new games, as well as works in progress, get displayed. So, if E3 helped to shape the content and style of commercial games, one may wonder what will happen if there is another kind of event which really does attract critical awareness and public interest and which operates with different aesthetic, economic, and pedagogical goals.

Last time, Barish offered some thoughts about the current state of the games industry and why she feels an independent games movement and a games festival is needed. Today, I am running the second part of that interview, allowing Barish to talk about what kind of role her festival hopes to play for the producers and consumers of independent games. I am running it as part of an ongoing series showcasing key movers and shakers within the independent games movement.

For more information about the festival, check out their home page. The festival is scheduled to run in Fall of 2007 in Santa Monica, California.

Barish asked me to acknowledge the contributions of her collaborators to shaping her responses to these questions:Scott Chamberlin (Partner) , Janine Fron (Conference Chair), Sam Gustman (CMC V.P., Partner), Kirsten Paul (IndieCade Program Manager), and Celia Pearce (IndieCade Festival Chair).

*Sidebar: Anyone who would like to see my keynote address from the Serious Games Conference can see it here.

What roles do you see Indiecade playing in fostering an Independent games movement?

While the industry needs the equivalent of Run Lola Run, Billy Elliot, and any number of other important independent work, independent game designers don't necessarily need IndieCade for inspiration. They are already inspired. Independent gamemakers make games for the same reason independent filmmakers make movies, to express something they are passionate about. Of course they hope to make money as well, but this is not necessarily their driving force. On the other hand, they do need and want a public forum to show their work, a place to meet collaborators, a community, and public acknowledgment of their work. In other words, a wide-scale dedicated universal gathering. At least in the United States, all of the other independent game festivals are buried under a film festival (Slamdance) or an industry conference (GDC). We need a forum of our own, fully playable, inclusive of all forms and screens, and with public access. "Play" needs to be exalted. Independent games need an environment dedicated to making them successful, and that is our dedication.

Can a games festival serve the same needs as a film festival given the very different nature of the two media (that is, films are designed to be watched in large scale social settings, where-as most games facilitate only a limited number of participants.)

Effectively showcasing interactive media is one of our biggest challenges, particularly since games are generally designed as such an intimate experience. We're all leveraging our diverse backgrounds to think beyond rows of computer kiosks or big-screen auditorium. We have had to design the IndieCade experience from the ground up, to design exhibition experiences in keeping with the spirit of the games themselves. Games need to be given a forum that speaks to their innovations. Our goal is to capture the excitement and creativity in the content and translate it into the festival.

One of our team partners, KTGY (led by exhibition designer Jeff Mayer) has had a lot of experience with events like SIGGRAPH, E3, and the foundational designs for GameWorks. Among others, they are helping us realize some of the inspirations we have had for sharing game experiences among multiple participants playing roles across the player/spectator spectrum. New forms can be challenging in many ways, and they need to be presented in an appropriate context. We have seen this done very well, and want to ensure that the audience has a play experience, even as spectators.

You are creating a games festival at the same time that the games industry is

abandoning its major trade show. How has this decision benefited or hurt your

efforts?

Well, on the negative side we lost our fabulous location for board meetings, and like so many others we have come to rely on E3 for the inside scoop, the community of practice, the inspiration, the radical socializing, and the overwhelming sensory experience. But generally the operative word for us is synergy. As you know, the President and Senior Vice President of the ESA, Douglas Lowenstein and Carolyn Rauch, are on our advisory board, and we're working closely with them to forge a kind of complementary relationship between the new E3 and IndieCade.

Happily, they have scheduled E3 close to our own date and moved it over to our location, Santa Monica. I think that we can also say that with the number of exhibitors so drastically reduced (only 30 of the usual 400 will be exhibiting in the new E3), there is even more of a sense of the power of the major publishers and thus even more of a need for an independent counterpoint.

Without a doubt, the move creates a bigger demand for IndieCade. We believe that one of the reasons for the downsizing of E3 is that the big companies don't need it anymore; they already have their distribution channels in place. On the other hand, smaller companies and international participants get a lot out of E3 because it exposes them to potential distributors and publishers. So the E3 reduction is really going to impact the little guy more than anyone and we are receiving an extremely positive reaction from this constituency, as well as the public who regularly attends the expo, and the public who always wanted to attend but didn't have the industry credentials.

Art films have been celebrated as offering us windows into cultural difference, giving us access to the beliefs and everyday practices of distinctive cultures around the world. Do you think games also reflect cultural differences in this way or has the global circulation of games meant that from the beginning they have developed a culturally neutral style and content?

I wouldn't be here if I didn't see an incredible potential in games for cross-cultural interactions, far beyond watching a new experience in a film. The collaborative aspect to certain games will give us an unprecedented window into cultural dialogue in the future, particularly as more diverse gamemakers emerge. We are now seeing a glimpse of what is possible as American kids embrace Japanese games and their culture, aesthetics, and play styles - the Wii and the DS being great examples. Indeed, a lot more of the world could be seen through the lens of games.

There are three ways to think about it. One is games that are specifically about other cultures, much parallel to film. The Games for Change movement is to be lauded for working to make headway in this area - focusing on political games and games about different cultures. Another is games in which people from diverse cultures cohabitate and collaborate and opportunities exist, particularly in the MMOG sphere, to create more connection between people of different cultures. Cross-cultural exchange is particularly interesting because often it is within the framework of a non-culturally-neutral game. I think more people are aware of Korea today because of games like Lineage and Ragnarok. And finally, ways in which game makers can challenge mainstream game culture through modding the game itself afford us opportunities for questioning, countering, and commenting upon culture that other media simply just cannot offer. I believe this ability to connect with others and to author, facilitates questioning that can address cultural differences and enable us to interact with them on a global level.

Getting to your question, though: on the formal side, I do not agree that games are culturally neutral. To the contrary, I think they reflect the biases of the fairly homogenous gamemakers who design them. And in terms of content, I don't think games have yet been able to approach the nuances of culture and human understanding that film has reached.

But, what makes independent games so exciting is that they represent new voices and new points of view. We want to pave paths for many more voices to come to the mix and the public eye. It is our desire to follow in the footsteps of the independent film community and salute the creative forces that take risks, run up their credit cards to follow a vision, and turn convention on its head to make independent games that are truly innovative and expand our definitions and experiences of play.

The Independent Games Movement (Part Three): Behind the Scenes at Indiecade

>Independent gamemakers, like their counterparts in film, make products that can be a lifelong passion, that rely upon the creative inspiration of innumerable collaborators, and that often deplete a life savings or run up credit card debt to create. Like independent filmmakers, they compete for support, publicity, and distribution against established producers and productions that can cost millions of dollars... But the game industry, unlike cinema, has no comprehensive, public venue to introduce, explore, and celebrate groundbreaking independent work. Worthy independent games, prospective funders, and players hungry for new experiences rarely find one another. Imagine an annual global crossroads and marketplace, open to the general public - a yearly celebration of this community's new voices and their trailblazing work. Imagine thousands of independent creators, developers, thinkers, players, and fans, traveling from across the world to be at the same place at the same time....

--Indiecade website.

This is the second of a series of interviews I plan to run over the next month or so with key movers and shakers in the independent games movement. I am running this series out of a belief that we may be at a vital crossroads in the history of computer and video games as a series of announcements and developments this year may pave the way for greater innovation, diversity, and experimentation in game design. For a long time, the games industry seemed in danger of being completely swallowed whole by Electronic Arts and a few other major publishers. Suddenly a number of institutions are emerging which will enable distribute and critical engagement with works by smaller games developers or will encourage amateurs to produce and distribute games. Like many of my readers, I love many mainstream games but I also believe that there need to be an alternative games culture if we are going to avoid standardization and stagnation.

A little over a week ago, I featured a two part conversation with Greg Costikyan about Manifesto Games, its support for creator rights, and his critique of the mainstream game publishers.

Today and tomorrow, I will be talking with Stephanie Barish, Founder and President of Creative Media Collaborative, the group which is organizing Indiecade, which they hope will function for the independent games industry the way Sundance has functioned for the independent films movement -- a gathering place, a training ground, a focus for critical attention, and a showcase for the best new work from around the world. Full disclosure dictates that I acknowledge that Barish asked me some time ago to serve on the board of advisors for the festival and through telephone conversations and e-mail correspondence, I have watched her and her team grapple with some of the challenges of building the infrastructure and identifying the sponsors needed to pull off a pretty ambitious plan. The first Indiecade is going to be held in Santa Monica, California in the fall of 2007.

I first met Barish when she was working as the producer and director of multimedia publications at Steven Spielberg's Survivors of the Shoah Visual History Foundation and then later as the executive Director of the Institute for Multimedia Literacy at the University of Southern California's Annenberg Center. Barish comes not from the heart of the games industry but rather from the world of independent media production and multimedia literacy education. She brings an alternative sensibility and perspective to the effort to promote independent games.

Here, Barish suggests the ways that the Indiecade has emerged from a particular analysis of what's working -- and what isn't -- in contemporary games culture and explores some of the ways that a games festival might contribute to greater public awareness of the independent games movement. Along the way, she speaks to the question of games criticism, which was a central focus of discussion across the blogosphere earlier this year. Tomorrow, she will speak more fully about what it means to create a festival around games and how games might be understood as reflecting differences between different national cultures.

Barish has asked me to acknowledge the contributions of other members on the Indiecade team who helped her think through how to address some of these questions: Scott Chamberlin (Partner) , Janine Fron (Conference Chair), Sam Gustman (CMC V.P., Partner), Kirsten Paul (IndieCade Program Manager), and Celia Pearce (IndieCade Festival Chair).

How are you defining an independent game?

It is funny that there is not a standard answer to this question. For the festival we are using a simple determinant: an independent game is one that is created without the umbrella of a deal with a major publisher. This also excludes games funded by the majors or their subsidiaries, using the industry standard, as others have before us, to define these majors as the 30 companies on the ESA board -- those included in the new E3.

We have had a lot of very interesting conversations about the definition of independent in this community, and the particulars can obscure the real issue, which boils down to an independent game being one in which the creative decisions are not made down the hall at Marketing. Obviously, there are gray areas, but independence can be found at the other side of that spectrum, where inspiration is the motivation.

Some have argued that the conservativeness of the games industry (tending to make franchise titles or games that fall into familiar genres) is simply a reflection of the conservativism of the hardcore gamer market (which tends to judge new titles against prior play experiences.) Do you agree or disagree with this claim? What can independent games designers do to encourage the public to experiment more with alternative forms of gaming?

First the industry finds itself having to cater to the appetite of hardcore gamers for increasingly impressive and sophisticated graphics and technologies. Given the financial premium of all this innovation, it's no wonder the industry then takes safe harbor in marketing decisions they know will appeal just enough to what is in fact a very dedicated following. We should not expect the industry to eschew proven formulas, but need to encourage parallel development streams that meet a known taste for altogether-new flavors and ultimately drive the industry forward. This is not even to say that there are not some beautiful and highly original games created by the industry, like the newly released Okami for the PS2. But the state of the industry is such that as one of our advisors, a lead game designer, recently pointed out the irony that he could get millions of dollars for the design of another licensed title, but could not get a few hundred thousand dollars to do something new and creative.

No doubt it is a challenge for independent game designers to compete with the kind of graphic and technical expectations and experiences regularly offered by the big players. But we don't expect the latest special-effect blockbuster to render all previous films and future non-technical films obsolete, and we have to start painting game design and marketing with a subtler brush. There are more kinds of play experiences than those repeatedly offered by the majors, and not all audiences are interested only in those particular types of experiences and narratives. IndieCade Festival Chair Celia Pearce, an Associate Professor at Georgia Tech, conducted a study on Baby Boomer gamers and found they were much less demanding in terms of graphics technology, but far more interested in artistry. "The people I studied prefer games with story, classic point-and-click adventure games ... a genre that big publishers simply abandoned in the late 1990s." Just think about industry precedent, the enormous underserved audience that emerged to play The Sims. Or look at casual games, which tend to be minimized by the big companies in the industry, despite games like gameLab's Diner Dash, which have garnered remarkable followings. It is not insignificant that the major audience for these games are women, who have a markedly different set of expectations and requirements than those supposedly demanded by the hardcore gamer. Mods are also a case in point, as for instance Counter-Strike has more copies in circulation than the original game it was based on. As the audience for these independent so called niche games expands, it reveals a tremendous desire for diversity of play experience and a large audience underserved by the current mainstream industry.

Independent game designers don't need to figure out how to serve specific public needs; they simply need opportunities for voice. For every independent game that is a phenomenon a dozen never get seen except at the odd industry showcase. If they don't get picked up by short-sighted publishers, how are they going to have the chance to even FIND an audience? Right now the biggest marketing channel for independent games is word of mouth, but public forums and the Internet are really lowering the hurdles for distribution. Such outlets as Valve's steam system and the newly launched Manifesto are helping to propel independent game distribution forward. IndieCade, by bringing the independents together in a community and a marketplace, will also serve as a catalyst by uniting the community and throwing a spotlight on a lot of those user experiences that are not necessarily technical wonders. We believe the audience will expand in response to the exposure to this innovation and diversity.

Film festivals benefit enormously from the role of film critics who use them to preview smaller and international titles before they open in their markets. Can

one have the same impact as Sundance with an independent games event without

serious participation from games critics who are prepared to educate the public

about experimental and innovative titles?

We think this is a really big problem with the game industry, and we are glad you pointed it out. Since most of the game writers fall into the hardcore gamer category, the perspectives are not particularly diverse. (Most of the game magazines panned The Sims when it came out.) First, I think we should point out that there is a generation of gamers, fans, and critics, who are students of people like you, Henry, and are interested in better and more critical game writing. As a juried festival, IndieCade jurors will facilitate this discussion by writing reviews of all of the featured games in our catalogue -- there are many small steps we need to make as a community to begin to open this dialogue to the greater public.

But to more directly answer your question, we are optimistic about movement in different areas. Blogs and other online forums are becoming crucial points of reference across culture, and in our field some fantastic game culture blogs, fan blogs, and independent discussion forums are beginning to emerge. At the festival, we expect prominent game bloggers and other "netroots" gamers -- already accustomed to imparting and consuming information on laptops, PDAs, telephones -- to generate the kind of buzz and attention you're talking about. They will play the critic role in more ways than one, and they will do so with more immediacy, more energy, and more drama.

This is more appropriate to the medium. The use of participants' phones and laptops are integrated into the design of the festival itself, so they will already be wired and inclined to beam news of the latest works to remote lands. As the years go by and the media channels for independents crystallize and mature, a central annual event will create the same sense of anticipation and discovery that film festivals nurture so carefully through traditional media.

Given how totally commercial interests have dominated games culture, many wonder whether there are enough interesting independent games out there to provide content for a large scale event every year. Where are you finding the games you will feature at your event? What steps are you taking to identify new content for the initial festival?

Submissions are a hot topic for us. We honestly don't think that we will have any trouble finding high quality independent work, not this year or any other. There is a lot of independent work with phenomenal promise out there. We have a large international jury and we are being extremely aggressive about submissions. We have a system of chairs who will be responsible for evangelizing in their categories. We also have a category for works-in-progress, which will allow independent developers lacking the resources to take a great idea to fruition, to compete and get the attention of those who do. We will draw submissions from around the world, and we can expect to see some interesting submissions from students. We expect to launch our initial website just after the winter holidays, and will open our submissions by February, 2007 at http://www.indiecade.com.

As years go by, we are not going to settle into familiar forms and comfortable media. Of all people, we have to have a very expansive sense of the types of games and play experiences to be included in the festival. We want games that are pushing the envelope and are interested in displaying hybrids of all forms, not merely the purely digital. At the festival itself, we want to put the practitioners, industry specialists, players, fans, and spectators together into a dynamic environment: we'll have round-robin tournaments, LAN parties, social game activities integrated throughout the festival; as well as both a "Big Game" that will take place across the city of Los Angeles and an international ARG game which is being designed specifically for the festival. Each year we expect these activities to grow and transform along with the festival and the industry.

If You Live in Boston...

The What: CMS has agreed to act as the local organizer for a street-game called Cruel 2 B Kind, which will be held on Halloween night -- that's October 31 -- from 6:30-8:30 PM near Harvard Square. Cruel 2 B Kind was created by Jane McGonigal and Ian Bogost (both sometimes readers and responders to this blog).

Here's what their website says about the game:

Cruel 2 B Kind is a game of benevolent assassination.

At the beginning of the game, you and a partner-in-crime are assigned a secret weapon. To onlookers, it will seem like a random act of kindness. But to a select group of other players, the seemingly benevolent gesture is a deadly maneuver that will bring them to their knees.

Some players will be slain by a serenade. Others will be killed by a compliment. You and your partner might be taken down by an innocent group cheer.

You will be given no information about your targets. No name, no photo, nothing but the guarantee that they will remain within the outdoor game boundaries during the designated playing time. Anyone you encounter could be your target. The only way to find out is to attack them with your secret weapon.

Watch out: The hunter is also the hunted. At the beginning of the game, you and your partner will also be assigned your own secret weakness. Other pairs of players have been given your secret weakness as their secret weapon, and they're coming to get you. Anything out of the ordinary you do to assassinate YOUR targets may reveal your own secret identity to the other players who want you dead.

As targets are successfully assassinated, the dead players join forces with their killers to continue stalking the surviving players. The teams grow bigger and bigger until two final mobs of benevolent assassins descend upon each other for a spectacular, climactic kill.

Will innocents be caught in the cross-fire? Oh, yes. But when your secret weapon is a random act of kindness, it's only cruel to be kind to other players...

Not sure you're cruel enough to play as an assassin? Don't worry - you can still experience killer kindness. Just show up to any game site at the right time. You can hang out, watch the game, and play along as an "innocent bystander"!

Sorry for the last minute notice -- I've been traveling and have just now gotten my hands on the relevent information.

You can sign up to play in game here.

http://www.cruelgame.com/signup/

All you need to play is a partner (the game starts off in pairs), and a cell phone that can receive text messages (to get instructions and updates during the game).

Hope to see some of you there.

Confronting the Challenges of a Participatory Culture (Part Seven)

This is the last installment of my series on the white paper which we wrote for the MacArthur Foundation on participatory culture and media literacy. If you want to read the whole paper, check it out here. If you want to learn more about the work that the MacArthur Foundation is doing on youth and digital learning, you can follow their blog -- which regularly features comments from some of the country's leading educators and experts on youth media. This last installment concludes with some general thoughts about what all of this means for parents, schools, and after school based programs. Project nml will now be turning its attention to developing a range of curricular materials and activities based on this framework, which we will be rolling out through this blog, among many other places.

Thanks for taking the time to read through this material. Do let us know what you think and do share this with others you think would be interesting.

Once again let me acknowledge the contributions of Ravi Purushotma, Margaret Weigel, Katherine Clinton, and Alice J. Robison without whom it would have been impossible to pull this report together.

Who Should Respond? A Systemic Approach to Media Education

We have identified three core problems that should concern all of us who care about the development and well-being of American's young people:

• How do we ensure that every child has access to the skills and experiences needed to become a full participant in the social, cultural, economic, and political future of our society?

• How do we ensure that every child has the ability to articulate his or her understanding of the way that media shapes perceptions of the world?

• How do we ensure that every child has been socialized into the emerging ethical standards that will shape their practices as media makers and as participants within online communities?

We have also identified a set of core social skills and cultural competencies that young people should acquire if they are to be full, active, creative, and ethical participants in this emerging participatory culture:

Play -- the capacity to experiment with your surroundings as a form of problem-solving

Performance -- the ability to adopt alternative identities for the purpose of improvisation and discovery

Simulation -- the ability to interpret and construct dynamic models of real world processes

Appropriation -- the ability to meaningfully sample and remix media content

Multitasking -- the ability to scan one's environment and shift focus as needed to salient details.

Distributed Cognition -- the ability to interact meaningfully with tools that expand mental capacities

Collective Intelligence -- the ability to pool knowledge and compare notes with others toward a common goal

Judgment -- the ability to evaluate the reliability and credibility of different information sources

Transmedia Navigation -- the ability to follow the flow of stories and information across multiple modalities

Networking -- the ability to search for, synthesize, and disseminate information

Negotiation -- the ability to travel across diverse communities, discerning and respecting multiple perspectives, and grasping and following alternative norms.

Some children are acquiring some of these skills through their participation in the informal learning communities that surround popular culture. Some teachers are incorporating some of these skills into their classroom instruction. Some afterschool programs are incorporating some of these skills into their activities. Yet, as the above qualifications suggest, the integration of these important social skills and cultural competencies remains haphazard at best. Media education is taking place for some youth across a variety of contexts, but it is not a central part of the educational experience of all students. Our goal for this report is to encourage greater reflection and public discussion on how we might incorporate these core principles systematically across curricula and across the divide between in-school and out-of-school activities. Such a systemic approach is needed if we are to close the participation gap, confront the transparency problem, and help young people work through the ethical dilemmas they face in their everyday lives. Such a systemic approach is needed if children are to acquire the core social skills and cultural competencies needed in a modern era.

Schools

In the above descriptions of core social skills and cultural competencies, we have spotlighted a range of existing classroom practices that help children become fuller participants in the new media landscape: the use of educational simulations, alternative and augmented reality games, webquests, production activities, blogs and wikis, and deliberation exercises. Such exercises involve actively applying new techniques of knowledge production and community participation to the existing range of academic subjects in the established school curriculum. We have seen how history classes are making use of educational games, how science classes are teaching youth to evaluate and construct simulations, how literature classes are embracing role play and appropriation, how math classes might explore the value of distributed cognition, and how foreign language classes are bridging cultural differences via networking. As these examples suggest, many individual schools and educators are experimenting with new media technologies and the processes of collaboration, networking, appropriation, participation, and expression that they enable. They are engaging students in real-world inquiries that require them to search out information, interview experts, connect with other students around the world, generate and share multimedia, assess digital documents, write for authentic audiences, and otherwise exploit the resources of the new participatory culture.

We see this report as supporting these individual educators by encouraging a more systemic consideration of the place these skills should assume in pedagogical practice. We believe that these core social skills and cultural competencies have implications across the school curriculum, with each teacher assuming responsibility for helping students develop the skills necessary for participation within their discipline. Clearly, more discipline-specific research is needed to more fully understand the value and relevance of these skills to different aspects of the school curriculum. Skills that are already part of the professional practices of scientists, historians, artists, and policymakers can also help inform how we introduce students to these disciplines.

Much of the resistance to media literacy training springs from the sense that the school day is bursting at its seams, that we cannot cram in any new tasks without the instructional system breaking down altogether. For that reason, we do not want to see media literacy treated as an add-on subject. Rather, we should view its introduction as a paradigm shift, one that, like multiculturalism or globalization, reshapes how we teach every existing subject. Media change is affecting every aspect of our contemporary experience, and as a consequence, every school discipline needs to take responsibility for helping students to master the skills and knowledge they need to function in a hypermediated environment.

After School

Afterschool programs may encourage students to examine more directly their relationship to popular media and participatory culture. Afterschool programs may introduce core technical skills that students need to advance as media makers. In these more informal learning contexts, students may explore rich examples of existing media practice and develop a vocabulary for critically assessing work in these emerging fields. Students may also have more time to produce their own media and to reflect on their own production activities. The approach proposed here takes the best of several contemporary approaches to media education, fusing the critical skills and inquiry associated with media literacy with the production skills associated with the Computer Clubhouses, and adding to both a greater awareness of the politics and practice of participatory culture.

The media literacy movement emerged in response to the rise of mass media. Here, for example, is a classic definition of media literacy created by the Ontario Association for Media Literacy in 1989:

Media literacy is concerned with developing an informed and critical understanding of the nature of the mass media, the techniques used by them, and the impact of those techniques. It is education that aims to increase students' understanding and enjoyment of how the media work, how they produce meaning, how they are organized, and how they construct reality. Media literacy also aims to provide students with the ability to create media products.

Although some media literacy educators have instituted groundbreaking work on digital media, the bulk of presentations at national conferences are still focused on more traditional media -- print, broadcast, cinema, popular music, advertising -- which are assumed to exert the greatest influence on young people's lives.

Media literacy educators are not wrong to be concerned by the concentrated power of the media industry, but they must also realize that this is only part of a more complex picture. We live in a world in which media power is more concentrated than ever before and yet the ability of everyday people to produce and distribute media has never been more free. Existing media literacy materials give us a rich vocabulary for thinking about issues of representation, helping students to think critically about how the media frames perceptions of the world and reshapes experience according to its own codes and conventions. Yet these concepts need to be rethought for an era of participatory culture.

Consider, for example, the framework for media literacy proposed by Thoman and Jolls:

•

Who created the message?

• What creative techniques are used to attract my attention?

• How may different people understand this message differently than me?

• What lifestyles, values, and points of view are represented in - or omitted from - this message?

• Why is this message being sent?

There is much to praise in these questions: they understand media as operating within a social and cultural context; they recognize that what we take from a message is different from what the author intended; they focus on interpretation and context as well as motivation; they are not tied up with a language of victimization.

Yet, note that each question operates on the assumption that the message was created elsewhere and that we are simply its recipients (critical, appropriating, or otherwise). We would add new complexity and depth to each of these questions if we rephrased them to emphasize individuals' own active participation in selecting, creating, remaking, critiquing, and circulating media content. One of the biggest contributions of the media literacy movement has been this focus on inquiry, identifying core questions that can be asked of a broad range of different media forms and experiences. This inquiry process seems key to overcoming the transparency problems identified above.

By contrast, education for the digital revolution stressed tools above all else. The challenge was to wire the classroom and prepare youth for the demands of the new technologies. Computer Clubhouses sprang up around the country to provide learning environments where youth could experiment with new media techniques and technologies. The goal was to allow students to set and complete their own tasks with the focus almost entirely on the production process. Little effort was made to give youth a context for thinking about these changes or to reflect on the new responsibilities and challenges they faced as participants in the digital culture. We embrace the constructivist principles that have shaped the Computer Clubhouse movement: youth do their best work when engaged in activities that are personally meaningful to them. Yet, we also see a value in teaching youth how to evaluate their own work and appraise their own actions, and we see a necessity of helping them to situate the media they produce within its larger social, cultural, and legal context.

We have developed an integrated approach to media pedagogy founded on exercises that introduce youth to core technical skills and cultural competencies, exemplars that teach youth to critically analyze existing media texts, expressions that encourage youth to create new media content, and ethics that encourage youth to critically reflect on the consequences of their own choices as media makers.

School-based and afterschool programs serve distinct but complementary functions. We make a mistake when we use afterschool programs simply to play catch-up on school-based standards or to merely reinforce what schools are already teaching. Afterschool programs should be a site of experimentation and innovation, a place where educators catch up with the changing culture and teach new subjects that expand children's understanding of the world. Afterschool programs focused on media education should function in a variety of contexts. Museums, public libraries, churches, and social organizations (such as the YWCA or the Boy Scouts) can play important roles, each drawing on its core strengths to expand beyond what can be done during the official school day.

Parents

We also see an active role for parents to play in shaping children's earliest relationship to media and reinforcing their emerging skills and competencies. The new media technologies give parents greater control over the flow of media into their lives than ever before, yet parents often describe themselves as overwhelmed by the role that media plays in their children's everyday activities. As UK Children Go On-line concluded, "Opportunities and risks go hand in hand...The more children experience one, the more they also experience the other." Rather than constraining choices to protect youth from risks, the report advocates doing a better job helping youth master the skills they need to exploit opportunities and avoid pitfalls.

Parents lack basic information that would help them deal with both the expanding media options and the breakdown of traditional gatekeeping functions. Most existing research focuses on how to minimize the risks of exposure to media, yet we have stressed the educational benefits of involvement in participatory culture. The first five or six years of a child's life are formative for literacy and social skills, and parents can play an important in helping children acquire the most basic versions of the skills we have described here. Throughout children's lives, parents play important roles in helping them make meaningful choices in their use of media and in helping them anticipate the consequences of the choices they make. Adults often are led by fears and anxieties about new forms of media that were not a part of their own childhood, and which they do not fully understand. There are few, if any, books that offer parents advice on how to make these choices or that offer information about the media landscape. Few education programs help parents to acquire skills and self-confidence to help their children master the new media literacies. There are few sites that provide up-to-date and ongoing discussions of some of the issues surrounding the place of media in children's lives.

The Challenge Ahead: Ensuring that All Benefit from the Expanding Media Landscape

Writing in the Chronicle of Higher Education (May 19, 2006), Bill Ivey, the former chairman of the National Endowment for the Arts, and Steven J. Tepper, a professor of Sociology at Vanderbilt University, described what they see as the long term consequences of this participation gap:

Increasingly, those who have the education, skills, financial resources, and time required to navigate the sea of cultural choice will gain access to new cultural opportunities....They will be the pro-ams who network with other serious amateurs and find audiences for their work. They will discover new forms of cultural expression that engage their passions and help them forge their own identities, and will be the curators of their own expressive lives and the mavens who enrich the lives of others....At the same time, those citizens who have fewer resources--less time, less money, and less knowledge about how to navigate the cultural system--will increasingly rely on the cultural fare offered to them by consolidated media and entertainment conglomerates...Finding it increasingly difficult to take advantage of the pro-am revolution, such citizens will be trapped on the wrong side of the cultural divide. So technology and economic change are conspiring to create a new cultural elite--and a new cultural underclass. It is not yet clear what such a cultural divide portends: what its consequences will be for democracy, civility, community, and quality of life. But the emerging picture is deeply troubling. Can America prosper if its citizens experience such different and unequal cultural lives?

Ivey and Tepper bring us back to the core concerns that have framed this essay: how can we "ensure that all students benefit from learning in ways that allow them to participate fully in public, community, [Creative] and economic life?" How do we guarantee that the rich opportunities afforded by the expanding media landscape are available to all? What can we do through schools, afterschool programs, and the home to give our youngest children a head start and allow our more mature youth the chance to develop and grow as effective participants and ethical communicators? This is the challenge that faces education at all levels at the dawn of a new era of participatory culture.

Announcing: Media in Transition Conference

I wanted to direct my reader's attention to an event our program will be hosting in April 2007 -- our 5th Media in Transition Conference. We try to use these events to bring together scholars from across a range of different disciplines and from around the world to talk about underlying issues that cut across media platforms and across historical periods. We also very much encourage participation from artists, community leaders, and industry people who also might want to share their perspectives on these issues. This year's topic should be of particular interest to many of the different groups represented among regular readers of this blog, including fans, media literacy educators, and others. media in transition 5: creativity, ownership and collaboration in the digital age

April 27-29, 2007

Massachusetts Institute of Technology

CALL FOR PAPERS (submission deadline: Jan. 5, 2007)

Our understanding of the technical and social processes by which culture is made and reproduced is being challenged and enlarged by digital technologies. An emerging generation of media producers is sampling and remixing existing materials as core ingredients in their own work. Networked culture is enabling both small and large collaborations among artists who may never encounter each other face to face. Readers are actively reshaping media content as they personalize it for their own use or customize it for the needs of grassroots and online communities. Bloggers are appropriating and recontextualizing news stories; fans are rewriting stories from popular culture; and rappers and techno artists are sampling and remixing sounds.

These and related cultural practices have generated heated contention and debate. What constitutes fair use of another's intellectual property? What ethical issues are posed when sounds, images, and stories move from one culture or subculture to another? Or when materials created by a community or religious or ethnic tradition are appropriated by technologically powerful outsiders? What constitutes creativity and originality in expressive formats based on sampling and remixing? What obligations do artists owe to those who have inspired and informed their work and how much creative freedom should they exercise over their borrowed or shared materials?

One source of answers to such questions lies in the past - in the ways in which traditional printed texts - and films and TV shows as well - invoke, allude to and define themselves against their rivals and ancestors; and - perhaps even more saliently - in the ways in which folk and popular cultures may nourish and reward not originality in our modern sense, but familiarity, repetition, borrowing, collaboration.

This fifth Media in Transition conference, then, aims to generate a conversation that compares historical forms of cultural expression with contemporary media practices. We hope this event will appeal widely across disciplines and scholarly and professional boundaries. For example, we hope this conference will bring together such figures as:

* anthropologists of oral and folk cultures

* historians of the book and reading publics

* political scientists and legal scholars interested in alternative approaches to intellectual property

* media educators who aim to help students think about their ethical responsibilities in this new participatory culture

* artists ready to discuss appropriation and collaboration in their own work

* economists and business leaders interested in the new relationships that are emerging between media producers and consumers

* activists and netizens interested in the ways new technologies democratize who has the right to be an author

Among topics the conference might explore:

* history of authorship and copyright

* folk practices in traditional and contemporary society

* appropriating materials from other cultures: political and ethical dilemmas

* poetics and politics of fan culture

* blogging, podcasting, and collective intelligence

* media literacy and the ethics of participatory culture

* artistic collaboration and cultural production, past and present

* fair use and intellectual property

* sampling and remixing in popular music

* cultural production in traditional and developing societies

* Web 2.0 and the "architecture of participation"

* creative industries and user-generated content

* parody, spoofs, and mash-ups as critical commentary

* game mods and machinima

* the workings of genre in different media systems

* law and technological change

Short abstracts of no more than 200 words for papers or panels should be sent via email to Brad Seawell at seawell@mit.edu no later than January 5, 2007. Brad can be reached by phone at 617-253-3521. Email submissions are preferred, but abstracts can be mailed to:

Brad Seawell

14N-430

MIT

Cambridge , MA 02139

Confronting the Challenges of a Participatory Culture (Part Six)

Today's post wraps up my list of the eleven social skills and cultural competencies which I argue we should be incorporating into our educational practices with transmedia navigation, networking, and negotiation. Next time, I will wrap up with some recommendations about what this might all mean for parents, schools, and after school programs. We haven't received many responses here from readers but I am very pleased to see localized discussions of some of these issues start to spring up on a number of other blogs. Do let me know what you think about some of the issues raised here?

Transmedia Navigation -- the ability to deal with the flow of stories and information across multiple modalities

In an era of convergence, consumers become hunters and gatherers pulling together information from multiple sources to form a new synthesis. Storytellers exploit this potential for transmedia storytelling; advertisers talk about branding as depending on multiple touch points; networks seek to exploit their intellectual properties across many different channels. As they do so, we encounter the same information, the same stories, the same characters and worlds across multiple modes of representation. Transmedia stories at the most basic level are stories told across multiple media. At the present time, the most significant stories tend to flow across multiple media platforms.

Consider, for example, the Pokémon phenomenon. As Buckingham and Sefton-Green explain, "Pokémon is something you do, not just something you read or watch or consume." Several hundred different Pokémon exist, each with multiple evolutionary forms and a complex set of rivalries and attachments. There is no one text for information about these various species. Rather, the child assembles information from various media, with the result that each child knows something his or her friends do not. As a result, the child can share his or her expertise with others. As Buckingham and Sefton-Green explain, "Children may watch the television cartoon, for example, as a way of gathering knowledge that they can later utilize in playing the computer game or in trading cards, and vice versa. The fact that information can be transferred between media (or platforms) of course adds to the sense that Pokémon is unavoidable. In order to be a master, it is necessary to 'catch' all its various manifestations" .

Such information feeds back into social interactions, including face-to-face contact within local communities and mediated contact online with a more dispersed population. These children's properties offer multiple points of entry, enable many different forms of participation, and facilitate the interests of multiple consumers.

One dimension of this phenomenon points us back to collective intelligence, given that what Ito calls "hypersociability" emerges as children trade notes and exchange artifacts associated with their favorite television shows. A second dimension of this phenomenon points us to what Kress calls multimodality. Consider a simple example. The same character (say, Spider-Man) may look different when featured in an animated video than in a video game, or a printed comic book, or as a molded plastic action figure, or in a live-action movie. How then do readers learn to recognize this character across all of these different media? How do they link what they have learned about the character in one context to what they learned in a completely different media channel? How do they determine which of these representations are linked (part of the same interpretation of the character) and which are separate (separate versions of the character that are meant to be understood autonomously)? These are the kinds of conceptual problems youth encounter regularly in their participation in contemporary media franchises.

Kress stresses that modern literacy requires the ability to express ideas across a broad range of different systems of representation and signification (including "words, spoken or written; image, still and moving; musical...3D models..."). Each medium has its own affordances, its own systems of representation, its own strategies for producing and organizing knowledge. Participants in the new media landscape learn to navigate these different and sometimes conflicting modes of representation and to make meaningful choices about the best ways to express their ideas in each context. All of this sounds more complicated than it is. As the New Media Consortium's 2005 report on twenty-first century literacy suggests, "Young people adept at interpreting meaning in sound, music, still and moving images, and interactive components not only seem quite able to cope with messages that engage several of these pathways at once, but in many cases prefer them."

Kress argues that this tendency toward multimodality changes how we teach composition, because students must learn to sort through a range of different possible modes of expression, determine which is most effective in reaching their audience and communicating their message, and to grasp which techniques work best in conveying information through this channel. Kress advocates moving beyond teaching written composition to teaching design literacy as the basic expressive competency of the modern era. This shift does not displace printed texts with images, as some advocates of visual literacy have suggested. Rather, it develops a more complex vocabulary for communicating ideas that requires students to be equally adept at reading and writing through images, texts, sounds, and simulations. The filmmaker George Lucas offers an equally expansive understanding of what literacy might mean today:

We must teach communication comprehensively in all its forms. Today we work with the written or spoken word as the primary form of communication. But we also need to understand the importance of graphics, music, and cinema, which are just as powerful and in some ways more deeply intertwined with young people's culture. We live and work in a visually sophisticated world, so we must be sophisticated in using all the forms of communication, not just the written word.

In short, new media literacies involve the ability to think across media, whether understood at the level of simple recognition (identifying the same content as it is translated across different modes of representation), or at the level of narrative logic (understanding the connections between story communicated through different media), or at the level of rhetoric (learning to express an idea within a single medium or across the media spectrum). Transmedia navigation involves both processing new types of stories and arguments that are emerging within a convergence culture and expressing ideas in ways that exploit the opportunities and affordances represented by the new media landscape. In other words, it involves the ability to both read and write across all available modes of expression.

What Might Be Done

Students learn about multimodality and transmedia navigation when they take time to focus on how stories change as they move across different contexts of production and reception, as they give consideration to the affordances and conventions of different media, and as they learn to create using a range of different media tools.

• Students in literature classes are asked to take a familiar fairy tale, myth, or legend and identify how this story has been retold across different media, different historical periods, and different national contexts. Students search for recurring elements as well as signs of the changes that occur as the story are retold in a new context.

• French language students in New York recreate characters from various French literary works in the best-selling video game The Sims 2. Students then tell new stories by playing out the interactions between different characters inside the game world. Characters are projected onto a screen in front of the class for students to do live performances with their characters. see http://www.mylenecatel.com

• An exercise developed by MIT's New Media Literacies asks students to tell the same story across a range of different media. For example, they script dialogue using instant messenger; they storyboard using Powerpoint and images appropriated from the Internet; they might later reenact their story and record it using a camera or video camera; they might illustrate it by drawing pictures. As they do so, they are encouraged to think about what each new tool contributes to their overall experience of the story as well as what needs to remain the same for viewers to recognize the same characters and situations across these various media.

Networking -- the ability to search for, synthesize, and disseminate information

In a world in which knowledge production is collective and communication occurs across an array of different media, the capacity to network emerges as a core social skill and cultural competency. A resourceful student is no longer one who personally possesses a wide palette of resources and information from which to choose, but rather, one who is able to successfully navigate an already abundant and continually changing world of information. Increasingly, students achieve this by tapping into a myriad of socially based search systems, including the following popular sites.

• Google.com: At the core of the now ubiquitous Google search engine is an algorithm that analyzes the links between websites to measure which sites different website creators consider valuable or relevant to particular topics.

• Amazon.com: Suggests books a customer may like on the basis of patterns gleaned from analyzing similar customers.

• Movielens.org: Predicts if a particular user will like a given movie based on preferences from similar users.

• Ebay.com: Creates a complex reputation system between users to establish trust for a given seller.

• Epinions.com: Establishes reliability of a given product on the basis of previous consumer experiences

• last.fm: Generates personalized radio stations on the basis of correlations between similar listeners' music preferences.

• Del.icio.us: Suggests relevant websites for a given term on the basis of other users' bookmarking habits

• Answers.google.com: Offers a mass collective-intelligence marketplace in which users can offer money to anyone worldwide who may have answers to their questions.

• Citeulike.org: Academic citation manager that both helps users locate relevant articles on the basis of other users' citation management and allows users to flag important information about given articles, such as inaccuracies.

• Getoutfoxed.com: Allows trusted friends and users to provide annotations and meta-discussion about a given website that a user might be browsing, such as warnings about inaccurate content.

• RSS: Intelligently aggregates and consolidates content produced by friends and trusted sources to help efficiently share resources across networks.

Business guru Tim O'Reilly has coined the term, "Web 2.0" to refer to how the value of these new networks depends not on the hardware or the content, but on how they tap the participation of large-scale social communities, who become invested in collecting and annotating data for other users. Some of these platforms require the active participation of consumers, relying on a social ethos based on knowledge-sharing. Others depend on automated analysis of collective behavior. In both cases, though, the value of the information depends on one's understanding of how it is generated and one's analysis of the social and psychological factors that shape collective behavior.

In such a world, students can no longer rely on expert gatekeepers to tell them what is worth knowing. Instead, they must become more reflective of how individuals know what they know and how they assess the motives and knowledge of different communities. Students must be able to identify which group is most aware of relevant resources and choose a search system matched to the appropriate criteria: people with similar tastes; similar viewpoints; divergent viewpoints; similar goals; general popularity; trusted, unbiased, third-party assessment, and so forth. If transmedia navigation involves learning to understand the relations between different media systems, networking involves the ability to navigate across different social communities.

Schools are beginning to teach youth how to search out valuable resources through such activities as "webquests." In the last ten years, webquests, that is, activities designed by teachers "in which some or all of the information that learners interact with comes from resources on the Internet", have exploded in popularity. In a typical webquest, students are given a scenario that requires them to extract information or images from a series of websites and then compile their findings into a final report. For example, students might be told they are part of a team of experts brought in to determine the most appropriate method for disposing of a canister of nuclear waste. They are provided a series of websites relevant to waste disposal and asked to present a final proposal to the teacher. For many educators, webquests provide a practical means for using new media to broaden students' exposure to different perspectives and provide fresh curricular materials. Rather than requiring textbook authors to develop "neutral" accounts of facts, teachers develop and share webquests by simply referencing existing web content. This both exposes students to a variety of opinions and trains them to synthesize their own perspectives. Yet, critics argue that most existing webquests fall short of fully exploiting the potential of social networks--both in terms of teaching students how to exploit networking to track down information and in terms of using networks to distribute the byproducts of their research.

Networking is only partially about identifying potential resources; it also involves a process of synthesis, during which multiple resources are combined to produce new knowledge. In discussing "The Wisdom of Crowds," Suroweicki describes the conditions needed to receive the maximum benefit from collective intelligence:

There are four key qualities that make a crowd smart. It needs to be diverse, so that people are bringing different pieces of information to the table. It needs to be decentralized, so that no one at the top is dictating the crowd's answer. It needs a way of summarizing people's opinions into one collective verdict. And the people in the crowd need to be independent, so that they pay attention mostly to their own information, and not worrying about what everyone around them thinks.

Because new research processes depend on young people's resourcefulness as networkers, students must understand how to sample and distill multiple, independent perspectives. Guinee and Eagleton have been researching how students take notes in the digital environment, discovering, to their dismay, that young people tend to copy large blocks of text rather than paraphrasing it for future reference. In the process, they often lose track of the distinction between their own words and material borrowed from other sources. They also skip over the need to assess any contradictions that might exist in the information they have copied. In short, they show only a minimal ability to create a meaningful synthesis from the resources they have gathered.

Networking also implies the ability to effectively tap social networks to disperse one's own ideas and media products. Many youth are creating independent media productions, but only some learn how to be heard by large audiences. Increasingly, young artists are tapping networks of fans or gamers with the goal of reaching a broader readership for their work. They create within existing cultural communities not because they were inspired by a particular media property, but because they want to reach that property's audience of loyal consumers. Young people are learning to link their websites together into web-rings in part to increase the visibility of any given site and also to increase the profile of the group. Teachers are finding that students are often more motivated if they can share what they create with a larger community. As students make their work accessible to a larger public, they face public consequences for what they write and, thus, they face the kind of ethical dilemmas we identified earlier in this document.

At the present time, social networking software is under fire from adult authorities, and federal law makes it more difficult to access and deploy these tools in the classroom. Yet, we would argue that schools have a different obligation--to help all children learn to use such tools effectively and to understand the value of networking as a means of acquiring knowledge and distributing information. Learning in a networked society involves understanding how networks work and how to deploy them for one's own ends. It involves understanding the social and cultural contexts within which different information emerges, when to trust and when not to trust others to filter and prioritize relevant data, and how to use networks to get one's own work out into the world and in front of a relevant and, with hope, appreciative public.

What Might Be Done

Educators take advantage of social networking when they link learners with others who might share their interests or when they encourage students to publish works produced to a larger public.

• Noel Jenkins, a British junior high teacher, created a geography unit in which he asks students to play the roles of city planners determining the most appropriate location for a new hospital in San Francisco. First, students familiarize themselves with the city layout by exploring satellites imagery of the city, navigating through three-dimensional maps and watching webcam streams from different parts of the city. Next, students are shown how to layer the data most relevant to their decision atop their city maps. Finally, students are asked to decide on a final location for their hospital and illustrate their maps with annotations justifying their decision. See http://www.juicygeography.co.uk/googleearthsanfran.htm

• Students use online storefront services such as cafepress.com and zazzle.com to share their artistic creations and personal hobbies with the general public. In many cases, young entrepreneurs are able to make up to $18,000 per year doing so.

• Educational Technology enthusiast Will Richardson used the community news application crispynews.com to create edbloggernews.crispynews.com, an online nexus for teachers to share educational resources with one another. Each participant helps to rank the different curricular suggestions using collaborative filtering technologies.

• Students at Grandview Elementary School publish an online newspaper and podcast their works. See http://www.grandviewlibrary.org/Fold/GrandviewNews.aspx

• Outraged by a House bill that would make illegal immigration a felony, more than 15,000 high school students in Los Angeles staged a protest coordinated primarily through Myspace.

Negotiation-- the ability to travel across diverse communities, discerning and respecting multiple perspectives, and grasping and following alternative sets of norms

The fluid communication within the new media environment brings together groups who otherwise might have lived segregated lives. Culture flows easily from one community to another. People online encounter conflicting values and assumptions, come to grips with competing claims about the meanings of shared artifacts and experiences. Everything about this process ensures that we will be provoked by cultural difference. Little about this process ensures that we will develop an understanding of the contexts within which these different cultural communities operate. When white suburban youth consume hip hop or Western youth consume Japanese manga, new kinds of cultural understanding can emerge. Yet, just as often, the new experiences are read through existing prejudices and assumptions. Culture travels easily, but the individuals who initially produced and consumed such culture are not always welcome everywhere it circulates.

Cyber communities often bring together groups that would have no direct contact in the physical world, resulting in heated conflicts about values or norms. Increasingly, critics are focusing on attempts to segregate membership or participation within online social groups. The massively multiplayer game World of Warcraft has faced controversies about whether the formation of groups for gay, lesbian, and bisexual players increased or decreased the likelihood of sexual harassment or whether the formation of groups based on English competency reflected the importance of communication skills in games or constituted a form of discrimination motivated by stereotypes about the ethics and actions of Asian players. The social networking software that has become so central to youth culture can function as a vehicle for expressing and strengthening a sense of affiliation, but it can also be deployed as a weapon of exclusion and, as a consequence, a tool for enforcing conformity to peer expectations.

In such a world, it becomes increasingly critical to help students acquire skills in understanding multiple perspectives, respecting and even embracing diversity of views, understanding a variety of social norms, and negotiating between conflicting opinions. Traditionally, media literacy has addressed these concerns by teaching children to read through media-constructed stereotypes about race, class, sex, ethnic, religious, and other forms of cultural differences. Such work remains valuable in that it helps students to understand the preconceptions that may shape their interactions, but it takes on added importance as young people themselves create media content, which may perpetuate stereotypes or contribute to misunderstandings. If, as writers such as Suroweicki and Levy suggest, the wisdom of the crowd depends on the opportunity for diverse and independent insights and other inputs, then these new knowledge cultures require participants to master new social skills that allow them to listen to and respond to a range of different perspectives. We are defining this skill negotiation in two ways: first, as the ability to negotiate between dissenting perspectives, and second, as the ability to negotiate through diverse communities.

The most meaningful interventions will start from a commitment to the process of deliberation and negotiation across differences. They depend on the development of skills in active listening and ethical principles designed to ensure mutual respect. Participants agree to some rules of conduct that allow them to talk through similarities and differences in perspective in ways that may allow for compromise, or at least agreeing to disagree. In either case, such an approach seems essential if we are going to learn to share knowledge and collaborate within an increasingly multicultural society. Such an approach does not ignore differences: diversity of perspective is essential if the collective intelligence process is to work well. Rather, it helps us to appreciate and value differences in background, experience, and resources as contributing to a richer pool of knowledge.

What Might Be Done

Educators can foster negotiation skills when they bring together groups from diverse backgrounds and provide them with resources and processes that insure careful listening and deeper communication.

• Researchers at Stanford University's Center for Deliberative Democracy have been experimenting with new forms of civic engagement that depend on bringing people together from multiple backgrounds, exposing them to a broad array of perspectives, encouraging them to closely examine underlying claims and the evidence to support them, and creating a context in which they can learn from one another. Their initial reports suggest that this process generates powerful new perspectives on complex public policy issues, which gain the support of all parties involved. For some participants, the process strengthens their commitment to core beliefs and values. For others, it creates a context in which they are more open to alternative points of view and are able to find middle-ground positions. The project's focus on the process of deliberation--and not simply on the outcome--represents a useful model to incorporate into the classroom. Rather than having traditional pro-con debates that depend on a fixed and adversarial relationship between participants, schools should focus more attention on group deliberation and decision-making processes and on mechanisms that ensure that all parties listen and learn from one another's arguments.

• The Cultura project, developed by Furstenberg, links students in classrooms in North America and France. In the first phases, they are asked to complete a series of sentences ("A good parent is someone who..." ), address a series of questions ("What do you do if you see a mother strike a child in the grocery store?"), and define a range of core terms and concepts ("individualism"). The French students write in French, the American students in English, allowing both classes to practice their language skills and understand the links between linguistic and cultural practices. Students are then asked to compare the different ways that people living in different parts of the world responded to these questions, seeking insights into differences in values and lifestyles. For example, individualism in France is seen as a vice, equated with selfishness, whereas for Americans, individualism is seen as a virtue, closely linked with freedom. These interpretations unfold in online forums where students from both countries can respond to and critique attempts to characterize their attitudes. As the process continues, students are encouraged to upload their own media texts, which capture important aspects of their everyday lives, artifacts they believe speak to the larger cultural questions at the center of their discussions. In this way, they learn to see themselves and one another more clearly, and they come away with a greater appreciation of cultural difference.

• Rev. Denis Haak of the Ransom Fellowship has developed a series of probing questions and exercises intended to help Christians work through their responses to popular culture. Rejecting a culture war rhetoric based on sharp divisions, these exercises are intended to help Christians to identify and preserve their own values even as they come to understand "what non-believers believe." The Discernment movement sees discussing popular culture as a means of making sense of competing and contradictory value systems that interact in contemporary society. For this process to work, the program encourages participants to learn how to "disagree agreeably," how to stake out competing positions without personalizing the conflict.

• Schools historically have used the adversarial process of formal debate to encourage students to do research, construct arguments, and mobilize evidence. Yet, there is a danger that this process forces students to adopt fixed and opposing positions on complex problems. One might instead adopt a deliberative process in the classroom that encourages collaboration and discussion across different positions, and thus creates a context for opposing parties to learn from one another and reformulate their positions accordingly.

• Sites such as Wikipedia and Wikinews include a tab labeled "discussion" above each article or news entry. Here readers can view or participate in an online discussion with people of different viewpoints to arrive at a neutral point-of-view framing of the issue to be displayed on the main page.

We began this

discussion by suggesting that literacy in the twenty-first century be understood as a social rather than individual skill and that what students must acquire should be understood as skills and cultural competencies. Each of the skills we have identified above represents modes of thought, ways of processing information, and ways of interacting with others to produce and circulate knowledge. These are skills that enable participation in the new communities emerging within a networked society. They enable students to exploit new simulation tools, information appliances, and social networks; they facilitate the exchange of information between diverse communities and the ability to move easily across different media platforms and social networks. Many of the skills schools have been teaching all along, although the emergence of digital media creates new pressure on schools to prepare students for their future roles as citizens and workers. Others are skills that emerge from the affordances of these new communications technologies and the social communities and cultural practices that have grown up around them.

Confronting the Challenges of a Participatory Culture (Part Five)

Today, I continue our serialization of the white paper written for the MacArthur Foundation. Today's excerpt outlines three more of the social skills and cultural competencies we think young people need to develop if they are going to be able to fully participate in the new media landscape: Distributed Cognition, Collective Intelligence, and Judgment. Distributed Cognition-- the ability to interact meaningfully with tools that expand our mental capacities.

Challenging the traditional view that intelligence is an attribute of individuals, the distributed cognition perspective holds that intelligence is distributed across "brain, body, and world", looping through an extended technological and sociocultural environment. Explaining this idea, Pea notes,

"When I say that intelligence is distributed, I mean that the resources that shape and enable activity are distributed in configurations across people, environments, and situations. In other words, intelligence is accomplished rather than possessed"

. Work in distributed cognition focuses on forms of reasoning that would not be possible without the presence of artifacts or information appliances and that expand and augment human's cognitive capacities. These devices might be forms that externalize memory, such as a database, or they can be devices that externalize processes, such as the widely used spell checker. The more we rely on the capacities of technologies as a part of our work, the more it may seem that cognition is distributed.

Teachers have long encouraged students to bring scratch paper with them into math examinations, realizing that the ability to construct representations and record processes was vital in solving complex problems. If, as Clark notes, technologies are inextricably interwoven with thinking, it makes no sense to "factor out" what the human brain is doing as the "real" part of thinking, and to view what the technology is doing as a "cheat" or "crutch." Rather, we can understand cognitive activity as shared among a number of people and artifacts, and cognitive acts as learning to think with other people and artifacts. Following this theory, students need to know how to think with and through their tools as much as they need to record information in their heads.

Gamers may be acquiring some of these distributed cognition skills through their participation in squadron-based video games. Gee suggests that in playing such games, one must form a mental map of what player and nonplayer characters are doing (nonplayer characters are characters controlled by the A.I of the game). To plan appropriately, players may not need to know what other participants know, but they do need to know what it is those participants are likely to do. Moreover, in playing the games, one may need to flip through a range of different representations of the state of the game world and of the actions that are occurring within it. Learning to play involves learning to navigate this information environment, understanding the value of each representational technology, knowing when to consult each and how to deploy this knowledge to reshape what is occurring. Instead of thinking as an autonomous problem-solver, the player becomes part of a social and technological system that is generating and deploying information at a rapid pace. Humans are able to play much more complex games (and to solve much more complex problems) in a world in which keeping track of key data and enacting well-understood computational processes can be trusted to the processing power of the computer, and they can thus focus more attention on strategic decision making.

Distributed cognition is not simply about technologies; it is also about tapping social institutions and practices or remote experts whose knowledge may be useful in solving a particular problem. According to this understanding, expertise comes in many shapes and sizes (both human and non-human). Experts can be expert practitioners, who can be consulted through such technologies as video conferencing, instant messaging, or email; some knowledge can emerge from technologies such as calculators, spread sheets, and expert systems; new insights can originate from the teacher or students or both. The key is having expertise somewhere within the distributed learning environment and making sure students understand how to access and deploy it.

Distributed Cognition-- the ability to interact meaningfully with tools that expand our mental capacities.

Challenging the traditional view that intelligence is an attribute of individuals, the distributed cognition perspective holds that intelligence is distributed across "brain, body, and world", looping through an extended technological and sociocultural environment. Explaining this idea, Pea notes,

"When I say that intelligence is distributed, I mean that the resources that shape and enable activity are distributed in configurations across people, environments, and situations. In other words, intelligence is accomplished rather than possessed"

. Work in distributed cognition focuses on forms of reasoning that would not be possible without the presence of artifacts or information appliances and that expand and augment human's cognitive capacities. These devices might be forms that externalize memory, such as a database, or they can be devices that externalize processes, such as the widely used spell checker. The more we rely on the capacities of technologies as a part of our work, the more it may seem that cognition is distributed.

Teachers have long encouraged students to bring scratch paper with them into math examinations, realizing that the ability to construct representations and record processes was vital in solving complex problems. If, as Clark notes, technologies are inextricably interwoven with thinking, it makes no sense to "factor out" what the human brain is doing as the "real" part of thinking, and to view what the technology is doing as a "cheat" or "crutch." Rather, we can understand cognitive activity as shared among a number of people and artifacts, and cognitive acts as learning to think with other people and artifacts. Following this theory, students need to know how to think with and through their tools as much as they need to record information in their heads.

Gamers may be acquiring some of these distributed cognition skills through their participation in squadron-based video games. Gee suggests that in playing such games, one must form a mental map of what player and nonplayer characters are doing (nonplayer characters are characters controlled by the A.I of the game). To plan appropriately, players may not need to know what other participants know, but they do need to know what it is those participants are likely to do. Moreover, in playing the games, one may need to flip through a range of different representations of the state of the game world and of the actions that are occurring within it. Learning to play involves learning to navigate this information environment, understanding the value of each representational technology, knowing when to consult each and how to deploy this knowledge to reshape what is occurring. Instead of thinking as an autonomous problem-solver, the player becomes part of a social and technological system that is generating and deploying information at a rapid pace. Humans are able to play much more complex games (and to solve much more complex problems) in a world in which keeping track of key data and enacting well-understood computational processes can be trusted to the processing power of the computer, and they can thus focus more attention on strategic decision making.

Distributed cognition is not simply about technologies; it is also about tapping social institutions and practices or remote experts whose knowledge may be useful in solving a particular problem. According to this understanding, expertise comes in many shapes and sizes (both human and non-human). Experts can be expert practitioners, who can be consulted through such technologies as video conferencing, instant messaging, or email; some knowledge can emerge from technologies such as calculators, spread sheets, and expert systems; new insights can originate from the teacher or students or both. The key is having expertise somewhere within the distributed learning environment and making sure students understand how to access and deploy it.

Applications of the distributed cognition perspective to education suggest that students must learn the affordances of different tools and information technologies, and know which functions tools and technologies excel at and in what contexts they can be trusted. Students need to acquire patterns of thought that regularly cycle through available sources of information as they make sense of developments in the world around them. Distributed intelligence is not simply a technical skill, although it depends on knowing how to use tools effectively; it is also a cognitive skill, which involves thinking across "brain, body, and world." The term "distributed intelligence" emphasizes the role that technologies play in this process, but it is closely related to the social production of knowledge that we are calling collective intelligence.

What Might Be Done

The theory of distributed cognition informs educational research and practice when it provides a perspective for envisioning new learning contexts, tools, curricula and pedagogy, participant structures, and goals for schooling.

• Augmented reality games represent one potential application of distributed intelligence to the learning process. Klopfer and Squire developed a range of games in which students use location-aware, GPS-enabled handheld computers to solve fictional problems in real spaces. For example, in Environmental Detectives, students determine the source of an imaginary chemical leak, which is causing environmental hazards on the MIT campus. Students can use their handhelds to drill imaginary wells and take readings on the soil conditions, but to do so, they must travel to the actual location. Data drawn from the computer is read against their actual physical surroundings--the distance between locations, the slope of the land, its proximity to the Charles River--and multiple players compare notes as they seek to resolve the game scenario.

• Students in the Comparative Media Studies Program have experimented with the use of handhelds to allow tourists to access old photographs of historic neighborhoods and compare them with what they are seeing on location . Elsewhere, students travel across the battlefield at Lexington conducting interviews with historical personage to better understand their perspective on what happened there in 1775 . In each case, direct perceptions of the real world and information drawn from information appliances are mutually reinforcing. The players combine multiple information sources in completing the tasks at hand.

• Byline is an Internet-based publishing and editing tool designed to focus attention on the organizational and structural features of journalism. By providing a space for the body of the story, the byline, and the lead, this "smart tool" scaffolds students' processes of learning to write a journalistic story. By cueing students on what to write, where to write it, and even into such journalistic values as the need to catch the reader's attention, this specially designed program helps students to learn the conventions and values of journalism.

• A classroom designed to foster distributed cognition encourages students to participate with a range of people, artifacts, and devices. The various forms of participation composing such cognitive activity might be understood more generally as the skill of knowing how to act within distributed knowledge systems. Interested in designing learning environments that would foster such a skill, Bell and Winn describe a classroom not only in which participation requires active collaborations with people and tools that are physically present, but also with people and tools that are virtually present through, for example, video conferencing with a science practitioner, using the web to connect to a database in Japan, and using Excel spreadsheets to simulate a mass spectrometer. In such classrooms, knowing how to act within the distributed knowledge system is more important than learning content. Because content is something that can be "held" by technologies such as databases, websites, wikis, and so forth, the curricular focus is on learning how to generate, evaluate, interpret, and deploy data.

• With new technologies, new cognitive possibilities arise. Educators need to create new activities when new technologies are introduced into the classroom. If the calculator is used to add 2+2, it is the capacities of the calculator that are solving the problem; when calculation is "off loaded" onto the calculator, the student is free to solve more complex problems. The proliferation of digital technologies requires a concerted effort to envision activities that enable students to engage in more complex problem domains. For example, as a vehicle for assessing the various ways ecommerce affects the environment, students could be given the problem of comparing the environmental impact of shipping 250,000 copies of Harry Potter and the Goblet of Fire directly to individual customers rather than to bookstores. Reflecting on the intended outcome for such a comparison, Yagelski notes, "The click of the computer mouse to order a copy of Harry Potter from Amazon.com can seem a simple and almost natural act, yet it represents participation in this bewilderingly complex web of material connections that is anything but simple. And that participation contributes to the condition of our planet." See http://english.ttu.edu/kairos/6.2/features/yagelski/crisis.htm.

Collective Intelligence-- the ability to pool knowledge and compare notes with others towards a common goal

As users learn to exploit the potential of networked communication, they participate in a process that Levy calls "collective intelligence." Like-minded individuals gather online to embrace common enterprises, which often involve access and processing information. In such a world, Levy argues, everyone knows something, nobody knows everything, and what any one person knows can be tapped by the group as a whole. We are still experimenting with how to work within these knowledge cultures and what they can accomplish when we pool knowledge. Levy argues that as a society, we are currently at an apprenticeship phase, during which we try out and refine skills and institutions that will sustain the social production of knowledge. Levy sees collective intelligence as an alternative source of power, one that allows grassroots communities to respond effectively to government institutions that emerge from the nation state or to corporate interests that sustain multinational commerce. Already, we are seeing governments and industries seek ways to "harness collective intelligence," which has become the driving force behind what people are calling Web 2.0.

Currently, children and adults are acquiring the skills to operate within knowledge communities be interacting with popular culture. As has often been the case, we learn through play that we later apply to more serious tasks. So, for example, the young Pokémon fans, who each know some crucial detail about the various species, constitute a collective intelligence whose knowledge is extended each time two youth on the playground share something about the franchise.

Such knowledge sharing can assume more sophisticated functions as it moves online. For example, Matrix fans have created elaborate guides which help them track information about the fictional Zion resistance movement featured in the film. Young people are playing with collective intelligence as they participate in the vast knowledge communities that emerged from the online game I Love Bees. Some estimate that as many as 3 million players participated in history's most challenging scavenger hunt. After working through puzzles so complicated they mandated the effective collaboration of massive numbers of people with expertise across a variety of domains and geographic locations, players gathered clues by answering more than 40,000 payphone calls across all 50 U.S. states and eight countries. They then fed those clues back into online tools designed to support large-scale collaboration for all players to deconstruct and analyze. If players were unfamiliar with how to participate in the community, other players would train them in the necessary skills. In another example, fans of the television show Survivor have used the Internet to track down information and identify the names of contestants before they are announced by the network. They have also used satellite photographs to identify the location of the Survivor base camp despite the producer's "no fly over" agreements with local governments. These knowledge communities change the very nature of media consumption--a shift from the personalized media that was central to the idea of the digital revolution toward socialized or communalized media that is central to the culture of media convergence.

As players learn to work and play in such knowledge cultures, they come to think of problem-solving as an exercise in teamwork. Consider the following postings made by members of The Cloudmakers, a team formed in a game similar to I Love Bees:

The solutions do not lie in the puzzles we are presented with, they lie in the connections we make, between the ideas and between one another. These are what will last. I look down at myself and see that I, too, have been incorporated into the whole, connections flowing to me and from me, ideas flowing freely as we work together, as individuals and as a group, to solve the challenges we are presented with. The solution, however, does not lie in the story. We are the solution.

* * *

The 7500+ people in this group ... we are all one. We have made manifest the idea of an unbelievably intricate intelligence. We are one mind, one voice ... made of 7500+ neurons... We are not one person secluded from the rest of the world... We have become a part of something greater than ourselves.

Indeed, these groups have been drawn from playing games to confronting real-world social problems, such as tracking campaign finances or trying to solve local crimes, as they develop a new sense of self-confidence in their ability to tackle challenges collectively, challenges that, as individuals, they would be unable to face.

This focus on teamwork and collaboration is also, not coincidentally, how the modern workplace is structured--around ad-hoc configurations of employees, brought together because their diverse skills and knowledge are needed to confront a specific challenge, then dispersed into different clusters of workers when new needs arise. Doctorow has called such systems "ad-hocracies," suggesting that they contrast in every possible way with prior hierarchies and bureaucracies. Our schools do an excellent job, consciously or unconsciously, teaching youth how to function within bureaucracies. They do almost nothing to help youth learn how to operate within an ad-hocracy.

Collective intelligence is increasingly shaping how we respond to real-world problems. On August 29, 2005, Hurricane Katrina tore apart the levee that protected New Orleans from Lake Pontchartrain and the Mississippi River. Not only was the ability of ordinary citizens to share self-produced media and information pivotal in shaping the view of the situation for the outside world (thereby bringing in more relief funds), but it allowed for those affected by the disaster to effectively assist one another. After Jonathan Mendez's parents evacuated from Louisiana to his home in Austin, Texas, he was eager to find out if the floods had destroyed their home in Louisiana. Unfortunately for him, media coverage of the event was focused exclusively on the most devastated parts of New Orleans, with little information about the neighborhood where his parents lived. With some help from his coworker, they were able, within a matter of hours, to modify the popular "Google maps" web service to allow users to overlay any information they had about the devastation directly onto a satellite map of New Orleans. Shortly after making their modification public, more than 14,000 submissions covered their map. This allowed victims scattered throughout the United States to find information about any specific location--including verifying that the Mendez's house was still intact.

Unfortunately, most contemporary education focuses on training autonomous problem solvers and is not well suited to equip students with these skills. Whereas a collective intelligence community encourages ownership of work as a group, schools grade individuals. Whereas Jonathan Mendez was admired for having appropriated Google's mapping web service , students in school are often asked to swear that what they turn is their "own work."

Leadership within a knowledge community requires the ability to identify specific functions for each member of the team based on his or her expertise and to interact with the team members in an appropriate fashion. Teamwork involves a high degree of interdiscipline--the ability to reconfigure knowledge across traditional categories of expertise. In early February 2004, Eric Klopfer, an MIT professor of urban studies and planning, along with a team of researchers from the Education Arcade, conducted "a Hi-Tech Who Done It" for middle-school youth and their parents inside the Boston Museum of Science. Teams of three adult-child pairs were given handhelds to search for clues of the whereabouts and identity of the notorious Pink Flamingo Gang, who had stolen an artifact and substituted a fake in its place. Thanks to museum's newly installed wi-fi network and the players' location-aware handhelds, each gallery offered the opportunity to interview cyber-suspects, download objects, examine them with virtual equipment, and trade their findings. Each parent-child unit was assigned a different role-- biologists, detectives, or technologists--enabling them to use different tools on the evidence they gathered. This is simply one of many recent cooperative games that assigned distinct roles to each player, giving each access to a different set of information, and thus creating strong incentives for them to pool resources.

Schools, on the other hand, often seek to develop generalists rather than allowing students to assume different roles based on their emerging expertise. The ideal of the Renaissance man was someone who knew everything or at least knew a great deal about a range of different topics. The ideal of a collective intelligence is a community that knows everything and individuals who know how to tap the community to acquire knowledge on a just-in-time basis. Minimally, schools should be teaching students to thrive in both worlds: having a broad background on a range of topics, but also knowing when they should turn to a larger community for relevant expertise. They must know how to solve problems on their own but also how to expand their intellectual capacity by working on a problem within a social community. To be a meaningful participant in such a knowledge culture, students must acquire greater skills at assessing the reliability of information, which may come from multiple sources, some of which are governed by traditional gatekeepers, others of which must be crosschecked and vetted within a collective intelligence.

What Might Be Done

Schools can deploy aspects of collective intelligence when students pool observations and work through interpretations with others studying the same problems at scattered locations. Such knowledge communities can confront problems of greater scale and complexity than any given student might be able to handle.

• Scientists in fields requiring simple, yet extensive, data analysis tasks could partner with junior high teachers to have students help collect or analyze real data. Eelgrass is both the most abundant seagrass in Massachusetts and one of the most ecologically valuable marine and estuarine habitats in North American coastal waters. The MIT Sea Grant College Program developed a project where students in different schools learn to cultivate eelgrass and collaboratively share data regarding the levels of nitrates, oxygen, and so forth in affected habitats through the project website: http://seagrantdev.mit.edu/eelgrass/

• Sites such as ning.com offers nonprogrammers tools for rapidly creating social web applications that allow users to interact with and share information with one another. For example, a Mandarin teacher could easily create an online travel guide in which students (potentially nationwide) would each contribute write-ups of interesting sites in their local areas that would be of interest to visitors from China.

• Students taking civic classes might be encouraged to map their local governments using a Wikipedia-like program, bringing together names of government officials, reports on government meetings, and key policy debates. The information would be accessible to others in their own communities. They might also compare notes with students living in other parts of the country to identify policy alternatives that might address problems or concerns in their communities.

Judgment-- the ability to evaluate the reliability and credibility of different information sources

Although it is exciting to see players harness collective intelligence to successfully solve problems of unprecedented complexity, this process also involves a large number of errors. Misinformation emerges, is worked over, refined or dismissed before a new consensus emerges. We are taught to think of knowledge as a product, but within a collective intelligence, knowledge is also always in process. As such, one must understand where one is in the vetting process to know how much trust to place in any given piece of information. In a game such as I Love Bees, these mistakes are generally of little consequence and often serve as a source of amusement than anything else. As these same technologies are employed in understanding world events, we must better understand the strengths and limitations of these new practices of knowledge production.

For example, one key technology in online collective intelligence communities is a wiki. Although it may be possible for a small group of individuals to contribute erroneous information, wiki enthusiasts argue that giving all members of a larger community the ability to correct any mistakes will ultimately lead to more accurate information. In many cases, this concept has proved surprisingly effective. In one study, Nature magazine compared the accuracy of articles in Wikipedia, an enormous online encyclopedia constructed entirely through the efforts of volunteers using wiki technologies, with equivalent articles in Encyclopedia Britannica. They concluded the accuracy levels of the two to be roughly the same. (This wasn't because Wikipedia was flawless, but rather because even sources such as Encyclopedia Britannica are flawed). Students must be taught to read both sources from a critical perspective.

The Nature article also identifies that wikis perform best when a large number of participants are actively using the technology to correct mistakes. Whereas the Wikipedia article on global warming enjoys more than 10,000 authors, each passionately committed to ensuring the accuracy of its content, the biographical article on John Seigenthaler cited him as having a possible involvement in the assassinations of Robert F. Kennedy and John F. Kennedy for a period of 132 days before someone corrected it. Given the disparity in the accuracy of different articles, students need to develop an intuitive understanding of how the contents of a wiki are produced by participating in their construction, and then actively reflecting on the different possibilities for inaccuracies.

In truth, schools should always teach students critical thinking skills for "sussing out" the quality of information, yet historically schools have had a tendency to fall back on the gatekeeping functions of professional editors and journalists, not to mention of textbook selection committee and librarians, to ensure that the information is generally reliable. Once students enter cyberspace, where anyone can post anything, they need skills in evaluating the quality of different sources, how perspectives and interests can color representations, and the likely mechanisms by which misinformation is perpetuated or corrected. We need to balance a trust of traditional gatekeeping organizations (Public Television, Smithsonian, National Geographic, for example) with the self-correcting potential of grassroots knowledge communities. Traditional logic would suggest, for example, that 60 Minutes, a long-standing network news show, would be more accurate than a partisan blog, but in fall 2004, bloggers working together recognized flaws in the evidence that had been vetted by the established news agency. As Gillmore notes, we are entering a world in which citizen journalists often challenge and sometimes correct the work of established journalists, even as journalists debunk the urban folklore circulated in the blogging community.

Misinformation abounds online, but so do mechanisms for self-correction. In such a world, we can only trust established institutions so far. We all must learn how to read one source of information against another; to understand the contexts within which information is produced and circulated; to identify the mechanisms that ensure the accuracy of information as well as realizing under which circumstances those mechanisms work best. Confronted with a world in which information is unreliable, many of us fall back on cynicism, distrusting everything we read. Rather, we should foster a climate of healthy skepticism, in which all truth claims are weighed carefully, but there is an ethical commitment to identifying and reporting the truth.

Students are theoretically taught in school how to critically assess the pros and cons of an argument. In an increasingly pervasive media environment, they also must be able to recognize when arguments are not explicitly identified as such. The new mediated landscape of mainstream news sources, collaborative blog projects, unsourced news sites, and increasingly sophisticated marketing techniques aimed at ever-younger consumers demand that students be taught how to distinguish fact from fiction, argument from documentation, real from fake, and marketing from enlightenment.

"To be a functioning adult in a mediated society, one needs to be able to distinguish between different media forms and know how to ask basic questions about everything we watch, read, or hear," says Thoman and Jolls.

"Although most adults learned through English classes to distinguish a poem from an essay, it is amazing how many people do not understand the difference between a daily newspaper and a supermarket tabloid, what makes one website legitimate and another one a hoax, or how advertisers package products to entice us to buy"

.

Even when media content has been determined credible, it is vital for students to also identify and analyze the perspective of the producer: who is presenting what to whom, and why. Existing media literacy materials excel in examining the forces behind controversial media properties, particularly provocative visuals, its intentions, and effects.

As Buckingham notes, children may lack some of the core life experiences and basic knowledge that might help them to discriminate between accurate and inaccurate accounts:

[T]here is as yet relatively little research about how children make judgements about the reliability of information on the Internet, or how they learn to deal with unwelcome or potentially upsetting content. Children may have more experience of these media than many adults, but they mostly lack the real-world experience with which media representations can be compared; and this may make it harder for them to detect inaccuracy and bias"

Reviewing the literature on how children make sense of online resources, Buckingham finds that students lack both knowledge and interest in assessing how information was produced for and within digital environments: "

Digital content was 'often seen as originating not from people, organisations, and businesses with particular cultural inclinations or objectives, but as a universal repository that simply existed 'out there'"

. Other studies find that children remain unaware of the motives behind the creation of websites, have difficulty separating commercial from noncommercial sites, and lack the background to identify the sources of authority behind claims made by website authors.

As this discussion has suggested, judgment might be seen as part of our existing conception of literacy--a core research skill of the kind that has long been fundamental to the school curriculum. Yet, this discussion also underscores that judgment operates differently in an era of distributed cognition and collective intelligence. Judgment requires not simply logic, but also an understanding of how different media institutions and cultural communities operate. Judgment works not simply on knowledge as the product of traditional expertise, but also on the process by which grassroots communities work together to generate and authenticate new information.

What Might Be Done

Judgment has long been the focus of media literacy education in the United States and around the world as students are encouraged to ask critical questions about the information they are consuming.

• The Boston-based Youth Voice Collaborative has developed an exercise that gives students a range of news stories and asks them to rank the stories according to traditional news standards. The process is designed to encourage students to understand what criteria journalists use to determine the "news value" of different events and to encourage students to express their own priorities about what information matters to them and why.

• http://news.google.com aggregates articles from thousands of news sources worldwide. This allows users to compare and contrast the framing of a single issue from different media sources. Students are encouraged to read several articles closely, underlining words they believe might shape how readers understand and feel about what they are reading.

• The New Medial Literacies project at MIT has developed a set of activities to involve students in understanding how representations of "truth" and "fiction" vary in different media forms and, therefore, how different techniques must be learned, and choices must be made, when seeking to manipulate meanings by altering representations. For example, in an image manipulation activity, students search for an image of an event (such as the March on Washington, the Kennedy assassination) and are taught how to change the picture in a way that changes the meaning. By manipulating images, students become familiar with the ways images may be altered to persuade and influence. In developing this manipulation skill, students are encouraged to think about why image, sound, and textual representations are altered and what that means to them as consumers, voters, and citizens.

• A growing number of teachers are using the Talk Pages for contested Wikipedia entries as illustrations of the types of questions one might want to ask about any information and the processes and criteria by which disputes about knowledge might be resolved.

• Tools such as lijit.com allow readers of a website to alert friends who subsequently read the same website that its content may be suspect. Students might also be encouraged to take advantage of sites such as snopes.com, which regularly report on frauds and misinformation circulating online and provide good illustrations of the ways that one could test the credibility of information

Confronting the Challenges of a Participatory Culture (Part Four)

I have been serializing in this blog the white paper I wrote for the MacArthur Foundation on youth, learning, and participatory culture. If you want to read the whole report, you can find it here. My collaborators on this report were Ravi Purushotma, Margaret Weigel, Katherine Clinton, and Alice J. Robison.

Yesterday, I began to identify some of the core social skills and cultural competencies that we think should be embedded in contemporary educational practices. These skills reflect the best contemporary research on the informal learning which is taking place as young people assume roles as fans, gamers, and bloggers. Yesterday, we spoke about Play and Simulation; today, we will discuss Performance, Appropriation, and Multitasking.

I am hoping that if you are enjoying reading this discussion, you will bring it to the attention of parents, teachers, church leaders, librarians, and others who regularly interact with young people. We would very much like to use this report to open up discussions about the place of media in young people's lives. Yet, we want to have a discussion which is not led by our fears and anxieties about what media is doing to our children but rather one that reflects our best research into what our children are doing with media.

Performance-- the ability to adopt alternative identities for the purpose of improvisation and discovery.

So far, we have focused on game play as a mode of problem solving which involves modeling the world and acting upon those models. Yet, game play also is one of a range of contemporary forms of youth popular culture which encourage young people to perform fictive identities and in this process, develop a richer understanding of themselves and their social roles. In What Video Games Have to Teach Us About Learning and Literacy, James Paul Gee coins the term, "projective identity" to refer to the fusion that takes place between game players and their avatars. Gee sees the term as playing on two senses of the word, "project": "to project one's values and desires onto the virtual character" and "seeing the virtual character as one's own project in the making". This projected identity allows the player to strongly identify with her character and thus have an immersive experience within the game and at the same time, to use the character as a mirror to reflect on her own values and choices.

Testing the educational video game Revolution with middle school students, Russell Francis found a number of compelling examples where projected identities had pedagogical payoffs for participants. For example, Margaret, a girl who played a loyalist character in the game which was set in Colonial Williamsburg on the eve of the American Revolution, was shaken when she was shot by the redcoats in the midst of a street riot:

"The towns people were very mad. They went to the Governor's mansion to attack. I support the red coats, but they started shooting at me, and then they arrested me. I felt horrified that they would do something like that to me. I don't even believe in violence. I wonder what is going to happen to me. I run the tavern and I have no family. Will I get sent back to England or will I be able to stay here?

" She had seen herself as a supporter of the British troops, at worst an innocent bystander, but she came away from the experience with critical insights about political violence.

Francis built on this process of introspection and projection by asking students to write journals or compose short films reflecting in character on the events that unfolded in the game. In constructing and inhabiting these virtual characters, participants drew together multiple sources of knowledge, mixing things they had read or learned in other educational contexts, information explicitly contained within the game, and their own introspection based on life experiences to create characters that were more compelling to them than the simple digital avatars the designers had constructed. One can think of the process as closely paralleling what actors do when preparing to play a role. Here, for example, is how a young African-American girl explained her experiences in playing Hanmah, a house slave (an explanation which reaches well beyond anything explicitly present in the games and even invents actions for the non-player characters in order to help her make sense of her place in the social order being depicted):

"You don't really have as much support as you would like because being a house slave they call you names, just because most of the time you're lighter skin -- you're the master's kid technically...I had to find the ways to get by because, you know, it was hard. On one side you don't want to get on the Master's bad side because he can beat you. On the other side the slaves they ridicule you and are being mean."

Children acquire basic literacies and competencies through learning to manipulate core cultural materials. In The Braid of Literature: Children's World of Reading, Shelby Anne Wolf and Shirley Brice Heath trace the forms of play which shaped Wolf's two preschooler daughters' relationship to the "world of words" and stories. Wolf and Heath are interested in how children embody the characters, situations, generic rules, even specific turns of phrase, through their socio-linquistic play. Children do not simply read books or listen to stories; they re-enact these narratives in ways that transform them and in this process, the authors argue, children demonstrate they really understand what they have read.This play helps them to navigate the world of stories and at the same time, elements of stories help them to navigate real world social situations. Children learn to verbalize their experiences of reading through these performances and in the process, develop an analytic framework for thinking about literacy. Anne Haas Dyson's Writing Superheroes: Contemporary Childhood, Popular Culture, and Classroom Literacy extends this analysis of the connection between performance and literacy into the classroom, exploring how educators have used dramatizations to teach children to reflect more deeply on their experiences of stories. Wolf and Heath describe individualized play in the context of the home; Dyson recounts social play among peers. In both cases, children start with a shared frame of reference -- stories they have in common, genres they all understand -- so that they understand the roles they are to play and the rules of their interaction. Performing these shared fantasies (such as the scenarios which emerge in superhero comics) allows children to better understand who they are and how they connect with the other people around them.

Role play is a persistent interest among contemporary youth whether we are looking at the coplay of young anime fans, the role play that takes place around Yu-Gi-Oh! or Magic or Hero Clips, the fusion with a digital avatar through computer gaming or fantasy role playing, or the construction of alternative personas in sub cultural communities like the Goths. Such play has long been read as testing identities, trying on possible selves, and exploring different social spaces. Susannah Stern has stressed the forms of self-representation which occur on teenagers websites and blogs: "the ability to repeatedly reinvent oneself is particularly appealing since home pages and blogs can be updated as often as desired and because they may be produced anonymously".

These more elaborated and complex forms of role-play may also provide a point of entry into larger spheres of knowledge. Consider, for example, this interview Comparative Media Studies graduate student Vanessa Bertozzi did with a 17 year old American girl named Chloe Metcalf: "

I have been really interested in Japanese culture since I was in sixth grade. When I was in the seventh grade, I started studying Japanese on my own. When I got into high school, I started taking Japanese courses at Smith College. I got into costuming through anime which is actually how I got interested in Japanese. And I taught myself how to sew. ...I'm a stage hog. I like to get attention and recognition. I love acting and theater. The biggest payoff of cosplay is to go to the conventions where there are other people who know who you are dressed as and can appreciate your effort. At the first convention I ever went to, I must have had fifty people take my picture and at least ten of them came up and hugged me. It's almost like whoever you dress up as, you become that person for a day....People put the pictures up on their websites after the con. So after a con, you can search for pictures of yourself and if you are lucky, you will find five or ten"

For Chloe, assuming the role of a Jpop character demonstrated her mastery over favorite texts. Assuming this new identity requires a close analysis of the originating texts, its genre conventions, its social roles, its linguistic codes, and so forth. She has to go deep inside the story in order to find her own place within its world. In this case, she also has to step outside the culture that immediately surrounds her to embrace a text from a radically different cultural tradition. She has sought out more and more information about forms of Asian popular culture. And in the process, she has begun to re-imagine her relations to the world -- as part of an international fan culture which remains deeply rooted in the everyday life of Japan. This search for more information expresses itself across a range of media - the videos or DVDs she watches of Japanese produced anime, the recordings of JPop music which may consumed on MP3 or on CD, the information she finds on the internet as well as information she shares with her fellow fans about her own activities, the physical costumes she generates as well as all of the photographs that get taken of her costumes, the magazines and comics she reads to learn more about Japanese popular culture, her face to face contacts with fellow fans. These activities around popular culture in turn translate into other kinds of learning. As a middle school student Chloe began to study Japanese language and culture first on her own and later at a local college.

Role play, in particular, should be seen as a fundamental skill used across multiple academic domains. So far, we have suggested its relevance to history, language arts, and cultural geography. Yet, this only scratches the surface. Whether it be children on a playground acting out and deciphering the complex universe of Pokémon,Orville Wright pretending to be a buzzard gliding over sand dunes, or Einstein imagining himself to be a photon speeding over the earth -- role playing enables us to envision and collaboratively theorize about manipulations of entirely new worlds. Consider, for example, the way role-play informs contemporary design processes. Increasingly designers construct personae of would-be users, who can serve to illustrate different contexts of use or different interests in the product. These personae are then inserted into fictional scenarios so that designers can mentally test the viability of their designs and its ability to serve diverse needs. In some cases, this process also involves the designers themselves acting out the different roles and thereby, identifying the strengths and limits of their approaches. Improvisational performance, then, represents an important life skill, one which balances problem solving and creative expression, one which invites us to reimagine ourselves and the world and allows participants to examine a problem from multiple perspectives.

Educators have for too long treated role play as a means to an end -- a fun way to introduce other kinds of content -- yet we are arguing here that role play skills may be valuable in their own right and are increasingly central to the way adult institutions function. Performance brings with it capacities to understand problems from multiple points of view, to assimilate information, to exert mastery over core cultural materials, and to improvise in response to a changing environment. As with play and simulation, performance places a new stress on learning processes -- on how we learn more than what we learn. These learning processes are apt to sustain growth and learning well beyond the school years.

What Might Be Done:

Performance enters into education when students are asked to adopt fictive identities and think through scenarios from their perspective. These identities may be assumed within the physical world or the virtual world.

*The Model United Nations, a well-established educational project, brings together students from many different schools, each representing delegations from different member countries. Over the course of a weekend, participants work through current debates in foreign policy and simulate the actual procedures and policies of the international organization. Students prepare for the Model United Nations by doing library research, listening to lectures, and participating in group discussions and they return from the event to share what they learned with other classmates through presentations and written reports.

*The Savannah Project, created by researchers at the University of Bristol, has children playing the parts of lions stalking their prey in physical spaces, such as the school playground, but reading them through fictional data provided on handheld devices. This approach encourages students to master the complex ecosystem of the veldt from the inside out -- learning the conditions which impinge upon the lion's chances of survival and the skills they need in order to feed on other local wildlife.

*Teachers in a range of subjects can deploy what David Shaffer calls "epistemic games." In an epistemic game, the game world is designed to simulate the social context of a profession (say, urban planning), and by working through realistic but simulated problems players learn the ways of acting, interacting, and interpreting that are necessary for participating in the professional community. In effect, rather than memorizing facts or formulas, through performances of being an urban planner, lawyer, doctor, engineer, carpenter, historian, teacher, or physicist the player learns the particular ways of thinking of these professions.

*Medieval Space, a MySpace clone created by teachers at Byrd Middle school, asked students to create online profiles for the various historical figures studied in their classes. Rather than seeing figures such as Richard III, Henry VI and Queen Elizbeth as distinct characters, students explored the complex social relationships between them by imagining how they might have interacted if they had online spaces in the 15th century. For example, students were asked to imagine what their character's current song might be, with as 2Pac's "Only God Can Judge Me Now" listed for Richard III.

Appropriation -- the ability to meaningfully sample and remix media content

Journalists have frequently used the term "Napster generation" to describe the young people who have come of age in this era of participatory culture, reducing their complex forms of appropriation and transformation into the simple, arguably illegal action of ripping and burning someone else's music for the purpose of file sharing. Recall that the Pew study cited earlier found that almost a quarter of American teens had sampled and remixed existing media content. The digital remixing of media content makes visible the degree to which all cultural expression builds upon what has come before. Appropriation is understood here as a process by which students learn by taking culture apart and putting it back together again.

Art doesn't emerge whole cloth from individual imaginations. Rather, art emerges through the artist's engagement with previous cultural materials. Artists build on, take inspiration from, appropriate and transform other artist's work: they do so by tapping into a cultural tradition or deploying the conventions of a particular genre. Beginning artists undergo an apprenticeship phase during which they try on for size the styles and techniques of other more established artists. And even well established artists work with images and themes that already have some currency within the culture. Of course, this isn't generally the way we talk about creativity in schools, where the tendency is still to focus on individual artists who rise upon or stand outside any aesthetic tradition.

Our focus on autonomous creative expression falsifies the actual process by which meaning gets generated and new works get produced. Most of the classics we teach in the schools are themselves the product of appropriation and transformation or what we would now call sampling and remixing. So Homer remixed Greek myths to construct The Iliad and the Odyssey; Shakespeare sampled his plots and characters from other authors' plays; The Sistine Chapel Ceiling mashes up stories and images from across the entire Biblical tradition. Lewis Carroll spoofs the vocabulary of exemplary verses which were a standard part of formal education during his period. Many core works of the western canon emerged through a process of retelling and elaboration: the figure of King Arthur goes from an obscure footnote in an early chronicle into the full blown text of Morte D'Arthur in a few centuries, as the original story gets built upon by many generations of storytellers.

Many of the forms of expression that are most important to American youth accent this sampling and remixing process, in part because digitization makes it much easier to combine and repurpose media content than ever before. Jazz, for example, evolved through improvisation around familiar themes and standard songs, yet the digital remixing of actual sounds which occurs in techno or hip hop music has raised much greater alarm among those who would insist on strong protections of copyright. Fan fiction clearly involves the transformative use of existing media content, yet it is often treated as if it were simply a new form of piracy. Collage has been a central artistic practice running across the 20th century, one closely associated with the kinds of new creative works that kids are generating manipulating images through Photoshop. Despite the pervasiveness of these cultural practices, school arts and creative writing programs remain hostile to overt signs of repurposed content, emphasizing the ideal of the autonomous artist. Yet in doing so they sacrifice the opportunity to help kids think more deeply about the ethical and legal implications of repurposing existing media content; they often do not provide them with the conceptual tools students need to analyze and interpret works produced in this appropriative process.

Appropriation may be understood as a process which involves both analysis and commentary. Sampling intelligently from the existing cultural reservoir requires a close analysis of the existing structures and uses of this material; remixing requires an appreciation of emerging structures and latent potential meanings. Often, remixing involves the creative juxtaposition of materials which otherwise occupy very different cultural niches. For beginning creators, appropriation provides a scaffolding, allowing them to focus on some dimensions of cultural production and rely on the existing materials to sustain others. They are, say, able to focus more attention on description or exposition if they can build on existing characters and plots. They learn how to capture the voice of a character by trying to mix borrowed dialog with their own words. Mapping their emotional issues onto preexisting characters allowed the young writers to reflect on their own lives from a certain critical distance and work through issues, such as their emerging sexualities, without facing the stigma which might surround confessing such feelings through autobiographical essays. These students learn to use small details in the original works as probes for their own imagination, overcoming some of the anxiety of staring at a blank computer screen. Building on existing stories attracts wider interest in their work, allowing it to circulate far beyond the community of family and friends. In turn, because they are working with a shared narrative and many others have stakes in what happens to these characters, they receive more feedback on their writing.

Classically, engineers learn by taking machines apart and reassembling them, acquiring in the process familiarity with core processes and materials and with an underlying logic that will shape their future construction projects. Appropriation represents this same learning process applied to cultural rather than technological materials. In a world where creativity is often expressed through sampling and remixing, schools need to make their peace with these creative and highly generative processes: they need to help students to better understand the poetics and politics of remixing, to understand how artists draw inspiration from their tradition and what ethical responsibilities they bear in their treatment of materials that others have generated.

What Might Be Done:

Appropriation enters education when learners are encouraged to dissect, transform, sample, or remix existing cultural materials.

*The MIT Comparative Media Studies Program runs a workshop each year, asking students to work in teams to think through what would be involved in transforming an existing media property (a book, film, television series, or comic book) into a video or computer game and then preparing a "pitch" presentation for their game: starting from a preexisting property allows students to get started quickly and more or less on equal footing since they are able to build on a text they have in common as readers rather than one created by an individual student author; the process of identifying core properties of the original work teaches students important skills at narrative and formal analysis while the development of an alternative version of the story in another medium emphasizes the creative expansion of the original content.

*The crew of Public Radio International's program, Sound & Spirit, has gone into schools around Boston, encouraging students to develop scripts and to record radio broadcasts which involve critical commentary around existing songs to explore a common theme or topic. They have found that this process of sampling and remixing music motivates kids to think more deeply about the sounds they hear around them and motivates them to approach school related topics from a fresh perspective.

*Artist and filmmaker Juan Devis , has been working with the University of Southern California Film School, the Institute for Media Literacy, and the Los Angeles Leadership Academy, on a project which will eventually have minority youth developing an online game based on Mark Twain's Huckleberry Finn. Devis drew a number of strong parallels between the experiences of minority youth in LA and the world depicted in Twain's novel -- including parallels between "crews" of taggers and the gang of youth that surround Huck and Tom, the use of slang as a means of separating themselves out from their parents culture, the complex experience of race in a society undergoing social transitions, and the sense of mobility and "escape" from adult supervision.

*Ricardo Pitts-Wiley,the Artistic Director of Mixed Magic Theatre, has been working with students from Pawtucket (RI) area high schools to develop what he calls his "urban Moby Dick" project. Students worked closely with mentors -- artists, law enforcement officers, business leaders, from the local community -- to explore Herman Melville's classic novel together. Through a process of reading, discussion, improvisation, and writing, they are scripting and staging a modern version of the classic whaling story, one that acknowledges the realities of contemporary urban America. In their version, the "Great White" turns out not to be a whale but the international drug cartel. Ish and Quay are two members of Ahab's posse as he goes after the vicious force which took his leg and killed his wife. Through re-imagining and reworking Melville's story, they come to a deeper understanding of the relationships between the characters and of some of the core themes about male bonding and obsession which run through the book.

*Renee Hobbs, a 20-year veteran of the media literacy movement, recently launched a new website -- My Pop Studio -- which encourages young middle school and early high school aged girls to reflect more deeply about some of the media they consume -- pop music, reality television, celebrity magazines, and the like -- by stepping into the roles of media producers. The site offers a range of engaging activities -- including designing your own animated pop star and scripting their next sensation, re-editing footage for a reality television show, designing the layout for a teen magazine. Along the way, they are asked to reflect on the messages the media offers about what it is like to be a teen girl in America today and to think about the economic factors shaping the culture that has become so much a part of their everyday interactions with their friends.

Multitasking-- the ability to scan one's environment and shift focus onto salient details on an ad hoc basis.

Perhaps one of the changes most alarming to many adults about the new media landscape has been the perceived decline in young people's attention spans. Attention is undoubtedly an important cognitive ability: all information to be processed by our brains needs to be temporarily held in short-term memory and the capacity of our short-term memory is sharply limited. Attention is critical: learners need to filter out extraneous information that is not relevant to the task at hand and sharpen their focus on the most salient details of their environment. Instead of focusing on narrowing attention, young people often respond to a rich media environment through a strategy of multitasking, scanning for relevant shifts in the information flow while taking in multiple stimuli at once. Multitasking and attention should not be seen as oppositional forces -- rather, we should think of them as two complementary skills, both strategically employed by the brain in order to intelligently manage constraints on short-term memory. Whereas attention seeks to prevent information overload by controlling what information enters short-term memory, successful multitaskers seek to reduce demands on short-term memory by mapping where different information is externally stored within their immediate environment.

In Growing up Digital, John Seely Brown (2002) describes an encounter he had:

Recently I was with a young twenty- something who had actually wired a Web browser into his eyeglasses. As he talked with me, he had his left hand in his pocket to cord in keystrokes to bring up my Web page and read about me, all the while carrying on with his part of the conversation! I was astonished that he could do all this in parallel and so unobtrusively.

People my age tend to think that kids who are multiprocessing can't be concentrating. That may not be true. Indeed, one of the things we noticed is that the attention span of the teens at PARC--often between 30 seconds and five minutes--parallels that of top managers, who operate in a world of fast context-switching. So the short attention spans of today's kids may turn out to be far from dysfunctional for future work worlds.

Right now, young people are playing with these skills as they engage with games or social activities which reward the ability to maintain a mental picture of complex sets of relationships and to adjust quickly to shifts in perceptual cues. We can already see the multitasking process being applied to news and information, embodied within the "scrawl" of contemporary television news: the screen is organized around a series of information surfaces, each contains a relevant bit of data, none of which offers the complete picture. Our eyes scan across electoral maps and ticker tapes, moving images and headlines, trying to complete a coherent picture of the day's events, and to understand the relationship between the data inputs. Similarly, as Gunther Kress notes, the contemporary textbook is increasingly deploying a broader array of different modalities as it represents information students need to know about a given topic: here, again, readers are being taught to scan the informational environment rather than fix attention on a single element.

Historically, we might have distinguished between the skills required of farmers and those expected of hunters. The farmer must complete a sequence of tasks which require localized attention; the hunter must scan a complex landscape in search of signs and cues of where their prey may be hiding. For centuries schools have been designed to create "farmers" . In such an organization, the ideal is to have all students focusing on one thing, and, indeed, attention is conceived of as the ability to concentrate on one thing for an extended period of time while the inability or refusal to maintain such a narrow focus gets characterized as a "disorder." Yet, fixed attention would be maladjusted to the needs of hunters, who must search high and low for their game. Schools adapted to the needs of hunters would have very different practices and might well value the ability to identify the relationship between seemingly unrelated developments within a complex visual field. As we look to the future, one possibility is that schools will be designed to support both "hunters" and "farmers," ensuring that each child develops multiple modes of learning, multiple strategies for processing information. In such a world, neither attentional style is viewed as superior but both are assessed in terms of their relative value within a given context.

Multitasking often gets confused with distraction but as understood here, multitasking involves a way of monitoring and responding to the sea of information around us. Students need help distinguishing between being off task and handling multiple tasks at the same time. They need to acquire skills in recognizing the relationship between information coming at them from multiple directions at the same time and they need to acquire skills at making reasonable hypothesis and models based on partial, fragmented, or intermittent information (all part of the world they will confront in the workplace). They need to know when and how to pay close attention to a specific input as well as when and how to scan the environment searching for meaningful data.

What Might Be Done:

Multitasking enters pedagogical practice when teachers recognize the desires of contemporary students to come at topics from multiple directions all at the same time or to maintain what some have called "continuous partial attention," interacting with homework materials while engaged in other activities.

*A teacher's assistant blogs in real time in response to the classroom instructor's lectures, directing student's attentions to relevant links that illustrate and enhance the content being discussed, rather than providing distractions from the core activity. Students are encouraged to draw on this related material as they engage in classroom discussion, grounding their comments in specific examples and quotations from relevant documents.

*At the Brearley School in Manhattan, foreign language class materials are transferred directly from the school's servers to student's iPods. Rather than needing to set aside dedicated study time to practice a foreign language, this allows students to access their homework and foreign songs while walking home from classes or while engaging in other activities (Glassman, 2004).

*The online game cybernations.net, a simulation game that lets players learn about nation building and international diplomacy, breaks player actions down into distinct choices that can be made at the player's own pace. This encourages players to keep a browser window open to periodically check in on updates from their nation throughout the day while working on other tasks, rather than playing the game only during a dedicated play time. Homework assignments in the form of online games could be designed in a similar manner to facilitate patterns of multitasking.

Confronting the Challenges of a Participatory Culture (Part Three)

The following is the third installment of the white paper on youth and participatory culture which I developed for the MacArthur Foundation. You can read the whole paper here. This blog offers more information about the larger Digital Learning and Youth initiative. For the full cites of the materials referenced, please check the white paper. I was assisted in preparing this report by Ravi Purushotma, Margaret Weigel, Katherine Clinton, and Alice J. Robison.

Today's installment digs deeper into the relationship between what we are calling the new media literacies and things schools have traditionally taught, and then it starts to lay out the frameworks of social skills and cultural competencies which we think are emerging through youth involvement in participatory culture. Today, I am dealing with the first two of eleven such skills we identify in the report.

These skills are things we think young people need to acquire if they are going to be ready for full participation in the new media cultures. These skills emerge from the existing research on youth, media, and informal learning. We have tried to anchor each skill with a range of examples of existing practices from schools and after school programs which suggest just some of the ways that these skills could be linked to instructional activity. We know many educators are already trying to incorporate these skills and competencies into their pedagogy. We see this white paper as offering them support as well as hopefully more insights that can further inform their efforts.

What Should We Teach?: Rethinking Literacy

"Adolescents need to learn how to integrate knowledge from multiple sources, including music, video, online databases, and other media. They need to think critically about information that can be found nearly instantaneously through out the world. They need to participate in the kinds of collaboration that new communication and information technologies enable, but increasingly demand. Considerations of globalization lead us toward the importance of understanding the perspective of others, developing a historical grounding, and seeing the interconnectedness of economic and ecological systems." -- Bertram C. Bruce (2002)

For the moment, let's take as our starting point a definition of "21st century literacy" offered by the New Media Consortium (2005): "21st century literacy is the set of abilities and skills where aural, visual, and digital literacy overlap. These include the ability to understand the power of images and sounds, to recognize and use that power, to manipulate and transform digital media, to distribute them pervasively, and to easily adapt them to new forms" We would modify this definition in two ways.

First, textual literacy remains a central skill in the 21st century: the new media literacies include traditional literacies that took shape around print culture as well as the newer forms of literacy that have taken shape around mass and digital media. Much writing about 21st Century Literacies seems to assume that communicating through visual, digital or audiovisual media will displace reading and writing. We fundamentally disagree. Before students can engage with the new participatory culture, they must be able to read and write. Just as the emergence of written language changed our relationship to orality, and the emergence of printed texts changed our relationship to written language, the emergence of new digital modes of expression changes our relationship to printed texts. In some ways, as researchers such as Rebecca Black and Henry Jenkins have argued, the new digital cultures provide support systems to help youth improve their core competencies as readers and writers. They may provide opportunities for young people to get feedback about their writing and to gain experience in communicating with a larger public, experiences which might once have been restricted to student journalists but are now available to anyone who wants to blog or keep a live journal. So, even on the level of traditional literacies, we need to change our paradigms to reflect the media change which is taking place around us. Re-skilling involves expanding the required competencies, not pushing aside old skills to make room for the new.

Beyond core literacy, students need research skills. Among other things, they need to know how to access books and articles through a library; to take notes on and integrate secondary sources; to assess the reliability of data; to read maps and charts; to make sense of scientific visualizations; to grasp what kinds of information are being conveyed by various systems of representation; to distinguish between fiction and non fiction, fact and opinion; to construct arguments and marshall evidence. If anything, these traditional skills take on even greater importance as students venture beyond collections which have been hand screened by librarians and into the more open space of the web. Some of these skills have traditionally been taught by librarians who, in the modern era, are reconceiving their role -- less as curators of bounded collections and more as information facilitators who can help users find what they need, online or off, and can cultivate good strategies for searching out needed material.

Students also need to develop technical skills -- they need to know how to log on, to search, to use various programs, to focus a camera, to edit footage, to do some basic programming and so forth. Yet, to reduce the new media literacies to these technical skills would be a mistake on the order of confusing penmanship with composition. Since the technologies are undergoing such rapid change, it is probably impossible to codify which technologies or techniques students need to know. Schools have so far conceived of the challenges of digital media primarily in these technical terms with the computer lab displacing the typing classroom but too often, this training occurs in a vacuum cut off from larger notions of literacy or research.

As media literacy advocates have claimed over the past several decades, students also need to acquire a basic understanding of the ways media representations structure our perceptions of the world, the economic and cultural contexts within which mass media is produced and circulated, the motives and goals which shape the media that they consume, and alternative practices which operate outside the commercial mainstream. Such groups have long called for schools to foster a critical understanding of media as one of the most powerful social, economic, political, and cultural institutions of our era. What we are calling here the new media literacies should be taken as an expansion of rather than a substitution for the mass media literacies.

What New Skills Matter?: New Social Skills and Cultural Competencies

All of these skills are necessary, even essential, but they are not sufficient. And that brings us to our second point about the notion of 21st century literacy described above: the new media literacies should be seen as social skills and cultural competencies -- ways of interacting within a larger community -- and not simply as individualized skills to be used for personal expression. The social dimensions of literacy are acknowledged in the New Media Center document only in terms of the distribution of media content. We really need to push further by talking about how meaning emerges collectively and collaboratively in the new media environment and how creativity operates differently in an open-source culture based on sampling, appropriation, transformation, and repurposing. The social production of meaning is more than individual interpretation multiplied; it represents a qualitative difference in the ways we make sense of cultural experience and in that sense, it represents a profound change in how we understand literacy. In such a world, youth need skills at working within social networks, at pooling knowledge within a collective intelligence, at negotiating across cultural differences which shape the governing assumptions of different communities, and of reconciling conflicting bits of data to form a coherent picture of the world around them. We need to integrate these new knowledge cultures into our schools - not only through group work but also through long distance collaborations between different learning communities. Students need to discover what it is like to contribute their own expertise to a process which involves many intelligences, a process which they encounter readily in their participation in fan discussion lists or blogging, for example. Indeed, this may be what is most radical about the new literacies -- that they enable collaboration and knowledge sharing with large-scale communities who may never interact on a face to face basis. Right now, schools are still training autonomous problem-solvers, whereas as students enter the workplace, they are increasingly being asked to work in teams, drawing on different sets of expertise, and collaborating to solve problems.

Changes in the media environment are altering our understanding of literacy and requiring new habits of mind, new ways of processing culture and interacting with the world around us. We are just starting to identify and assess these emerging sets of social skills and cultural competencies. We have only a broad sense of which of these competencies are most apt to matter as young people move from the realms of play and education and into the adult world of work and society. What follows, then, is a provisional list of eleven core skills needed to participate within the new media landscape. These skills have been identified both by reviewing the existing body of scholarship on new media literacies and by surveying the forms of informal learning that are taking place within the participatory culture we are describing here. As suggested above, mastering these skills remains a key step in preparing young people "to participate fully in public, community, [Creative] and economic life." In short, these are skills some kids are learning through participatory culture but they are also skills that all kids need to learn if they are going to be equal participants in the world of tomorrow. We identify a range of activities which might be deployed in schools or after school programs, across a range of disciplines and subject matters, to foster these social skills and cultural competencies. These activities are by no means an exhausted list but rather are simply illustrations of the kind of work already being done in each area. Part of the goal of this report is to challenge those who have responsibility for teaching our young people to think more systematically and creatively about the many different ways they might build these skills into their day-to-day activities in ways that are appropriate to the content they want to teach.

Play-- the capacity to experiment with your surroundings as a form of problem solving

Play, as psychologists and anthropologists have long recognized, has a key role in shaping children's relationship to their bodies, tools, communities, surroundings, and knowledge. Most of children's earliest learning comes through playing with the materials at hand. Through play, children try on roles, experiment with culturally central processes, manipulate core resources, and explore their immediate environments. As they grow older, play can motivate other forms of learning.

Anthropologist Mary Louise Pratt describes what her son and his friend learned through baseball card collecting:

"Sam and Willie learned a lot about phonics that year by trying to decipher surnames on baseball cards, and a lot about cities, states, heights, weights, places of birth, stages of life.... And baseball cards opened the door to baseball books, shelves and shelves of encyclopedias, magazines, histories, biographies, novels, books of jokes, anecdotes, cartoons, even poems.... Literacy began for Sam with the newly pronounceable names on the picture cards and brought him what has been easily the broadest, most varied, most rewarding, and most integrated experience of his 13-year life."

Pratt's account suggests this playful activity motivated three very different kinds of learning. First, the activity itself demanded certain skills and practices, which had clear payoffs for academic subjects. For example, working out batting averages gave Sam an occasion to rehearse his math skills, arranging his cards introduced him to the process of classification, and discussing the cards gave him reason to work on his communication skills. On another level, the cards provided a scaffold, which motivated and shaped his acquisition of other forms of school knowledge. The cards inspired Sam to think about the cities where the teams were located and learn map- reading skills, the history of baseball provided a context through which he understood 20th century American history, and the interest in stadiums introduced some basics about architecture. Third, Sam developed a sense of himself as a learner: "He learned the meaning of expertise, of knowing about something well enough that you can start a conversation with a stranger and feel sure of holding your own" (Pratt, 1991, p. 34).

Game designer Scot Osterweil (The Logical Journey of the Zoombinis) has described the mental attitude which surrounds play as highly conducive for learning:

When children are deep at play they engage with the fierce, intense attention that we'd like to see them apply to their schoolwork. Interestingly enough, no matter how intent and focused a child is at that play, maybe even grimly determined they may be at that game play, if you asked them afterwards, they will say that they were having fun. So, the fun of game play is not non-stop mirth but rather the fun of engaging of attention that demands a lot of you and rewards that effort. I think most good teachers believe that in the best moments classroom learning can be the same kind of fun. But a game is a moment when the kid gets to have that in spades, when the kid gets to be focused and intent and hardworking and having fun at the same time.

You will note here a shift in emphasis from fun (which in our sometimes still puritanical culture gets defined as the opposite of seriousness) to engagement. When you play a game, a fair amount of what you end up doing isn't especially fun at the moment. It can be grindwork, not unlike homework, which allows you to master skills or collect materials or put things in their proper place in anticipation of a payoff down the line. The key is that this activity is deeply motivated. You are willing to go through the grindwork because it has a goal or purpose which matters to you. When that happens, you are engaged -- whether we are talking about the engagement many of us find in our professional lives or in the learning process or the engagement which some of us find through playing games. For the current generation, games may represent the best way of tapping that sense of engagement with learning.

While to date much of the discussion of games and education have seen games as motivating kids to learn other kinds of content (Pratt's move from baseball cards to geography), there has been a growing recognition among researchers that play itself -- as a means of exploring and processing knowledge, as a mode of problem-solving -- may be a valuable skill children need to master as preparation for subsequent roles and responsibilities in the adult world. In other words, by itself, play is helpful for understanding a content area in the sense that it allows a player to "experiment" with a learning environment. Playing with baseball cards won't teach a student the principles of statistics, but it will orient him or her to the experience of thinking about statistical variations.

Part of what makes play valuable as a mode of problem solving and learning is that it lowers the emotional stakes of failing: players are encouraged to suspend some of the real world consequences of the represented actions, to take risks and learn through trial and error. The underlying logic is one of die and do over. As literacy expert James Gee has noted, children often feel locked out of the worlds described in their textbooks through the depersonalized and abstract prose used to describe them. Games construct compelling worlds players move through. Players feel a part of those worlds and have some stake in the events unfolding there. Games not only provide a rationale for learning: what players learn is put immediately to use to solve compelling problems with real consequences in the world of the game. Game designer Will Wright (Sim City, The Sims) has argued, "In some sense, a game is nothing but a set of problems. We're actually selling people problems for 40 bucks a pop....And the more interesting games in my opinion are the ones that have a larger solution space. In other words, there's not one specific way to solve a puzzle, but, in fact, there's an infinite range of solutions. .... The game world becomes an external artifact of their internal representation of the problem space." For Wright, the player's hunger for challenge and complexity motivates them to pick up the game in the first place.

Games follow something akin to the scientific process: Players are asked to make their own discoveries and then apply what they learn to new contexts. No sooner does a player enter a game than she begins identifying core conditions and looking for problems which must be addressed; based on the available information, the player poses a certain hypothesis about how the world works and what are the best ways of bringing its properties under their control; she tests and refines that hypothesis through actions in the game which either fail or succeed; the player refines the model of the world as she goes. More sophisticated games allow her to do something more -- to experiment with the properties of the world, framing new possibilities which involve manipulation of relevant variables and see what happens. Meta-gaming, the discourse which surrounds game play, provides a context for players to reflect upon and articulate what they have learned through game play. Here, for example, is how Kurt Squire describes the meta-gaming which occurs around Civilization III: "Players enroll as advanced players, having spent dozens, if not hundreds of hours with the game and having mastered its basic rules. As players begin to identify and exploit loopholes, they propose and implement changes to the games' rules, identify superior strategies, and invent new game rule systems, including custom modifications and scenarios."

Early readers of this report have expressed some skepticism that schools should or could teach young people how to play. This resistance reflects the confusion between play as a source of fun and play as a form of engagement and experimentation. While it is certainly not a bad idea to introduce more fun into our schools, we are really focusing here on a mode of active engagement, one which encourages experimentation and risk-taking, one which sees the process of solving a problem to be as important as finding the answer, one which offers clearly defined goals and roles which encourage strong identifications and emotional investments. As we will see, this form of play is closely related to two other important skills, Simulation and Performance.

What Might Be Done:

Educators (in school and out) tap into play as a skill when they encourage free-form experimentation and open-ended speculation.

*

History teachers ask students to entertain alternative history scenarios, speculating on what might have happened if Germany had won World War II or if native Americans had colonized Europe. Such questions can lead to productive explorations centering on why certain events occurred the ways that they did and what impact they had. Such questions also don't have right and wrong answers; they emphasize creative thinking rather than memorization; they allow diverse levels of engagement; they allow students to feel less intimidated by adult expertise; yet they also lend themselves to the construction of arguments and the mobilization of evidence.

*Art and design students are turned loose with a diverse array of everyday materials and encouraged to use them to solve a specified design problem. Such activities encourage students to revisit familiar materials and everyday objects with fresh perspectives, to think through common problems from multiple directions, and to respect alternative responses to the same challenge. This approach is closely associated with the innovative design work of Ideo, a Palo Alto consultant, but can also be seen in various reality television programs, such as Project Runway or The Iron Chef, which require contestants to adopt distinctive and multiple approaches to shared problems.

*Games offer the potential to learn through a new form of direct experience. Physics teachers use the game Supercharged, which was developed as part of the MIT Games to Teach initiative, to help students to better understand core principles of electromagnetism. As a means for learning the laws of electromagnetism through first-hand experience, students navigate electromagnetic mazes by planting electrical charges that attract or repel their vehicles. Teachers can then build on this intuitive and experiential learning in the classroom, introducing equations, diagrams, or visualizations that help them to better understand the underlying principles that they are deploying and then sending them back to play through the levels again and improve their performance.

Simulation -- the ability to interpret and construct dynamic models of real world processes

New media provides powerful new ways of representing and manipulating information. New forms of simulation expand our cognitive capacity, allowing us to deal with larger bodies of information, to experiment with more complex configurations of data, to form hypotheses quickly and test them against different variables in real time. The emergence of systems-based thinking across a range of academic and professional fields has gone hand in hand with the development of digital simulations. Simulations can be effective in representing known knowledge or in testing emerging theories. Because simulations are dynamic, and because they are governed by the systematic application of grounding assumptions, they can be a tool for discovery as researchers observe the emergent properties of these virtual worlds.We learn through simulations by a process of trial and error: new discoveries lead researchers to refine their models, tweaking particular variables, trying out different contingencies. Educators have always known that students learn more through direct observation and experimentation than from reading about something in a textbook or listening to a lecture. Simulations broaden the kinds of experiences users can have with compelling data, giving us a chance to see and do things which would be impossible in the real world.

Contemporary video games allow kids to play with sophisticated simulations and in the process, to develop an intuitive understanding of how we might use simulations to test our assumptions about the way the world works. John Seely Brown tells the story of a 16 year old boy, Colin, for whom the game, Caesar III, had shaped his understanding of the ancient world:

"Colin said: "I don't want to study Rome in high school. Hell, I build Rome every day in my on-line game" ... Of course, we could dismiss this narrative construction as not really being a meaningful learning experience, but a bit later he and his dad were engaged in a discussion about the meaningfulness of class distinctions - lower, middle, etc - and his dad stopped and asked him what class actually means to him. Colin responded: "Well, it's how close you are to the Senate." "Where did you learn that, Colin?" he said, "The closer you are physically to the Senate building, the plazas, the gardens, or the Triumphal Arch raises the desirability of the land, makes you upper class and produces plebians. It's based on simple rules of location to physical objects in the games (Caesar III)". Then, he added, "I know that in the real world the answer is more likely how close you are to the senators, themselves - that defines class. But it's kinda the same."

Colin's story helps us to see two important aspects of simulations for learning: first, students often find simulations far more compelling than more traditional ways of representing knowledge; consequently, they spend more time engaging with them and make more discoveries. Second, students experience what they have learned from a robust simulation as their own discoveries. These simulations expose players to powerful new ways of seeing the world and encourage them to engage in a process of modeling which is central to the way modern science operates. Many contemporary games -- Railroad Tycoons for instance -- incorporate spread sheets, maps, graphs and charts, which students must learn to use in order to play the game. Students are thus motivated to move back and forth across this complex and integrated information system, acting upon the simulated environment on the basis of information gleamed from a wide range of different representations.

As games researcher Eric Klopfer cautions, however, simulations enhance learning only if we understand how to read them:

"As simulations inform us on anything from global warming to hurricane paths to homeland security, we must know how to interpret this information. If we know that simulations give us information on probabilities we can make better decisions. If we understand the assumptions that go into simulations we can better evaluate that evidence and act accordingly. Of course this applies to decision makers who must act upon that information (police, government, insurance, etc.); it also is important that each citizen should be able to make appropriate decisions themselves based on that information. As it is now, such data is either interpreted by the general public as 'fact' or on the contrary 'contrived data with an agenda.' Neither of these perspectives is useful and instead some ability to analyze and weigh such evidence is critical. Simulations are only as good as their underlying models. In a world of competing simulations, we need to know how to critically assess the reliability and credibility of different models for representing the world around us."

(personal correspondence).

Students who deploy simulations through learning have more flexibility in being able to customize models and manipulate data to explore questions which have captured their own curiosity. There is a thin line between reading a simulation (which may involve changing variables and testing outcomes) and designing simulations. As new modeling technologies become more widely available and as the toolkits needed to construct such models are simplified, students have the opportunity to construct their own simulations. Ian Bogost argues that computer games foster what he calls procedural literacy -- a capacity to restructure and reconfigure knowledge, to look at problems from multiple vantage points, and through this process, to develop a greater systemic understanding of the rules and procedures which shape our everyday experience. Bogost writes, "Engendering true procedural literacy means creating multiple opportunities for learners --- children and adults -- to understand and experiment with reconfigurations of basic building blocks of all kinds". Young people are learning how to work with simulations through their game play and schools should build upon such knowledge to help them to become critical readers and effective designers of simulation and modeling tools. They need to be given a critical vocabulary for understanding the kind of thought experiments which get performed through simulations and the way these new digital resources inform research across a range of disciplines.

What Might Be Done:

Students need to learn how to manipulate and interpret existing simulations and how to construct their own dynamic models of real world processes.

*Teachers in a business class ask kids to make imaginary investments in the stock market and then monitor actual business reports to track the rise and falls of their "holdings." This well-established classroom practice mirrors what kids do when they form fantasy sports leagues, tracking the performance of players on the sports page to score their results, and engaging in imaginary trades to enhance their overall standings. Both of these practices share a movement between imaginary scenarios (pretend investments or teams) and a real world data set. The simulated activities introduce them to the logics by which their real world counterparts operate and to actual data sets, research processes, and information sources.

*Groups such as OnRampArts in Los Angeles, Urban Games Academy in Baltimore and Atlanta, or Global Kidz in New York City involve kids in the design of their own games. These groups see a value in having kids translate a body of knowledge -- the history of the settlement of the New World in the case of OnRampArts's Tropical America -- into the activities and iconography of games. Here, students are encouraged to think of alternative ways of modeling knowledge and learn to use the vocabulary of game design to represent central aspects of the world around them.

*Simulation games like SimCity provide a context for learning a skill Andy Clark calls "embracing co-control". In this game, creating and maintaining a city requires exerting various forms of indirect control. Instead of having a top-down control to design a happy thriving city, the player must engage in a bottom-up process, where the player "grows" a city by manipulating such variables as zoning and land prices. It is only through gaining a familiarity with all the parts of the system, and how they interact, that the player is able to nudge the flow in a way that respects the flow. Such a skill can be understood as a process of "com[ing] to grips with decentralized emergent order" , a mandatory skill for understanding complex systems.

*Students in New Mexico facing a summer of raging forest fires throughout their home state used simulations to understand the way flames spread. Manipulating factors such as density of trees, wind and rain, they saw how even minute changes to the environmental conditions could have profound effects on fire growth. This helped them understand the efficacy of common techniques such as forest thinning and controlled burns.

Confronting the Challenges of Participatory Culture: Media Education for the 21st Century (Part Two)

What follows is a second excerpt from the white paper which I authored, along with Ravi Purushotma, Margaret Weigel, Katherine Clinton, and Alice J. Robison, for the MacArthur Foundation. The report is intended to offer a provocation for educators at all levels to think about how our pedagogical practices need to shift to reflect the demands of a more participatory culture. In Part One, I outlined some of the changes that are taking place in the media landscape and the ways they impacted young people. In Part Two, I make the case for why adult intervention is needed and why youth will not be able to make these adjustments all on their own. My hope is that the release of this report will stimulate reflection and discussion among educators, parents, and students about the ways media education is or is not being taught through school and after-school programs. I hope this discussion will also be of interest to the many other groups who read this blog -- many of whom are helping to shape the participatory culture we are discussing here and thus have some responsibility for thinking about how we insure that every youth is given a chance to participate.

As always, I welcome questions and comments. I am going to try to respond to any questions I receive once I have rolled out all of the parts of this report via the blog. While I have excluded sources from the blog version to insure ease of reading, you can see a full bibliography in the downloaded document.

Why We Should Teach Media Literacy: Three Core Problems

Some defenders of the new digital cultures have acted as though youth can simply acquire these skills on their own without adult intervention or supervision. Children and youth do know more about these new media environments than most parents and teachers. In fact, we do not need to protect them so much as engage them in critical dialogues that help them to articulate more fully their intuitive understandings of these experiences. To say that children are not victims of media is not to say that they, any more than anyone else, have fully mastered what are, after all, complex and still emerging social practices.

There are three core flaws with the laissez faire approach. The first is that it does not address the fundamental inequalities in young people's access to new media technologies and the opportunities for participation they represent (what we call the participation gap). The second is that it assumes that children are actively reflecting on their media experiences and can thus articulate what they learn from their participation (what we call the transparency problem). The third problem with the laissez faire approach is that it assumes children, on their own, can develop the ethical norms needed to cope with a complex and diverse social environment online (the ethics challenge). Any attempt to provide meaningful media education in the age of participatory culture must begin by addressing these three core concerns.

The Participation Gap

Cities around the country are providing wireless Internet access for their residents. Some cities, such as Tempe, Arizona, charge users a fee: others, such as Philadelphia, Boston, and Cambridge, plan to provide high-speed wireless Internet access free of charge. In an interview on PBS's Nightly News Hour in November 2005, Philadelphia mayor John Street spoke of the link between Internet access and educational achievement:

Philadelphia will allow low-income families, families that are on the cusp of their financial capacity, to be able to be fully and completely connected. We believe that our public school children should be--their families have to be connected or else they will fall behind, and, in many cases, never catch up.

Philadelphia's Emergency People's Shelter (EPS) is ahead of the curve; the nonprofit group's free network access serves shelter residents and the surrounding neighborhood. Gloria Guard of EPS said,

What we realized is if we can't get computers into the homes of our constituents and our neighbors and of this neighborhood, there are children in those households who will not be able to keep up in the marketplace. They won't be able to keep up with their schoolmates. They won't be able to even apply for college. We thought it was really important to get computer skills and connection to the Internet into as many homes as possible

However, simply passing out technology is not enough. Expanding access to computers will help bridge some of the gaps between digital haves and have nots, but only in a context in which free wi-fi is coupled with new educational initiatives to help youth and adults learn how to use those tools effectively.

Throughout the 1990s, the country focused enormous energy in combating the digital divide in technological access. The efforts have ensured that most American youth have at least minimal access to networked computers at school or in public libraries. However, as a 2005 report on children's online experience in the United Kingdom concluded:

No longer are children and young people only or even mainly divided by those with or without access, though 'access' is a moving target in terms of speed, location, quality and support, and inequalities in access do persist. Increasingly, children and young people are divided into those for whom the Internet is an increasingly rich, diverse, engaging and stimulating resource of growing importance in their lives and those for whom it remains a narrow, unengaging, if occasionally useful, resource of rather less significance

What a person can accomplish with an outdated machine in a public library with mandatory filtering software and no opportunity for storage or transmission pales in comparison to what person can accomplish with a home computer with unfettered Internet access, high bandwidth, and continuous connectivity. (Current legislation to block access to social networking software in schools and public libraries will further widen the participation gap.) The school system's inability to close this participation gap has negative consequences for everyone involved. On the one hand, those youth who are most advanced in media literacies are often stripped of their technologies and robbed of their best techniques for learning in an effort to ensure a uniform experience for all in the classroom. On the other hand, many youth who have had no exposure to these new kinds of participatory cultures outside school find themselves struggling to keep up with their peers.

Wartella, O'Keefe, and Scantlin reached a similar conclusion:

Closing the digital divide will depend less on technology and more on providing the skills and content that is most beneficial....Children who have access to home computers demonstrate more positive attitudes towards computers, show more enthusiasm and report more enthusiasm and ease when using computers than those who do not.

More often than not, those youth who have developed the most comfort with the online world are the ones who dominate classroom use of computers, pushing aside less technically skilled classmates. We would be wrong, however, to see this as a simple binary: youth who have technological access and those who do not. Wartella and coauthors note, for example, that game systems make their way into a growing number of working-class homes, even if laptops and personal computers do not. Working-class youth may have access to some of the benefits of play described here, but they may still lack the ability to produce and distribute their own media.

In a 2005 report prepared for the MacArthur Foundation, Lyman finds that children's experiences online are shaped by a range of social factors, including class, age, gender, race, nationality, and point of access. He notes, for example, that middle-class youth are more likely to rely on resources and assistance from peers and family within their own homes, and thus seem more autonomous at school than working-class children, who must often rely more heavily on teachers and peers to make up for a lack of experience at home. The middle-class children thus seem "naturally" superior in their use of technology, further amplifying their own self-confidence in their knowledge.

Historically, those youth who had access to books or classical recordings in their homes, whose parents took them to concerts or museums, or who engaged in dinner conversation developed, almost without conscious consideration, skills that helped them perform well in school. Those experiences, which were widespread among the middle class and rare among the working class, became a kind of class distinction, which shaped how teachers perceived students. These new forms of cultural participation may be playing a similar role. These activities shape what skills and knowledge students bring into the classroom, and in this fashion determine how teachers and peers perceive these students. Castells tells us about youth who are excluded from these experiences:

"Increasingly, as computer use is ever less a lifestyle option, ever more an everyday necessity, inability to use computers or find information on the web is a matter of stigma, of social exclusion; revealing not only changing social norms but also the growing centrality of computers to work, education and politics"

Writing on how contemporary industry values our "portfolios" as much as our knowledge, Gee suggests that what gives elite teens their head start is their capacity to:

pick up a variety of experiences (e.g., the "right" sort of summer camps, travel, and special activities), skills (not just school-based skills, but a wide variety of interactional, aesthetic, and technological skills), and achievements (honors, awards, projects) in terms of which they can help to define themselves as worthy of admission to elite educational institutions and worthy of professional success later in life".

They become adept at identifying opportunities for leadership and accomplishment; they adjust quickly to new situations, embrace new roles and goals, and interact with people of diverse backgrounds. Even if these opportunities are not formally valued by our educational institutions or listed on one's resume when applying for a job, the skills and self confidence gathered by moving across all of these online communities surely manifest themselves in other ways, offering yet another leg up to youth on one side and another disadvantage to youth on the opposite side of the participation gap.

The Transparency Problem

Although youth are becoming more adept at using media as resources (for creative expression, research, social life, etc.), they often are limited in their ability to examine the media themselves. Turkle was among the first to call attention to this transparency problem:

Games such as SimLife teach players to think in an active way about complex phenomena (some of them 'real life,' some of them not) as dynamic, evolving systems. But they also encourage people to get used to manipulating a system whose core assumptions they do not see and which may or may not be 'true'.

Not everyone agrees. In an essay on the game Sim City, Friedman contends that game players seek to identify and exploit the rules of the system in order to beat the game. The antagonistic relationship between player and game designer means that game players may be more suspicious of the rules structuring their experiences than are the consumers of many other kinds of media. Conversations about games expose flaws in games' construction, which may also lead to questions about their governing assumptions. Subsequent games have, in fact, allowed players to reprogram the core models. One might argue, however, that there is a difference between trying to master the rules of the game and recognizing the ways those rules structure our perception of reality. It may be much easier to see what is in the game than to recognize what the game leaves out.

This issue of transparency crops up regularly in the first wave of field reports on the pedagogical use of games. Shrier developed a location-specific game for teaching American history, which was played in Lexington, Massachusetts; her game was designed to encourage reflection on competing and contradictory accounts of who fired the first shot of the American Revolution. The project asked students to experience the ways historians interpret evidence and evaluate competing truths. Such debates emerged spontaneously around the game-play experience. Yet Shrier was surprised by another phenomenon, the young people took the game's representation of historical evidence at face value, acting as if all of the information in the game was authentic.

Shrier offers several possible explanations for this transparency problem, ranging from the legacy of textbook publishing, where instructional materials did not encourage users to question their structuring or their interpretation of the data, to the tendency to "suspend our disbelief" in order to have a more immersive play experience. Squire found similar patterns when he sought to integrate the commercial game, Civilization III, into world history classes. Students were adept at formulating "what if" hypotheses, which they tested through their game play. Yet, they lacked a vocabulary to critique how the game itself constructed history, and they had difficulty imagining how other games might represent the same historical processes in different terms. In both cases, students were learning how to read information from and through games, but they were not yet learning how to read games as texts, constructed with their own aesthetic norms, genre conventions, ideological biases, and codes of representation. These findings suggest the importance of coupling the pedagogical use of new media technologies with a greater focus on media literacy education.

These concerns about the transparency of games, even when used in instructional contexts, are closely related to concerns about how young people (or indeed, any of us) assess the quality of information we receive. As Hobbs has suggested, "Determining the truth value of information has become increasingly difficult in an age of increasing diversity and ease of access to information." More recent work by the Harvard Good Works Project has found that issues of format and design are often more important than issues of content in determining how much credibility young people attach to the content of a particular website. This research suggests some tendency to read "professional" sites as more credible than "amateur" produced materials, although students lack a well developed set of standards for distinguishing between the two. In her recent book, The Internet Playground, Seiter expresses concern that young people were finding it increasingly difficult to separate commercial from noncommercial content in online environments: "The Internet is more like a mall than a library; it resembles a gigantic public relations collection more than it does an archive of scholars" .

Increasingly, content comes to us already branded, already shaped through an economics of sponsorship, if not overt advertising. We do not know how much these commercial interests influence what we see and what we don't see. Commercial interests even shape the order of listings on search engines in ways that are often invisible to those who use them. Increasingly, opportunities to participate online are branded such that even when young people produce and share their own media, they do so under terms set by commercial interests. Children, Seiter found, often had trouble identifying advertising practices in the popular Neopets site, in part because the product references were so integrated into the game. The children were used to a world where commercials stood apart from the entertainment content and equated branding with banner advertisements. This is where the transparency issue becomes especially dangerous. Seiter concludes, "The World Wide Web is a more aggressive and stealthy marketeer to children than television ever was, and children need as much information about its business practices as teachers and parents can give them". Children need a safe space within which they can master the skills they need as citizens and consumers, as they learn to parse through messages from self-interested parties and separate fact from falsehood as they begin to experiment with new forms of creative expression and community participation.

The Ethics Challenge

In Making Good: How Young People Cope with Moral Dilemmas at Work, Fischman and coauthors discuss how young journalists learn the ethical norms that will define their future professional practice. These writers, they find, acquired their skills most often by writing for high school newspapers. For the most part, the authors suggest, student journalists worked in highly cohesive and insulated settings. Their work was supervised, for better or worse, by a range of adult authorities, some interested in promoting the qualities of good journalism, some concerned with protecting the reputation of the school. Their work was free of commercial constraints and sheltered from outside exposure. The ethical norms and professional practices they were acquiring were well understood by the adults around them.

Now, consider how few of those qualities might be applied to the emerging participatory cultures. In a world in which the line between consumers and producers is blurring, young people are finding themselves in situations that no one would have anticipated a decade or two ago. Their writing is much more open to the public and can have more far-reaching consequences. The young people are creating new modes of expression that are poorly understood by adults, and as a result they receive little to no guidance or supervision. The ethical implications of these emerging practices are fuzzy and ill-defined. Young people are discovering that information they put online to share with their friends can bring unwelcome attention from strangers.

In professional contexts, professional organizations are the watchdog of ethical norms. Yet in more casual settings, there is seldom a watchdog. No established set of ethical guidelines shapes the actions of bloggers and podcasters, for example. How should teens decide what they should or should not post about themselves or their friends on Live Journal or MySpace? Different online communities have their own norms about what information should remain within the group and what can be circulated more broadly, and many sites depend on self-disclosure to police whether the participants are children or adults. Yet, many young people seem willing to lie to access those communities.

Ethics become much murkier in game spaces, where identities are assumed and actions are fictive, designed to allow broader rein to explore darker fantasies. That said, unwritten and often imperfectly shared norms exist about acceptable or unacceptable conduct. Essays, such as Julian Dibbel's "A Rape in Cyberspace", Henry Jenkins's "Playing Politics in Alphaville", and Always-black's "Bow Nigger" offer reminders that participants in these worlds understand the same experiences in very different terms and follow different ethical norms as they face off against each other.

In Making Good, Fischman and coauthors found that high school journalists felt constrained by the strong social ties in their high school, unwilling to publish some articles they believed would be received negatively by their peers or that might disrupt the social dynamics of their society. What constraints, if any, apply to in online realms? Do young people feel that same level of investment in their gaming guilds or their fan communities? Or does the ability to mask one's identity or move from one community to another mean there are less immediate consequences for antisocial behavior?

One important goal of media education should be to encourage young people to become more reflective about the ethical choices they make as participants and communicators and the impact they have on others. We may, in the short run, have to accept that cyberspace's ethical norms are in flux: we are taking part in a prolonged experiment in what happens when one lowers the barriers of entry into a communication landscape. For the present moment, asking and working through questions of ethical practices may be more valuable than the answers produced because the process will help everyone to recognize and articulate the different assumptions that guide their behavior.

As we think about meaningful pedagogical intervention, we must keep in mind three core concerns:

• How do we ensure that every child has access to the skills and experiences needed to become a full participant in the social, cultural, economic, and political future of our society?

• How do we ensure that every child has the ability to articulate his or her understanding of how media shapes perceptions of the world?

• How do we ensure that every child has been socialized into the emerging ethical standards that should shape their practices as media makers and as participants in online communities?

To address these challenges, we must rethink which core skills and competencies we want our children to acquire in their learning experiences. The new participatory culture places new emphasis on familiar skills that have long been central to American education; it also requires teachers to pay greater attention to the social skills and cultural competencies that are emerging in the new media landscape. In the next sections, we provide a framework for thinking about the type of learning that should occur if we are to address the participation gap, the transparency problem, and the ethics challenges.

Confronting the Challenges of Participatory Culture: Media Education for the 21st Century (Part One)

I spent Thursday in New York speaking on a panel with the University of Chicago's Nicole Pinkard and the University of Southern California's Mimi Ito as part of the public launch of the MacArthur Foundation's exciting slate of new initiatives in the area of youth, learning, and digital media. People interested in understanding the full context of this initiative should keep an eye on the Foundation's new blog. The event was simulcast on Second Life and on Teen Second Life. henry%20in%20second%20life.jpg

This is the context in which we have been pursuing our own Project nml (New Media Literacies) initiatives which I have been discussing from time to time in this blog. The New York City press event was the launching point for a white paper which I wrote for MacArthur identifying what we see as the key social skills and cultural competencies which young people need to be full participants in convergence culture. In Convergence Culture, I devote one chapter to thinking about the impact of participatory culture on our current understandings of education. Here I -- and my collaborators Ravi Purushotma, Margaret Weigel, Katherine Clinton, and Alice J. Robison -- have been able to dig much deeper into the pedagogical implications of the world I discuss in the book as well as to lay out some of the key insights from contemporary research on informal learning, games-based pedagogy, online communities, and participatory culture.

My hope is that this white paper will spark conversations among educators at all levels -- in schools and in after school programs, in public institutions, and in churches and other community centers -- about how we need to change our practices to reflect the new ways that young people are engaging with the world around them.

In hopes of sparking such a conversation, I am publishing the white paper in installments through my blog. This first installment sets the stage, describing some of the challenges and opportunities participatory culture represents in the lives of our young people.

For those of you who are impatient and want to read the whole report at once, you can download it here.

The Needed Skills in the New Media Culture

"If it were possible to define generally the mission of education, it could be said that its fundamental purpose is to ensure that all students benefit from learning in ways that allow them to participate fully in public, community, [Creative] and economic life."

-- New London Group

Ashley Richardson was a middle-schooler when she ran for president of Alphaville. She wanted to control a government that had more than 100 volunteer workers and that made policies that affected thousands of people. She debated her opponent on National Public Radio. She found herself in the center of a debate about the nature of citizenship, about how to ensure honest elections, and about the future of democracy in a digital age. Alphaville is the largest city in the popular multiplayer game, The Sims Online.

Heather Lawver was 14 years old. She wanted to help other young people improve their reading and writing skills. She established an online publication with a staff of more than 100 people across the world. Her project was embraced by teachers and integrated into their curriculum. She emerged as an important spokesperson in a national debate about intellectual property. The website Lawver created was a school newspaper for the fictional Hogwarts, the location for the popular Harry Potter books.

Blake Ross was 14 years old when he was hired for a summer internship at Netscape. By that point, he already had developed computer programming skills and published his own website. Frustrated by many of the corporate decisions made at Netscape, Ross decided to design his own web browser. Through the joint participation of thousands of other volunteer youth and adults working on his project worldwide, the Firefox web browser was born. Today, Firefox enjoys more than 60 times as many users as Netscape Navigator. By age 19, Ross had the venture capital needed to launch his own start-up company. His interest in computing was sparked by playing the popular video game, Sim City.

Josh Meeter was about to graduate from high school when he completed the claymation animation for Awards Showdown, which subsequent was widely circulated on the web. Meeter negotiated with composer John Williams for the rights to use excerpts from his film scores. By networking, he was able to convince Stephen Spielberg to watch the film, and it was later featured on the Spielberg's Dreamworks website. Meeter is now starting work on his first feature film.

Richardson, Lawver, Ross, and Meeter are the future politicians, activists, educators, writers, entrepreneurs, and media makers. The skills they acquired--learning how to campaign and govern; how to read, write, edit, and defend civil liberties; how to program computers and run a business; how to make a movie and get it distributed--are the kinds of skills we might hope our best schools would teach. Yet, none of these activities took place in schools. Indeed, many of these youth were frustrated with school; some dropped out and others chose to graduate early. They developed much of the skill and knowledge through their participation in the informal learning communities of fans and gamers.

Richardson, Lawver, Ross, and Meeter are exceptional individuals. In any given period, exceptional individuals will break all the rules and enjoy off-the-charts success--even at surprisingly young ages. But, Richardson, Lawver, Ross, and Meeter are perhaps less exceptional than one might at first imagine.

According to a 2005 study conducted by the Pew Internet and American Life project, more than one-half of all American teens--and 57 percent of teens who use the Internet--could be considered media creators. For the purpose of the study, a media creator is someone who created a blog or webpage, posted original artwork, photography, stories or videos online or remixed online content into their own new creations. Most have done two or more of these activities. One-third of teens share what they create online with others, 22 percent have their own websites, 19 percent blog, and 19 percent remix online content.

Contrary to popular stereotypes, these activities are not restricted to white suburban males. In fact, urban youth (40 percent) are somewhat more likely than their suburban (28 percent) or rural (38 percent) counterparts to be media creators. Girls aged 15-17 (27 percent) are more likely than boys their age (17 percent) to be involved with blogging or other social activities online. The Pew researchers found no significant differences in participation by race-ethnicity.

If anything, the Pew study undercounts the number of American young people who are embracing the new participatory culture. The Pew study did not consider newer forms of expression, such as podcasting, game modding or machinima. Nor did it count other forms of creative expression and appropriation, such as music sampling in the hip hop community. These forms are highly technological but use other tools and tap other networks for their production and distribution. The study does not include even more widespread practices, such as computer or video gaming, that can require an extensive focus on constructing and performing as fictional personas. Our focus here is not on individual accomplishment but rather the emergence of a cultural context that supports widespread participation in the production and distribution of media.

Enabling Participation

"While to adults the Internet primarily means the world wide web, for children it means email, chat, games-- and here they are already content producers. Too often neglected, except as a source of risk, these communication and entertainment focused activities, by contrast with the information-focused uses at the centre of public and policy agendas, are driving emerging media literacy. Through such uses, children are most engaged-- multi-tasking, becoming proficient at navigation and manoeuvre so as to win, judging their participation and that of others, etc.... In terms of personal development, identity, expression and their social consequences-- participation, social capital, civic culture- these are the activities that serve to network today's younger generation." -- Sonia Livingstone.

Participatory Culture

For the moment, let's define participatory culture as one:

1. With relatively low barriers to artistic expression and civic engagement

2. With strong support for creating and sharing one's creations with others

3. With some type of informal mentorship whereby what is known by the most experienced is passed along to novices

4. Where members believe that their contributions matter

5. Where members feel some degree of social connection with one another (at the least they care what other people think about what they have created).

Not every member must contribute, but all must believe they are free to contribute when ready and that what they contribute will be appropriately valued.

In such a world, many will only dabble, some will dig deeper, and still others will master the skills that are most valued within the community. The community itself, however, provides strong incentives for creative expression and active participation. Historically, we have valued creative writing or art classes because they help to identify and train future writers and artists, but also because the creative process is valuable on its own; every child deserves the chance to express him- or herself through words, sounds, and images, even if most will never write, perform, or draw professionally. Having these experiences, we believe, changes the way youth think about themselves and alters the way they look at work created by others.

Most public policy discussion of new media have centered on technologies--tools and their affordances. The computer is discussed as a magic black box with the potential to create a learning revolution (in the positive version) or a black hole that consumes resources that might better be devoted to traditional classroom activities (in the more critical version). Yet, as the quote above suggests, media operate in specific cultural and institutional contexts that determine how and why they are used. We may never know whether a tree makes a sound when it falls in a forest with no one around. But clearly, a computer does nothing in the absence of a user. The computer does not operate in a vacuum. Injecting digital technologies into the classroom necessarily affects our relationship with every other communications technology, changing how we feel about what can or should be done with pencils and paper, chalk and blackboard, books, films, and recordings.

Rather than dealing with each technology in isolation, we would do better to take an ecological approach, thinking about the interrelationship among all of these different communication technologies, the cultural communities that grow up around them, and the activities they support. Media systems consist of communication technologies and the social, cultural, legal, political, and economic institutions, practices, and protocols that shape and surround them. The same task can be performed with a range of different technologies, and the same technology can be deployed toward a variety of different ends. Some tasks may be easier with some technologies than with others, and thus the introduction of a new technology may inspire certain uses. Yet, these activities become widespread only if the culture also supports them, if they fill recurring needs at a particular historical juncture. It matters what tools are available to a culture, but it matters more what that culture chooses to do with those tools.

That is why we focus in this paper on the concept of participatory cultures rather than on interactive technologies. Interactivity is a property of the technology, while participation is a property of culture. Participatory culture is emerging as the culture absorbs and responds to the explosion of new media technologies that make it possible for average consumers to archive, annotate, appropriate, and recirculate media content in powerful new ways. A focus on expanding access to new technologies carries us only so far if we do not also foster the skills and cultural knowledge necessary to deploy those tools toward our own ends.

We are using participation as a term that cuts across educational practices, creative processes, community life, and democratic citizenship. Our goals should be to encourage youth to develop the skills, knowledge, ethical frameworks, and self-confidence needed to be full participants in contemporary culture. Many young people are already part of this process through:

Affiliations -- memberships, formal and informal, in online communities centered around various forms of media, such as Friendster, Facebook, message boards, metagaming, game clans, or MySpace).

Expressions -- producing new creative forms, such as digital sampling, skinning and modding, fan videomaking, fan fiction writing, zines, mash-ups).

Collaborative Problem-solving -- working together in teams, formal and informal, to complete tasks and develop new knowledge (such as through Wikipedia, alternative reality gaming, spoiling).

Circulations -- Shaping the flow of media (such as podcasting, blogging)

The MacArthur Foundation has launched an ambitious effort to document these activities and the roles they play in young people's lives. We do not want to preempt or duplicate that effort here. For the moment, it is sufficient to argue that each of these activities contains opportunities for learning, creative expression, civic engagement, political empowerment, and economic advancement.

Through these various forms of participatory culture, young people are acquiring skills that will serve them well in the future. Participatory culture is reworking the rules by which school, cultural expression, civic life, and work operate. A growing body of work has focused on the value of participatory culture and its long-term impact on children's understanding of themselves and the world around them.

Affinity Spaces

Many have argued that these new participatory cultures represent ideal learning environments. James Paul Gee calls such informal learning cultures "affinity spaces," asking why people learn more, participate more actively, engage more deeply with popular culture than they do with the contents of their textbooks. Affinity spaces offer powerful opportunities for learning, Gee argues, because they are sustained by common endeavors that bridge differences in age, class, race, gender, and educational level, and because people can participate in various ways according to their skills and interests, because they depend on peer-to-peer teaching with each participant constantly motivated to acquire new knowledge or refine their existing skills, and because they allow each participant to feel like an expert while tapping the expertise of others. For example, Rebecca Black finds that the "beta-reading" (or editorial feedback) provided by online fan communities helps contributors grow as writers, mastering not only the basic building blocks of sentence construction and narrative structure, but also pushing them to be close readers of the works that inspire them. Participants in the beta-reading process learn both by receiving feedback on their own work and by giving feedback to others, creating an ideal peer-to-peer learning community.

Affinity spaces are distinct from formal educational systems in several ways. While formal education is often conservative, the informal learning within popular culture is often experimental. While formal education is static, the informal learning within popular culture is innovative. The structures that sustain informal learning are more provisional, those supporting formal education are more institutional. Informal learning communities can evolve to respond to short-term needs and temporary interests, whereas the institutions supporting public education have remained little changed despite decades of school reform. Informal learning communities are ad hoc and localized; formal educational communities are bureaucratic and increasingly national in scope. We can move in and out of informal learning communities if they fail to meet our needs; we enjoy no such mobility in our relations to formal education.

Affinity spaces are also highly generative environments, from which new aesthetic experiments and innovations emerge Andrew Blau's 2005 report on The Future of Independent Media argued that this kind of grassroots creativity was an important engine of cultural transformation:

The media landscape will be reshaped by the bottom-up energy of media created by amateurs and hobbyists as a matter of course. This bottom up energy will generate enormous creativity, but it will also tear apart some of the categories that organize the lives and work of media makers...A new generation of media-makers and viewers are emerging which could lead to a sea change in how media is made and consumed.

Blau's report celebrates a world in which everyone has access to the means of creative expression and the networks supporting artistic distribution. The Pew study suggests something more: young people who create and circulate their own media are more likely to respect the intellectual property rights of others because they feel a greater stake in the cultural economy. Both reports suggest we are moving away from a world in which some produce and many consume media, toward one in which everyone has a more active stake in the culture that is produced.

David Buckingham argues that young people's lack of interest in news and their disconnection from politics reflects their perception of disempowerment.

"By and large, young people are not defined by society as political subjects, let alone as political agents. Even in the areas of social life that affect and concern them to a much greater extent than adults--most notably education--political debate is conducted almost entirely 'over their heads'"

Politics, as constructed by the news, becomes a spectator sport, something we watch but do not do. Yet, the new participatory culture offers many opportunities for youth to engage in civic debates, to participate in community life, to become political leaders, even if sometimes only through the "second lives" offered by massively multiplayer games or online fan communities.

Empowerment comes from making meaningful decisions within a real civic context: we learn the skills of citizenship by becoming political actors and gradually coming to understand the choices we make in political terms. Today's children learn through play the skills they will apply to more serious tasks later. The challenge is how to connect decisions in the context of our everyday lives with the decisions made at local, state, or national levels. The step from watching television news and acting politically seems greater than the transition from being a political actor in a game world to acting politically in the "real world."

Participating in these affinity spaces also has economic implications. We suspect that young people who spend more time playing within these new media environments will feel greater comfort interacting with one another via electronic channels, will have greater fluidity in navigating information landscapes, will be better able to multitask and make rapid decisions about the quality of information they are receiving, and will be able to collaborate better with people from diverse cultural backgrounds. These claims are borne out by research conducted by Beck and Wade into the ways that early game play experiences affect subsequent work habits and professional activities. Beck and Wade conclude that gamers were more open to taking risks and engaging in competition but also more open to collaborating with others and more willing to revise earlier assumptions.

This focus on the value of participating within the new media culture stands in striking contrast to recent reports from the Kaiser Family Foundation that have bemoaned the amount of time young people spend on "screen media." The Kaiser reports collapse a range of different media consumption and production activities into the general category of "screen time" without reflecting very deeply on the different degrees of social connectivity, creativity, and learning involved. We do not mean to dismiss the very real concerns they raise: that mediated experience may squeeze out time for other learning activities; that contemporary children often lack access to real world play spaces, with adverse health consequences, that adults may inadequately supervise and interact with children about the media they consume (and produce); or concerns about the moral values and commercialization in much contemporary entertainment. Yet, the focus on negative effects of media consumption offers an incomplete picture. These accounts do not appropriately value the skills and knowledge young people are gaining through their involvement with new media, and as a consequence, they may mislead us about the roles teachers and parents should play in helping children learn and grow.

The Independent Games Movement (Part Two): An Interview with Manifesto Game's Greg Costikyan

We will develop for open platforms, not proprietary consoles. We will work in the white-hot ferment of our own imaginations, striving to produce games of enduring merit, games so fine that generations to come will point to them and say, this, this was important in the creation of the great artistic form we know as games.

We will strive for innovation over imitation, originality over the tried and true.

We will explore the enormous plasticity of what is "the game," the fantastic flexibility of code, seeking new game styles and new approaches to the form.

We will create games we know gamers will want to play, because we ARE gamers, not MBAs or assholes from Hollywood or marketing dweebs whose last gig was selling Tide.

We will work in small, committed teams, sharing a unified vision, striving to perfect that vision without fear, favor, or interference.

We will find our market not by bribing retailers to stock our product, but on the public Internet, reaching our audience through the excellence of our own product, through guerilla marketing and rabble-rousing manifestoes, by nurturing a community of people passionate about and committed to games.

We will create, through sheer force of will, an independent games revolution, an audience and market and body of work that will ultimately redound to the benefit of the whole field, providing a venue for creative work, as independent cinema does for film, as independent labels do for music.

We will turn this industry on its head.

-- Designer X, The Scratchware Manifesto

Designer X (better known as Greg Costikyan) doesn't mince words. He says what other designers are thinking but are afraid to say -- though they weren't afraid to give him a standing ovation at the Games Developers Conference in 2005 when he denounced the contemporary mainstream games industry and vowed to create an alternative model for how games can be produced and distributed.

Manifesto Games, the company he created with Johnny Wilson, a long time trade press reporter and games critic. Both Costikyan and Wilson are tired of talking about what's wrong with the games industry. We heard some of their analysis of the problems here last time. They are working to change the infrastructure to make it easier for creative game designers to work outside of the major games publishers, do innovative work, and get it into the marketplace and also to allow discriminating, engaged consumers to find the best work to emerge from the indie games movement. Something of the mixture of ideological and business motivations behind the venture can be seen at Manifesto's home page, which combines what they see as a utopian vision statement with a more pragmatic description of their business plan. They hope to exploit the current moment of digital distribution of games content and web 2.0 strategies to expand the public's access to innovative game content. All of this is spelled out in Manifesto's, er, manifesto.

Go to their website and you can already seen a broad range of independent games content as well as space for critical commentary and for community members to share their own impressions of what works and doesn't work about individual titles. The group is taking on itself some of the challenges of educating the public about the diversity that is emerging from independent game designers as well as to provide a portal which allows interested designers and curious consumers to interact.

I am sure there will be plenty written down the line about what works or doesn't work in this approach. For the moment, I simply want to let people here Costikyan's arguments for themselves and decide whether this represents one potential direction for the future of games culture.

What factors have led you to step out of the world of major games publishers and create Manifesto?

I don't know that this is an accurate characterisation--almost everything I've done has been in one niche market or another: tabletop, online (mostly pre-Internet, and certainly before EQ proved the market), and mobile... Rather, I think that, as with online and mobile, I've identified an emerging market that has great potential. The difference is that I'm doing it this time as a distributor instead of a developer--but I think that's where we can make the most difference at present.

You describe Manifesto Games as a "Long Tail play." Can you explain how this effort has been informed by the "Long Tail" theory? Companies like EA clearly aim for the mass market end of the tail. What evidence do we have that niche game products might succeed?

Back in the late-80s and early 90s, companies like Talonsoft were profitable on the basis of 15,000 unit sales. Companies like Codemasters were happy with 25,000 unit sales.

The problem is that today, you just will not get retail distribution if that's all you can project. Thousands of games are published every year, a typical game store has maybe 200 facings, and if your game doesn't sell well within the first two weeks, they take it off the shelf to make room for a new release that might.

Why shouldn't it be possible to recreate, online, a retail environment that recreates the conditions of the game market overall in the late 80s and early 90s? There are vastly more gamers now--and their seems to be a palpable feeling of ennui with the prevailing industry's attachment to franchise and licensed titles.

What evidence is there that niche product can succeed? Well, Stardock has sold over 100,000 copies of Galactic Civilizations. Garage Games has sold over a million copies of Marble Blast (which, admittedly, by my definition is "casual" rather than truly indie). Those are outliers, but they imply the promise.

You seem to associate a kind of entrepreneurial or artisan based mode of production with a range of aesthetic virtues, including innovation and diversity. What makes you think an entrepreneur is more likely to embrace these virtues than a larger studio?

Well, it may be a romantic failing on my part. However, I'll point out, the single thing you can point to as an example of dramatic creativity on the part of the larger industry today is Spore, which is largely the product of the vision of a single creator, who happens to be one of the very few people in the field with the track-record and clout to force his vision through. Novels and symphonies are not written by committees, and while other media, such as film, involve the participation of many talents, we still generally ascribe the artistic success of movies to one or a handful of people.

Still, film demonstrates that "larger studios" can succeed in creating interesting and innovative work; but film, unlike games, has also embraced the "cult of celebrity" (for better or worse), with the consequence that some individuals in Hollywood can force their vision through. In games, you can count the people with that kind of clout on the fingers of one hand, and the hand of a toon at that: Will Wright, Shigero Miyamota, Peter Molyneux.

In other words, I don't think the critical factor in supporting innovation is necessarily the size of the operation, but in the ability of creative people to control the process. Development at internal studios is marketing-driven rather than driven by creators; and while independent studios operating in the conventional market theoretically have a bit more freedom, the need to pass through the (broken) green-light process drastically diminishes that freedom.

Part of the interest of independent cinema is that the film express alternative perspectives -- political, cultural, sexual, what have you -- which would not otherwise gain broader circulation. Is the same likely to be true for independent games? Would this require a greater focus on what the game is about rather than simply the play mechanics? What relationship are you positing between indie games and art games or serious games?

I hope so, albeit we have relatively few examples to hold up at present. Although I'll note that one of our best-sellers at present is The Shivah, an old-school graphic adventure about a Rabbi having a crisis of faith. I'd love to have more games that strike off in odd directions--from a crass commercial perspective, The Shivah is far more promotable for us, far easier to interest people in than another shmup or third-person shooter.

To date, most games that do "express alternative perspectives" (e.g., Escape from Woomera, the Columbine game, Disaffected!) have been freeware--perhaps because the creators don't really see a path to market. If we can demonstrate a market, however....

Your focus on creator-controlled games seems to parallel the creator-owned comics movement of the past few decades. What, if any, inspiration have you taken from this? What will you learn from the successes or limits of that movement?

Hm... Well, there's a risk in trying to hew too closely to independent comics model--e.g., there's a feeling on the part of many independent comic creators that doing anything other than self-publishing and distributing yourself is selling out. Part of the reason this is feasible in comics is that there are a handful of important distributors, and it's quite feasible for an independent creator to contact them all, and get distribution. We are dealing in a different retail environment here--online is a different beast...

But in general, I think independent comics really is a good example of how, if you create an environment where independent creators can find an audience and live an adequate middle-class living, you open the floodgates of creativity--and help to reinvigorate the mainstream. Remember that not too long ago, both Marvel and DC viewed themselves as primarily licensing companies, with the merits of the actual content they published hardly considered by management. I think that's less so today...

Do you see the primary goal as to publicize existing indie games or to provide incentive for their production?

I don't think there's a contradiction between the two goals. I believe there are many excellent indie games today that haven't gotten the exposure they deserve, and to the degree that we can expose them to a new audience, that's great.

Contrariwise, I know there are a great many highly creative people in this field who feel constrained and unhappy by the circumstances of market reality--and I know that if we can prove that independent games can achieve adequate distribution and sales, and reach an adequate market, I'm positive that the floodgates will open, and we'll see a dramatic florescence of creativity.

As an example, consider Eric Zimmerman. He's found a viable niche doing casual games, and his company, GameLab, does some excellent ones. But Eric is a -gamer- at heart, and while I imagine he's happy enough developing games for an audience (middle-aged women) that prizes games of types very different from those he himself loves, I'm sure he'd much prefer to be developing games of greater cultural significance and intellectual merit. In other words, if he could make as much money doing a game that appeals to people who have a passion for games, rather than for those who view them as light entertainment, I'm sure he'd be happy to. But he also has a payroll to make, and there's demonstrable money in casual games, and indie games are pretty much unproven as a market.

How is the digital distribution of games going to change the ability of indie publishers to get their content in front of the general public? Clearly part of what you hope will work here is a web-based model for the delivery of content and a web 2.0 model for users assessing and evaluating the content which is offered.

Well, we're back into "long tail" theory here. The problem with brick-and-mortar retail is that you're either on the shelf, or not. And if you're on the shelf for an extended time, you can sell in huge quantity--but if you're not, you've got nothing. In a web environment, at least in theory, things are different; you might not have huge sales velocity out of the gate, but word-of-mouth might lead you to substantial sales over time.

In essence, the conventional market leads to a sales curve the looks like a parabola until it reaches some point and suddenly declines to zero. But online, there's no shelf space, and games can continue to be stocked, and instead of a precipitous decline to zero, you can have a slow gradual decline, or even an increase if the game gets good word of mouth. And games in that long tail can still be profitable, if they are developed for less than the conventional market demands.

But making that works means recognizing the differences between conventional retail and online retail, too; it astonishes me that most of the conventional portals use the best-sellers list as the main, in some cases only, view into content. They make it actively hard to find a game that the herd may not like, but you might. Amazon, by contrast, doesn't push best-sellers in your face; rather, it pushes books your previous interests suggest you might like. We need to get away from recreating the constraints of the conventional market in an online environment, and learning from ecommerce best practice.

What criteria should we use to measure the success of Manifesto games?

Heh. Well, survival for a start. But ultimately, my goal is to establish 'indie games' as a category that people talk about in the same way they talk about mobile and casual games today: as a large, emerging market with lots of opportunity. In some ways, I'll view it as a victory when we attract real competition, because that means the indie market is being taken seriously.

The Independent Games Movement (Part One): An Interview with Manifesto Game's Greg Costikyan

This is intended to be the first of a series of interviews with some key thinkers in the independent games movement which I will be running in this blog over the next few weeks. Many of us have long wondered when and how a strong independent games culture might emerge. Across most other media, we have seen in recent years the resurgence or emergence of strong indie and niche media production: the rising visibility of documentary films; the growing respectability of graphic novels; the fragmentation of the music marketplace, the proliferation of ever more specialized periodicals, and so forth. This is what Chris Anderson is talking about when he describes the Long Tail effect. Yet, during this same period, there have been strong barriers of entry into the platform market and companies like Electronic Arts have been gobbling up more and more so-called boutique studios resulting in a consolidation of games publishing. In such a world, what incentive is there for diversity and creativity in games design? How might we support distinctive and visionary work in games? How do we broaden which publics get addressed by the games industry or expand the range of acceptable game genres?

Over the past year or so, though, we've seen signs of the kinds of support systems that might be needed to sustain a substantial Indie games movement. Through this series, I will be looking at the fledgling efforts in this direction and talking to some of the key players in the indie games space.

I begin that series with this two-part interview with Greg Costikyan, the CEO of Manifesto Games. Costikyan has designed more than 30 commercially published board, role-playing, online, computer, and mobile games. His games have won five Origins Awards, a Gamer's Choice Award, and have been selected on more than a dozen occasions for Games Magazine's Games 100, their annual round-up of the best games in print. Greg began his career when he was 14, assembling and shipping games for Simulations Publications, Inc., for whom he designed 6 games before he graduated from college. Over the years, he has also served as Director of R&D for West End Games, a house husband, lead designer for Crossover Technologies, Chief Design Officer for Unplugged Games (a mobile games start-up he co-founded in 2000), a game industry consultant, and a games researcher for Nokia. As a consultant, his clients have included Viacom, Mattel, France Telecom, Sarnoff Corporation, IBM, Intel, Nokia, the Themis Group, and Roland Berger & Partner. He left Nokia in 2005 to found Manifesto Games. He is the author of four published novels and a number of short stories.

Most of the above comes from his official biography. But anyone who has been observing games culture in recent years knows that he is one of the smartest and most outspoken thinkers about the medium -- a real maverick who overturns apple carts and chases the money changers out of the temple (to mix metaphors). You can get some sense of why Greg (AKA Designer X) is such a breath of fresh air by reading what his website describes as "My GDC Rant on the iniquities of the game industry, which seems to have established me as the industry's voice of cynicism and despair :)." Here's part of what he had to say:

Games GROW through innovation. Innovation creates new game styles. Innovation grows the audience. Innovation extends the palette of the possible in games. The story of the last twenty years hasn't been, as you've been sold, the story of increasing processing power and increasing graphics; it's been the story of a startling burst of creativity and innovation. That's what created this industry. And that's why we love games.

But it's over now.

As recently as 1992, the average budget for a PC game was $200,000. Today, a typical budget for an A-level title is $5m. And with the next generation, it will be more like $20m. As the cost ratchets upward, publishers becoming increasingly conservative, and decreasingly willing to take a chance on anything other than the tired and true. So we get Driver 69. Grand Theft Auto San Infinitum. And licensed drivel after licensed drivel. Today, you CANNOT get an innovative title published, unless your last name is Wright, or Miyamoto....

EA could have chosen to concentrate on innovation, rather than continually raising the graphic bar to squeeze out less well capitalized competitors, but they did not. Sony could have chosen to create a Miramax of the game industry, funding dozens of sub-million titles in a process of planned innovation to establish new world-beating game styles, but they declined. Nintendo could make dev kits cheaply available to small firms, with the promise of funding and publication to to the most interesting titles, but they prefer to rely on the creativity of one aging designer.

You have choices, too. You can take the blue pill, or the red pill. You can go work for the machine, work mandatory eighty hour weeks in a massive sweatshop publisher-owned studio with hundreds of other drones, laboring to build the new, compelling photorealistic driving game-- with the same basic gameplay as Pole Position.

Or you can defy the machine.

Costikyan's remarks might be seen as the prelude for the launch of the aptly named Manifesto Games, which is already becoming a key center promoting the cause of independent games in all of their many shapes and sizes. The first installment sets the stage by laying out Costikyan's vision for what a thriving indie games culture would look like and his critique of creativity in the current games industry. Next time, we will look more closely at what he is trying to accomplish through Manifesto Games.

Manifesto Games has some bold ambitions. I'd like to walk readers through them. First, you want to promote independent games, drawing an analogy to independent cinema. In the Independent cinema model, films are independent if they are made outside of the Hollywood studios, though this quickly got blurred by the emergence of studio owned boutiques aimed at niche consumers. Today, it is not clear whether an independent film is one made outside of the studio system, one made for a niche public, one made with an "indie" aesthetic, one made outside of traditional genres, or what have you. Will we get into this same problem in thinking about independent games as a movement? Can we agree on a definition of what an independent game is?

Actually, not really. Here's the IGF's [Independent Game Federation] definition: "An independent game is any game that is not published by a member of the ESA. [Electronic Software Association]"

That's kind of a ridiculous definition; if I recall correctly, Eidos (being British) is not a member of the ESA, but they are a substantial publisher. I'd have a hard time considering games produced by their internal studios to be "independent." But of course the IGF needs a definition, so they can distinguish between eligible and ineligible games, and it's the one they've chosen.

Traditionally, "independent developer" has meant any developer that is not owned by a publisher; but by that definition, Doom 3 is an "independent game," since id is privately owned. Surely, though, any game that high profile is a mainstream title.

I'm not at all sure it's helpful to nail down the definition of an "independent game" too narrowly. Some would define it as "any game released without a publisher," but from my perspective, games published by, say, Matrix or Stardock or Strategy First are adequately "indie", since they don't achieve much exposure to the conventional retail market, and what they publish are clearly of interest primarily to a niche rather than a mass audience. Certainly none are ESA members, but also, all are moving increasingly to direct sale online, rather than via conventional retail.

In other words, we have a spectrum, from "true indie" developers like, say, Digital Eel or Dan Marshall or Dave Gilbert, through operations like Three Rings that pretty much operate independently but occasionally distribute through conventional publishers (there was an Atari version of Puzzle Pirates), through companies that think of themselves as conventional publishers but are forced to find alternative distribution paths for their product, like Matrix et al.

I'm not even entirely sure I'd want to exclude id from the definition of "indie"; after all, even though they produce best-sellers and get retail distribution, they operate without the need for publisher financing, and forge their own path.

I also tend to exclude as "independent games" some that others would think are definitely contained within the definition; from my perspective, "casual games'" are a separate, parellel, and pretty much distinct market. But they're selling to a very different audience from the "indie" movement.

I note that the definition of "indie" for other markets is equally nebulous. Miramax is a leader of "independent film"--but it's a Disney subsidiary. New Line is a studio for "independent film," but it's a Time Warner subsidiary. Vertigo publishes "independent comics," but it's a DC imprint.

I don't think a clear definition of "independent game" is particularly necessary or useful, although I think "independent games" do have certain characteristics. They are created by developers that are not owned by publishers, who retain ownership of IP, and are typically distributed primarily in channels other than conventional retail.

I'm reminded of an interview I read sometime ago with Samuel R. Delaney, who decried the impulse to try to define science fiction precisely as "Stalinist." (I'd provide a link, but Google is not my friend at the moment). Indie is something you know when you see it.

Are significant numbers of independent games being made now? If so, by what entities?

Yes, at least the way I look at things, significant numbers of independent games are being made now. We have more than a hundred in our catalog at present, and I fully expect 1000 or more by this time next year.

But again, a lot depends on how you define indie.

First: Offbeat, innovative, creative games created independently of the conventional publishers; we love these, but they are limited in number. Dozens, perhaps.

Second: Games of styles that still have enthusiastic fans, but that the major publishers no longer find worth supporting--adventure games, wargames, shmups, third-person shooters, turn-based fantasy, et al. Hundreds, possibly thousands.

Third: European games that don't get distribution here because they are viewed as too odd for the mass American audience: dozens, perhaps hundreds.

Fourth: Japanese dojin games that achieve conventional distribution neither at home nor here but have an otaku fan base: dozens or hundreds.

Fifth: Niche MMOs that will probably never attract more than a few thousand or tens of thousands of players but are often among the most creative of their field. Dozens at best.

Sixth: Games out of the 'serious games', art games, or educational game movements that are primarily aimed at a non-commercial market but that may well be of interest to gamers....

When you start looking around, there's just an amazing amount of stuff out here.

Your press release offers some pretty harsh criticism of the existing games industry, within which you have worked for a number of years. You write, "Ever-spiraling budgets and ever more risk-adverse publishers have turned what was once the most creative art form on the planet into a morass of stultifying drudgery and sterile imitation." What factors within the current market model have led to "sterile imitation" and in what ways might the model represented by Manifesto Games alter those conditions?

It's quite simple. In 1998, a typical budget for an A-level title was $1.5m, and you could creep into profitability at 100,000 unit sales. Today, a typical budget is $15m, and you need 1m+ unit sales. At those kinds of budgets, and with that need to reach a mass market, publishers are forced to be conservative, to reduce their perceived development risk however they can. Thus number 3 in a series the first two of which sold well will gets funded; something based on a big-budget Hollywood movie, where they can piggyback on the huge studio market spend will also get funded. Occasionally, "original IP," meaning a backstory for a game that hasn't been seen before, will get funded, but only if the game itself slots into an established marketing category and genre that the publisher knows can succeed.

The rise in budgets is a direct corallary of Moore's Law; as processors increase in power, they become capable of displaying better graphics, and therefore, if you want to achieve shelf-space in a market where shelf-space is highly restrictive, you need to provide the better graphics that newer machines can provide. If you don't, your competitors will, and your product will be viewed as dowdy by comparison. Thus budgets ratchet up year by year--and while sales have increased, they have not increased anywhere near to the same degree.

The result is that the offbeat, quirky, and innovative cannot get funded; that genres that can't produce 1m unit sales drop away; and that market considerations, rather than imagination, become paramount.

What we're trying to do--and we're not alone; Steam, Garage Games, and Stardock are all fellow travellers, all trying to break the iron logic of the conventional market in their own ways--is to say that this is absurd, and that there has to be a better way. The drive for ever better selling product is typical of a pre-Internet era; the move to "long tail" markets where niche product can find a home is typical of the modern (or post-modern, if you prefer) era. Even though games are digital in nature, music and books have gotten there before us, but it has to be possible to create a similar dynamic for games.

Do the announcements this summer around the Microsoft 360 give you any optomism

that indie games will thrive on the platforms as well as on the web?

Yes, and no. Clearly, Xbox Live Arena has proven a boon to some developers--I find it both astonishing and heartening that a game like Geometry Wars--a classic shmup, a genre that hasn't been commercially successful for more than a decade--can become commercial successes.

However, there's also a big danger in the way that Microsoft (and Sony and Nintendo) are running their portals. They are, in essence, disintermediating both the retailer and the publisher--but they are the ones in control. If you project the Arena model into the future, and assume that all games are ultimately distributed digitally, then on each platform there is one, single, monopolistic provider that controls the distribution chain wholly: the console manufacturer.

And while Arena is offering a very attractive share of the consumer dollar at present, it's also very clear who holds the market power there: Microsoft. And just as the casual game portals have slowly demanded a larger and larger share of the consumer dollar, I'd expect Microsoft to do so in future as well.

In other words, this distribution channel offers developers short-term opportunities--but in the long term, it offers the opportunity to be screwed by Microsoft rather than EA.

Peachy.

Portrait of a Transmedia Designer: Interview with Kevin McLeod (Part Two)

tibetangum.gif Yesterday, I introduced my readers to transmedia designer Kevin McLeod, whose career has moved from film to alternative reality gaming to magazine publishing. Everything he has done has been informed by a unique analysis of our current media landscape -- He refuses to make distinctions between high and low, old and new; He has tremendous respect for the intelligence (collective or otherwise) of the media consumer; His work reflects his fascination with the intersections between different media and the opportunities for creative expression which stand at the borders between different modes;His work displays a fascination with stretching the limits of visual intelligence and challenging us to look at the familiar through fresh perspectives.

When I first got my hands on Mstrmnd, I have to admit that I had no idea what to make of it. I couldn't even tell what kind of magazine it was supposed to be. Mstrmnd was a seemingly random assortment of stuff -- old etchings from 19th century books, essays on popular cinema, eye-catching charts, graphs, and photographs, mock advertisements, and long stretches of comics.

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It was the kind of magazine that you notice on the coffee table at the home of your most pretentious friends. When they leave the room, you pick it up furtively, flip through it nervously, twist your lips skeptically, and then shove it back on the table, hoping nobody noticed you moved it. You don't understand and you don't ask. I will admit that I have a low threshold for avant garde experimentation in all forms. I am a fan boy at heart and I like my reading pulpy not pretentious. But then the more I looked at the publication, the more I started to see elements there that spoke to me on a different level. It was clear that McLeod was interested in many of the same works that I was. Indeed, many of the works which are repurposed and remixed in Convergence Culture make their appearance in this magazine -- suggesting someone who has been thinking along parallel tracks. And that's what compelled me to reach out and interview him for this blog.

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You write, "Mstrmnd is not an art or a design magazine but it is often mistaken for one." Explain. It is clear lots of thought has gone into the visual design of this publication. Behind the design choices, I see an interest in visual literacy -- in communicating as ideas as much through pictures as through words. Does this approach grow out of a particular understanding of how people are living and relating to information at the present time?

There is a ghetto of magazines that deal with art and design. Generally they're limited by aesthetics without complexity which are fashion, or they support a very primitive idea about art that is single creator in a primitively limited audience. The gallery-collector-museum relationship. Neither of these genres really wants to reach a mass audience but instead cater to a privileged group of users. There's an academic tone to many of these magazines, reaching brains that have been designed in colleges, where information has a pedigree that may not assist in consciousness but instead are there to reinforce the power modalities of education. And the idea of the critic, the individual critic gains power over an artist by illumination through obscurity. The defeat of images by text. Academia's manner in codifying a fluidly composed art form like film is to write text about it, it doesn't invent a new medium or genre to evolve it, it becomes a scribe system with many illusory chambers. The point of mstrmnd is to allow the images supremacy and let the audience do the perceiving. Lure, dare, induce. If we avoid text or use it in an unstable manner, then we can evolve with language rather than let those who command it lead. There's a whole arena where I say question the notion of structuralism, English is far from a great language, if left to its own democratic/academic growth, it's a slow cancer that will keep growing.

Well, yes, you hit the nail. The images and text and their progressions are provocations in visual literacy. We live in an age of vast literalness in mass media yet our censorship is innate, self-created, not the product of any conspiracy. Just look at captioning and the variations through magazine/news. One image can have three basic states of captions: the newspaper, the sly news journal (like The Economist), or the parody (The Onion). If you deform in any direction just this idea, the caption, you can reinvent a facet. What if a caption were hidden?

You make extensive use of found or borrowed materials which you have appropriated and recontextualized. How does it relate to earlier efforts by the avant garde to deploy "cutups" or "ready mades"?

I am not a visual artist by training or historian, so my knowledge of the backstory is limited, but I am retroactively aware of Max Ersnt's collages, and actively the work of the painter Vuillard who was a master of patterns, as well as Rem Koolhaas' Delirious New York which was a new form of literature with images. I mention these three only because they are in the foreground for the moment and seem to illustrate what you are suggesting.

You create some pretty interesting juxtapositions between contemporary and much older materials. What status do these older images play in your work? How do the older materials fit within your call to readers to investigate "mythologies", a concept you seem to be taking from Roland Barthes, I take it?

I have only read fragments of Barthes and found him bland, like a self-parody. I look more at myth through sociobiology or sociology. Like Dorfman's 'How to Read Donald Duck' which is a manual more than it is a piece of academic research. Older images are essential in exhibiting how the visual cortex is evolving, devolving or maintaining status quo. Images reveal much more about the state of humanity than text, which can be endlessly translated, interpreted, converted into rhetoric. H.M. Stanley's ground glass images from 'Through the Dark Continent', which we caption with subtlety, relate uniquely to the first issue's content in a myriad of ways and also to some synonyms in the second issue like the 1936 Olympic images. That they have current parallels and antonyms is entirely up to your perception. In effect the magazine is half finished, you complete the relationship unknowingly by being aware of the interweaving. Now in terms of mythology I would borrow Cassirer and use his perception that the Nazis were the first synthetic myth and you have a subliminal non-linear history lesson you were probably unaware of. That we duplicate this synthetic state without thinking now is rather incredible, but wholly understandable since the medium of television is designed for this.

You seem to be very interested in popular art forms such as comics and advertising but you also make use of avant garde photography and graphics techniques. What do you see the value of juxtaposing high and low forms of expression in the same publication?

I guess I see no difference in that valuation or scale, or maybe just the danger in applying it. The contrast you exhibit is a border that restricts perception. To eliminate these 'class' distinctions is to evolve media and perhaps cognition and consciousness. A magazine ad for Tron suggests a depth provided by seeing the film, playing the coin-op or intellivision game, even logged onto a fansite, experiences stored or to be stored, whereas a reproduction of Church's 'Cotapaxi' (a vast canvas landscape of a massive Ecuadorian volcano), with its numerous light effects, optic distortion and message illuminates us to Church's eye opening experience of witnessing it. In which of these does an audience participate more? Ads in magazines are also in an unnecessarily conservative state of being, how many times will you see bizarre redundancy, a magazine editorially showcases a product or a person who also appears in an ad for a film in release or a product that is being launched. Another part of the Paradox puzzle. Ads are necessary for magazines but advertisers need to comprehend the next stage of ads requires their active conscious participation in a community, not their blank dictation of brand. That is the notoriety of the 20th century: a dictation of image. Also, are art forms like the 'Black Nationalist' sketch by Richard Pryor, "Back Orifice" the hack of Windows 98 by the cDc, or "Formulary for a New Urbanism" by Ivan Chtcheglov, a luminous but crude manifesto, are they high or low, as new genres appear or are discovered retroactively, doesn't this line blur? Comics are a stage above this ad business, the nuances are insanely dynamic, the name of the first serialized graphic novel in mstrmnd is called Wooden Mirror, a play on the material of paper and the first complex narrative offshoot, one of three in process for serialization in future issues.

You seem very interested in films -- especially films which are part of larger franchises or works that fit within what I have described as transmedia entertainment (such as The Matrix and Star Wars). How have you carried over this interest in media franchises into your thinking about MSTRMND? In what sense do you see such works as, in your terms, "large-scale mythologies?"

These films are part of a new level of superart coded for children to sense, feel, maybe even read. Adults are necessarily left behind in experiencing the complexity of these series' if only because of a literalness in western education that relies on text and math as primary statuses in intelligence. While children explore text and math in school (and regulated forms of art and code), they are enveloped alternately by mass media that relies only invariably on text or math. Visuals connect ideas to ideas in film, TV, games and in certain browser environments. Key to this era's awareness in context: Star Wars and The Matrix are both vast illustrations of Paradox, not irony. A religion in which men fight and kill to become fathers while denying themselves the ability to procreate. A simulation designed to both find a messiah of change and then make a deal with him or her to neutralize their ability. One need only to look at these films and see they are complex mirrors we cannot recognize because we hide the same properties from ourselves. Films like Kill Bill, Cache, Primer, A History of Violence, The Aviator, Ghost in the Shell are all deeply coded consciousness playgrounds, tempting audiences to comprehend their inner meanings and this playground is malleable into other media, it can locate tools to perceive and leave them for others to use. To me most of these films, despite their philosophical challenges, are still resolutely primitive and the allure is to evolve these ideals into 21st century simulas with even wilder nuances and optics and heroes and villains, and mstrmnd is a growth medium for this. How you converge the narratives and symbols in mstrmnd depends on both the editorial and the audience working in a commonality. How this evolves will depend heavily on user awareness and participation.

In our correspondence, you have discussed the complexity of contemporary cinema, even the complexity of very popular films. You seem to be picking up on Steven Johnson's arguments about the cognitive challenges posed by contemporary popular culture and the ways that it can be complex and still accessible. How does this interest shape the forms of complexity you are building into your publication?

While I agree with Steven Johnson on certain level, I am uneasy with his perceptive buckshot. When he claims media is evolving because certain films have extensive casts to absorb, forcing desire for cognition and repeated viewings, I shudder slightly. Perceptions must come into play. I see the Lord of the Rings as a terminally conservative text, with evil that is character-less (an all seeing eye), with a desire to wage wars that are good and defeat the loneliest of metaphors: darkness. Now this is a fear filled narrative that is strangely uncomplex, with a violent unease with a metaphorical east of exotic skins and animals. Although it is complex on a number of design and graphic levels, it is anti-evolutionary since it isn't self-aware of faults in its message, it hasn't been updated since its WWI origins, a film as wooden as Spartacus has more nuance than LOTR. I think Johnson has the right idea, he just recognizes the surfaces of the media he evaluates, not the underlying symbolic structures, a skill arguably necessary for future minds faced with our messy behavior both interspecies and intra-biome and soon, interplanetary.

You make use of a lot of subtle visual echoes between the first two issues of your publication. You seem to be daring readers to find the patterns on their own. What assumptions are you making about how people will read between the issues rather than simply reading each issue individually?

Yes I'm glad you put it that way, there is a dare involved that is about patterns and beyond. The challenge is on a few levels just a weird form of fun. Inside one bound object is a story, between them is their power of channeling multiple overlaps. The way a mad-lib book was or a choose-your-own-adventure is bound temporally by staples or glue. Then step outside that boundary, what are the possibilities? I make no assumptions but hope that the user will observe all this on some cognizant level. The mag develops its aura by the reader sensing these similarities. The reader sees them slowly, connects multiple patterns, colors, etc, grows a lexicon visually, utilizes this to discern other hidden narratives, even flaws in other media. This is obviously meant to be consciousness inducing in stages. In example: The 2 yuan note in the first issue is related to both the US 10 dollar note in the 2nd issue as well as the satirical Tibetan Gum (as well as a few others). Scale matters, as well as shape.

In many ways, you seem to be constructing what Convergence Culture calls a cultural activator -- that is, a work which sets a collective intelligence community into motion. Yet, is it possible to be a cultural activator without being a cultural attractor. In other words, Lost or The Matrix work by creating a large scale audience and providing them with things they can do together. How does this work with a smaller scale project like your magazine?

A great question. Stanley Kubrick, whose films are composed of incredibly secret plots inside what appear to be very strange, stilted major studio releases, never explained them, though this lack of awareness on a mass scale doesn't diminish their powerful hold on users, in fact, The Shining finds a larger audience today than the summer of 1980 when it was released to a maximum theater count of 600 screens. The relative scale of the initial audience seems puny now (though certainly they experienced it more intensely, projected in a communal darkness). What draws new viewers to The Shining? What draws them to repeatedly view it? What is hidden, are they aware of it on a level they are not entirely conscious of? Someone, a cinematographer, recently explained to me why watching it numerous times was so riveting: he could never remember certain details or the order of the story. Why is a visual thinker forgetting details in a film he's watched many times? This model, the activator, perhaps can take many forms and start at unusually small scales, increasing its usability and longevity, and it can evolve with its audience until it approaches the level of attractor. And key is the cost effectiveness of beginning at a selective level in a medium that has a built in audience searching for new formats. The magazine is the perfect medium to develop a set of users in the age of the internet.

Portrait of a Transmedia Designer: Interview with Kevin McLeod (Part One)

Some years ago, Kevin McLeod produced a documentary called The Cruise about a New York City eccentric who takes tourists on his own idiosyncratic tour of the city. Anyone who has seen that film will recall the breathless, stream of consciousness monologues which offer us a window into the subject's distinctive view of the world. At first, it makes no sense, but then, you start to get into his groove. coverissue2.gif

Kevin McLeod's writing and design work has that same breathless quality -- full of sentence fragments and snarled syntax which never-the-less works itself out into fascinating juxtapositions. Sometimes, thoughts seem half finished but then the ellipsis provokes us to dig deeper and come away with a deeper understanding of what he is trying to say.

This makes sense when you think about what McLeod has done through his work. He is someone who has moved fluidly across different media platforms -- producing an acclaimed documentary film, collaborating on "the Beast," which helped to launch the Alternate Reality Games movement, and editing the perplexing and yet somehow engaging Mstrmnd magazine.

His argument also moves fluidly across media -- making unexpected and interesting juxtapositions between different sites of cultural production. He makes demands on us as viewers, players, and readers that grow out of deep respect for and trust in the potentials of participatory culture.

Over the next two installments, I will share a recent interview I did with Kevin McLeod. In this segment, we discuss his background and how he came to be involved as editor of Mstrmnd. Next time, we are going to dig more deeply into Mstrmnd and the ways he is trying to reinvent the magazine as a medium.

Take us through the steps of your career. What can you tell us about the path you took to your current project?

My career has moved through media, and I have been associated with some good work at various levels. I was a special production assistant for Silence of the Lambs, a role both microscopic and at rare times macro, like adding details, spotting errors, a great director like Demme is many minds in one. I worked in music video and animation production for a time, watching and assisting some pretty dynamic minds. This was pre After Effects and the oxberry was still king.

From there I was a journeyman producer, was a coproducer of the documentary The Cruise, the first DV film to gain a major distributor. Cocreated a documentary pilot called Eden, it was designed to make directors out of anyone with a daring story, hand them a cameraperson and let them explore its details. Eden was financed by the same man who financed Vice Magazine's expansion. Ultimately it was as unrealistic as its name. You Tube has converted many models like this, from commercial to consumer, and the realm can only improve in sophistication.

In 2000-2001 I traveled a great deal, India, South America, Africa, Honduras. When I returned a proposal I had written to no one in particular convinced a friend I should join a project called 'The Beast,' a non-linear narrative web-based sequel to the film A.I. Despite having no prior experience in web design or writing, I was offered one of two positions end-developing some of the sites, about a 1/3. The project was a success. In 2003 I was invited by Phoebe Elefante to contribute to a magazine called Mastermind, then became its director.

I was very interested to learn that you were part of the team that put together

the Beast. Tell me something of your role in that process. What can you tell us about the thinking which went into your design for this project?

For many readers of your blog who have never heard of it, the Beast may be difficult to comprehend. In brief imagine a film, a linear narrative, is broken up into many websites that 'tell' the story non-linearly. Each site becomes a facet through puzzlement that additively creates a complete story and the act of searching for the existence of these sites is an element in the storytelling. In effect a merging of film and hacking. The framework, the invention, the story and the conceptual was developed before I was hired.

These three innovators, Weisman, Stewart and Lee developed on paper and in motion media and in sound all the pieces of a vast narrative puzzle, still in my mind a phantasmal risk. I was asked to put their site descriptions and concepts into working web environments (context). In most cases what sounded interesting on paper seemed too logical for web design. They sometimes saw the web as a literal and logical series of tropes, the color pallets, puzzle doors, even red herring backgrounds seemed at times too pointed, almost blunt.

My role was to add the illogical, the possibility that the world this came from was living and breathing and dynamic in its time. I worked with three brilliant flash brains and we used the web content as starting points for deeper visual narratives. The lead character's company site included a brief four image 'history' of structure conceptuals that ended with a Dogon 'Mask' House that suggested a metaphorical source of the company's purpose, the creation of sentient houses. This and many other details, functions, codes were added in the websites' creation.

We distorted key environments even coded colors in ulterior narratives that added to the general search for a coherency inside a storyline that was unusually unstable. It's somewhat like adding Mario Bava touches to genre films. And the effect was immediate, soon they were adapting storylines with some of our visual pushes, minutely of course but the potential became obvious.

The project was a revelation for me. The three as well as Bob Fagan were cool short-term mentors, and as a result I became conscious of an audience you could call the first generation of media hackers. A kind of explosion of the hacker group cDc's mental state into unconscious local cells, searching for media to reconfigure, dismember, reinterpret. To glue the pieces of our fragmented data together to reveal our flaws collectively by people who are not authors per se, unconscious or not, is a new stage in media.

How did these experiences lead to the development of MSTRMND? What are your goals for this publication?

Mmm. Convergence. Ideas: My great friend Allan Maca is an anthropologist consistently recommending text and ideas in brain cognizance, perhaps I reached a melting point with his prodding.

And Movies: In 2003 I was amazed by the intelligentsia's poor reaction to The Matrix Reloaded, it was after all both satire and reconfiguration, a reverse of The Matrix's glee (no more 'whoa's). A process Lucas incorporates in his latest trilogy that they boldly affected inter-trilogy. And Reloaded is probably the first feature length film that had to be seen in Imax to be fully understood. Optically a masterpiece. The internet sped these reactions to me and made me want to respond.

A lecture I was to give on gaming suddenly was a defense of the film. My amazement led me to make a slideshow with text and puzzling image overlays in flash that described what I saw in Reloaded and I distributed this weird explanation to friends and players of the game anonymously.

This incredibly long analysis was invited to be included in a magazine named Mastermind and one thing led to another and I was asked to become editor. They sat me down and asked what content I thought would work and rattled off some jarring ideas floating in my head, a transcript of role-playing in progress, a subway map of merged lines, a Slavery Museum for Washington DC, a videogame script involving terrorism countdowning, a day by day study of the post 9/11 anthrax narrative, a comic book called Wooden Mirror.

Now the magazine is made up of many with myself in the role as puppetmaster, and content is touched, fleshed or created by other incredibly unique personas to make a finished product. The initiator of the business and the board members and I continue a dialogue together that is about testing the limits of this medium. I discovered a process while I worked. Friends and participants began pointing out relationships, then strangers; consistencies across genres within. Issue one is the most obscure, and basic version of mstrmnd, each issue becomes clearer as they progress.

The magazine is a medium frozen in time, look at The New Yorker, a text that compliments the intelligence of the baby boomer generation, a cover that betrays a political leaning, advertisements that are more subliminal than its content, especially in graphic ways, and text, the linear inner voice of 8-10 writers, skewing each piece into an opinion, however subliminal. The magazine is only one medium of many awaiting an upgrade, but the mag is a necessary place to start. Look at the model: masthead, briefs, letters, features, endnote, a formula seemingly from the age of the movie palace, still coding information through journalism, a 20th century profession unable to interpret our age, our innovations. Look at other models, National Geographic, Time, Wired, all are contained in highly rigorously designed genres.

The goal is to bring the innovations of other media to the magazine, introduce new non-fiction genres, finally take the comic-graphic novel to its place in a pantheonic context, and display all this without a full explanation. No one can be prepared for the next step. Update the magazine as an object of longevity like a great DVD. Ultimately mstrmnd should provoke questions the way journalism used to, it should make us question choices in perception and symbolism the way hackers of the 1990's questioned hierarchy and representation. Can myths be hacked? Can religions be hacked? The past is fertile ground to explore, and the past is both 6000 years ago and four seconds ago whether we like it or not.

David Pescovitz wrote, "Mastermind is an immersive experiment on paper. You don't really read it, but rather open it up and just drown in its surrealism." What kind of relationship do you hope to create with your readers?

Mstrmnd should advance openly with an audience that wants to explore the lack of limitation in curiosity. I mean our species is ripe with self-deception, our addiction to branded symmetry (like the cult of the model), the father figure, borders, it becomes more and more obvious we have the power to solve humanity's disturbances with open minds, distortion like allegiances to ideology, the use of texts that are centuries old to decide scientific research, human paradox is a constant deformity in innovation. We use entertainment to defeat these things in fictional environments, how easy will it be to comprehend these things are here, in reality, where are the tools? They're here. Who can unleash them? Anyone can but the visual cortex needs help. Or maybe unlearning.

Did you know Bunuel broke with the surrealists and continued making surreal films, but correctly realized his withdrawal and denial gave him the right to continue its experiment. His search magnified without this unnecessary label and returned power to an audience that could approach his work more objectively.

"The Only Medium That Can Make You Blush in the Dark": Learning About Radio

"There are things about not being able to see someone who is talking that somehow gives you a much more direct link to that person than if you see their face. There's an awful lot of emotion conveyed in their voice and there's an awful lot of their personality conveyed in their voice. There's the obvious thing that you are able to create your own pictures in your head. It's also a lot more intimate. It's like someone is whispering to you in the dark. There was a guy at this radio festival I go to every year called the Third Coast International Audio Festival. One thing he said was radio was the only medium that can make you blush in the dark. You have to think about it for a moment but yeah, you can't read in the dark, you can't watch TV in the dark because it's emitting its own light, and it's true. It's like being at a slumber party all the time. It's really wonderful."

-- NPR reporter Sean Cole

Sean Cole is an award winning radio reporter, working out of WBUR in Boston, and producing content for such shows as Morning Edition, All Things Considered, Marketplace, and This American Life. He is also the subject of one of the exemplars we have produced as part of the MacArthur-funded Project NML. Previous entries here have described some of our goals for this project -- to expose young people to the choices that get made in the production of various forms of media, to provide them with role-models of what it might be like to create and distribute work in those media, to provide educators -- in school and out -- with a vocabulary for talking about and assessing student work within those media.

This profile of Sean Cole was produced by Comparative Media Studies graduate student Orit Kuritsky with assistance from CMS graduate student Amulya Gopalakrishnan. Kuritsky, herself, is an experienced media producer, having worked developing new formats, scripting and editing for children's television in her native Israel and in radio production here in the United States, She moved from intern into a producer position on The Connectiona syndicated talk show that aired from WBUR Boston before returning to graduate school. She has also been part of a team of our graduate students which has been working with the Terrascope Program in the Earth Sciences department at MIT to help scientist learn to communicate their ideas through radio. The students focused their energies this year on the earthquake and tsunami that hit the coast of Chile in 1960 – the largest one ever documented. The students went to Chile during spring break to do interviews and collect sounds which would eventually be edited into a 23 minute piece dealing, as they put it, with “ecological, cultural and personal survival during a devastating earthquake and tsunami”. The piece aired on WMBR and is also available on the public radio exchange

In a recent e-mail, Kuritsky explained to me some of the factors that went into her choice of Cole as an exemplar subject:

I love to listen to him on the radio. His quirkiness, combined with genuine curiosity and wit, generate great radio pieces. And I'm not alone. He is regarded as one of the most interesting and unique voices in the world of public radio. He is a very warm, attitude-less person. When I was new at the station, besides simply being nice, he kept telling me that he also started as an intern, and that it took time for him to get a permanent position, all things I needed to hear at the time. I think this unassuming attitude, combined with willingness to give advice, translates well on the screen. Sean is technically savvy. Many highly regarded public radio reporters still send interview, narration and ambiance clips to their respective headquarters, where professional editors/engineers lace their pieces together. Sean insists on doing it himself. He is also active in online communities of radio enthusiasts (like transom and prx, commenting on othersÂ’ works and offering advice). In these regards, Sean represents where public radio is heading, or at least one among contradicting directions; younger, more personal, more participatory, more diverse.

Here, Kuritsky collaborated closely with Cole to help students develop a better understanding of what goes into the production of a segment for Morning Edition from its conceptualization and planning, through the collection of interviews and environmental sounds, the logging and selection of sounds, the scripting and editing process, and the final product. Like the Nick Bertozzi profile I showed here recently, this series of short digital films lays out the choices which shape the production process at every step along the way, offering very good professional advice to would be radio producers. Indeed, this advice seems particularly timely given the revival of interest in recorded sound production brought about by the emergence of podcasting.

Throughout the segment, Cole is passionate about radio as a medium -- as my opening quote above suggests -- and very attentive to the ways it differs from other ways of presenting the same material:

In print, you write a story and pepper it with quotes. In radio, the tape is everything. The tape is the structure of the story. It is the architecture, it's the skeleton of the story and the script is the muscle and sinew around it.

As students begin to watch these tapes of producers working in different media, we hope they will learn to think ethnographically. We want students to focus not just on what people are saying but how they say it. So, in the case of Sean Cole, part of the fascination is the ways that the kinds of metaphors which characterize NPR style emerge spontaneously throughout his interview. He speaks in the segment about the need to construct a conversational style for radio which is nevertheless concise, accurate, and evocative. Watching him talk in this extended interview, one can see how he has internalized this style and how it becomes a natural part of the way he engages with people around him.

Cole is very interested in getting youth not only to listen closely to the mix of sonic elements which constitute a radio segment but also to listen closely to their own physical surroundings. He talks about how radio producers seek to capture the characteristic sounds of a particular location -- whether it is the clacking of needles at a knitting convention or the burbling street noises which he acknowledges are something of a cliché in public radio work. This emphasis on hearing one's environment is consistent with the approach which Kuritsky had taken with the students in her own radio class:

We spent a lot of time in class listening to a variety of radio pieces and talking about them. It was striking at first to discover that the students are really not familiar with the medium (except as a vehicle for music), and have a very small vocabulary in their conceptual tool boxes to discuss it. This changed quickly as they listened to more pieces and became more sensitive to the elements of radio stories, how they work together, and how they react to them. Besides listening, students learned by doing; they created their own radio pieces, simple ones at first, and more complicated ones as final projects. (In order to do that, they had to master recording techniques and editing software, as well as develop their skills as interviewers and writers)

Throughout the series, we want very much to show the professional contexts in which these media artists produce their work, especially stressing forms of collaboration within the workplace. We feel schools put too much emphasis on individual creative expression and not enough on the ways people often work together to insure the production and distribution of art. Here's what Kuritsky had to say about her goals in depicting WBUR:

Despite the fact that Sean is very much self sufficient in his daily work it was important for me to portray him in context, banter from his boss included. (see chapter 9 “collaboration”.) It takes a certain personality, as well as certain socio-economic conditions for creative people to posit themselves as ‘artists’. Many people still need to work for organizations to make a living, and express, their creative skills. Working in organizations does not mean lack of creative freedom, but it certainly entails some give and take, which is reflected in this chapter and others.

Cole is a gifted storyteller, as the people who work with him are quick to tell us here, and this segment explodes with fascinating narratives about his experiences in the field. The primary focus is on a basic story in which he follows the evacuation route out of Boston being recommended by local government officials but along the way he also shares with us stories about Sherlock Holmes fans, about a young man who discovers the recycling of musical themes by Nickleback, and a range of other assignments on which he worked.

The goal of this project, however, is not simply to provide technical instruction to help young people become better media makers or to prepare them for professions in the media industry. We also want to heighten their awareness of the ethical issues which media makers face as they go about their work. We are especially proud of segment 8 in this series which deals with the choices Cole make in producing this segment: in particular, he has to think about the best way to preserve the original context and meaning of his interviewee's remarks, even as radio requires a ruthless pairing down of material. He encounters a situation where he could make a policeman he interviewed look foolish and has to decide the best way to preserve what the man was trying to communicate. Cole speaks forcefully about the responsibilities which reporters have to their subjects and the various professional procedures they follow in order to maintain the integrity and fairness of what they produce. This attention to journalistic ethics seems especially urgent at a time when so many young people are generating media through blogs or home pages or LJ entries without much oversight by adults. It is also urgently needed at a time when many young people are increasingly cynical about all forms of journalism, drawing limited distinction between the partisanship that often charges the blogosphere and more traditional forms of journalism. Cole makes it clear that all journalism involves making choices about how to represent what one has observed, that these choices are made by human beings who make mistakes, and that these choices have an impact on the people who they are representing through their work.

Much media literacy work has historically been concerned about the effects of media on the people who consume it. If I had my way, we would recenter those questions from media effects to media ethics, getting students to think through the choices they make as they generate and circulate their own media and the consequences of those choices on other people. Many of the same issues would resurface in such an approach but they would have greater immediacy as young people were actively involved in making choices about the kinds of media they are producing.

When Transmedia Goes Wrong: Studio 60 and DeFaker

Through the work of our Convergence Culture Consortium, CMS faculty and students have been monitoring ongoing experiments in transmedia storytelling, trying to help our client companies to better understand when entertainment producers are creating something valuable for their consumers and when they are antagonizing them. In a recent newsletter, CMS student Ivan Askwith wrote about Studio 60 on Sunset Strip's failed attempt to build a fictional blog set in the world of the series -- an experiment which was shut down in only a few days time. I asked Ivan if I could share this post with the readers of my blog. I am reminded here of the long-standing complaint from fans that official websites are often less satisfying than fan-generated sites: for one thing, they tend to be relatively static, built once and rarely updated, even on shows that have fairly dynamic character development or elaborate and unfolding story arcs. Kurt Lancaster made some of these points contrasting the official and fan websites for Babylon 5 in his book about the series, for example. For another, those who produce official content often do not pay attention to the details which matter most to fans. Janet Murray and I wrote an essay some years ago (published in Greg Smith's On a Silver Platter) which compared the kinds of details included in the early cd-roms about Star Trek with those which cropped up most often in fanzine stories. We found that the official materials supported some kinds of fan interests (those of male technologically inclined fans) and not others (those of women fanzine writers interested in the relationships between the characters.)

Those official sites which have broken out of this trap -- such as Dawson's Desktop, which I discuss in Convergence Culture -- have been real labors of love, often created by tapping the fan community for potential collaborators in their production.

Of course, those of us who have regularly watched Aaron Sorkin's series through the year know that his characters wage a running battle against online fan communities: Josh Lyman ran into trouble with a discussion list on The West Wing and we've already heard the characters opine negatively about bloggers on Studio 60. So, the conflict Askwith describes here seems almost inevitable.

Online Content Experiments: The Fate of Defaker

By: Ivan Askwith

In May, speaking before an audience of advertisers and television executives, NBC CEO Jeff Zucker declared, "No longer is content just for the television screen!" This might as well have been the official slogan of this year's upfront week, where many network executives spent more time promoting their new online strategies than previewing their new on-air programming. In their coverage of the event, the New York Times reported that "analysts are calling this upfront week a watershed because the networks are significantly expanding their presence in the new media, whether through Webisodes, video downloads, podcasts or mini-series created for cellphones." (Elliott, 5/16/06)

Of course, the upfront announcements themselves weren't much of a watershed -- they simply articulated, for the benefit of the press, a trend that has been accelerating over the past two years: the television industry's growing awareness of the importance of compelling online content. Over the past year, almost all of the major networks have made arrangements to distribute their broadcast content online. Now that the core programming content is online, however, the more interesting (and dangerous) step begins: networks must begin to understand their audiences well enough to provide meaningful online-only content.

I'd like to take a few minutes to discuss an notable online experiment: Defaker, an "in narrative" blog that NBC launched to promote their much-anticipated Studio 60 on the Sunset Strip.

Defaker went live shortly after Studio 60's premiere on the evening of September 18. Designed to look almost identical to Defamer, a popular Hollywood gossip site, Defaker

presented itself as a source for "insider, behind-the-scenes information" for fans of Studio 60's fictional show-within-a-show.

In theory, this isn't a bad idea: a show like Studio 60, which focuses on backstage

relationships and network politics, would actually lend itself beautifully to an irreverent gossip blog. A site like Defaker could be used to generate audience investment in the show, reporting "rumors" that provide resolution on throw-away moments seen in previous episodes and foreshadow the action of future episodes. Fictional "interviews" or "news articles" could provide details and anecdotes that flesh out the show's characters, elaborate the events that led up to the show, hint at future guest stars, and more. This, in turn, could deepen a viewer's engagement with the show -- readers of Defaker would become "local experts," capable of reporting to casual viewers on the significance and implications of the (in-narrative) online rumors. Did I say Defaker wasn't a bad idea? I take it back: Defaker has the potential to be a

brilliant idea.

In practice, however, Defaker turned out to be an unmitigated disaster. Rather than delivering on its claim to offer an "insider's" perspective on the show, the site's first entry was nothing more than a mediocre recap of the events that took place on the show, and a series of HD screen captures presented as "behind-the- scenes photos." (As several visitors pointed out, the recap got some details wrong.) The writers also seeded the entry with a handful of meaningless, enthusiastic "in character" comments, from fictional fans, to set the tone. The design logic behind the site was clear: Defaker didn't need to offer any new content to viewers, because the gimmick of presenting the old content in character was so clever. Fans of the show would love it, right?

Wrong. The attacks began within minutes.

A sample of the feedback:

-

"This is lame, you can't even get stills from the set? You had to use screengrabs?"

- "Whoever they hired to write this horrible blog didn't even understand the show."

- "This site is awful. An ounce of effort could have made it all right."

- "You must be kidding. This is the worst fake I've ever read.

- "The show is OK but this writing is a mess and the whole thing's a turn-off! BOO!"

- "This blog is sh*t."

Some visitors went so far as to declare that they had enjoyed the show, but shared the sentiments of one commenter who declared that "out of protest against this ridiculous, lazy and unoriginal marketing attempt, I'm going to boycott the show."

So, where did Defaker go wrong?

Well, as one of the most astute commenters pointed out, Defaker "is a laughably bad attempt at viral marketing. Not since the Flinstones rappin' about Fruity Pebbles has a major corporation so completely misunderstood the phenomenon they're trying to cash in on." Despite the apparent assumptions of the show's promoters, a show cannot simply go online and expect fans to be impressed -- it has to offer visitors something new, and create opportunities for engagement that the show alone can't offer.

Many of the posts were proactive, offering clear advice to help improve the project.

One viewer wrote:

"if you want to make a fake blog like this, don't just give us a summary of a show we already saw, with lame screen shots right from the show... give us stuff NOT on the show we just got finished watching, and make it worth our while to come back."

Another was even more articulate, pointing out that:

"this blog isn't giving us any new perspective on the show. It's just rehashing everything we already saw on the show. Take a page from HBO, their blog for Big Love wasn't much to write home about but they posted a blog from one of their character's point of view. It gave some insight on her character which wasn't portrayed in the show. You could do a blog from [a PA's] point of view. Now that would be something worth reading."

So what lessons are we supposed to take away from this?

1) Know who you're developing online content for, and design it accordingly.

In the case of Defaker, NBC failed to recognize that the most likely audience for the blog would be the viewers who were most invested in the show -- and as such, the viewers who would be the most knowledgeable and critical.

2) Online content should add something new to the experience.

Successful online content -- as so many commenters pointed out -- has to offer the audience something new. It's tempting to see this as a hassle, since it requires additional time, effort and thought. Instead, I think we need to understand it as an opportunity: online content gives us the ability to expand and deepen the narrative world depicted on television, which in turn allows viewers to immerse themselves far more completely in the show and the characters. Online content extensions should help transform a show from passive viewing into an immersive experience.

3) Listen to what your audience is telling you.

The comments posted to Defaker, harsh as they were, offered direct, articulate advice that the blog's author(s) could have followed to improve the site. Instead, however, they chose to post a second (and final) entry, which included this tragically misguided response:

"To my detractors... who think that this is 'viral marketing bull' for NBS, viral marketing (I just looked up what this means on Wikipedia!) only works if people with nothing better to do jabber on about the thing in question, so apparently, the more you talk, the more I grow stronger.... insert evil laughter here."

...which leads us to a fourth important lesson...

4) Don't ever insult your audience or try to tell them they're wrong.

The response posted above simply blows my mind: the writer is not only dismissing the(admittedly harsh) criticism from the site's visitors, but insinuating that the show's most invested viewers have "nothing better to do [than] jabber" about the show. This response all but dares the viewer to stop watching the show. If someone didn't lose their job for posting = this, I'd be surprised; in any event, the blog was taken offline the day after this entry was posted.

---

One final detail worth noting: while Defaker illustrates precisely what not to do when developing online television extensions, Studio 60 has had more success with a second blog, launched at the same time.

On this "official" non-fiction behind-the-scenes blog, writer- director duo Aaron Sorkin and Thomas Schlamme have been posting interesting (if short) responses to viewer-submitted questions, as well as occasional entries hinting at their own thoughts on the evolution of the show. Eschewing the half-baked gimmick of Defaker, the official Studio 60 blog re-affirms that the best online offerings don't need to be clever; they simply need to add something new, and help transform television watching into an engaging experience.

Singapore-MIT Collaborate on Games Innovation Lab

I am going to be writing a great deal about this project in the months ahead. I am not able to tell you much more yet than is found in this news article which was released by MIT News Office this morning. But suffice it to say that all of us in the Comparative Media Studies Program are extremely excited about these developments, which have been under negotiation since January. As you will read below, William Uricchio and I will have a central role in this project, which is designed to spur innovation, diversity, and creativity in games design. Singapore - MIT collaboration aims to spur gaming sector

October 9, 2006

The Massachusetts Institute of Technology and the Singapore Media Development Authority have announced an agreement to establish the Singapore-MIT International Game Lab (SMIGL). The pioneering collaboration aims to further digital game research globally, develop world-class academic programs in game technology, and establish Singapore as a vital node in the international game industry.

The directors of MIT's Comparative Media Studies Program (CMS) -- Henry Jenkins, DeFlorez Professor of Humanities, and William Uricchio, professor of comparative media studies -- will co-direct SMIGL, which will have offices both in Singapore and at MIT. Jenkins and Uricchio will serve as the leading principal investigators in the collaboration.

In announcing the SMIGL collaboration, Uricchio, a specialist in trans-national media distribution and reception, said, "We are excited by this collaboration with colleagues in Singapore and the opportunity to push game research and the industry in new directions, and we very much look forward to initiating an international dialogue among leading scholars, designers, students and gamers."

Uricchio described SMIGL as a "unique chance to reflect on games and to push them in new and unexpected directions, whether in terms of emerging technologies and interfaces, diverse cultural vocabularies, or important niches that have simply been neglected in the rush to seize the largest market share."

Jenkins researches media and the way people incorporate it into their lives. "The Singapore-MIT International Game Lab collaboration will provide a strong catalyst for innovation by bringing together students, industry leaders and faculty from very different cultures and backgrounds to work together and to conduct research that could have a great impact on the international game industry," he said.

The SMIGL initiative will enable students and researchers from Singapore to collaborate with MIT researchers and game industry professionals in international research projects. Beyond technology development, SMIGL will also conduct research on the artistic, creative, business and social aspects of games. The new initiative will also provide Singapore game researchers and professionals with access to cutting-edge technologies, the latest conceptual developments and links to international game development and research communities.

Michael Yap, executive director of the Interactive & Digital Media R&D Programme Office, said, "Over the next five years, we expect some 300 of our best talents from the industry and academia to take advantage of this unique opportunity to work closely with the best research minds at MIT.

"We are delighted to collaborate with MIT, one of the world's leading technology and research institutes. The Singapore-MIT International Game Lab will initiate and produce groundbreaking research in games, which is rapidly emerging as a global research focus. At the same time, the collaboration will further equip our industry-bound students to make a significant impact on the local game industry," Yap said.

Outcomes planned for SMIGL's initial period include development of both an academic and a high-impact research program, publication of peer-reviewed research papers and production of publicly distributable digital games.

The research resulting from the SMIGL collaboration will expand the ways in which the Singapore game industry can build and develop future products, and will aim to identify unique genres and aesthetics that are relevant to the Singapore game industry. In addition, according to the Media Development Authority, it will enhance the country's competitive advantage in areas such as education and tourism.

The Student Press Law Center and the Future of the First Amendment

Some of my most formative experiences involved working as a student journalist -- first in high school and then in college. As someone who took seriously my responsibilities to my community, I found myself on multiple occasions in battles over the censorship of the student press. Most memorably, when I was an undergraduate at Georgia State University, we tried to do a special issue of the paper focused on the adult entertainment sector in Atlanta. There were a large number of strip clubs, porn theaters, and other such operations not far from campus which students drove past on their way to school and we decided to provide some insight into what went on there. Inquiring minds wanted to know and all of that. When the issue hit the stands, the administration was all over our backs and the editor of the paper quickly capitulated, pulling the paper from distribution. A bunch of my friends went around collecting the papers before they could be destroyed and then we organized a group of students to distribute them in brown paper bags as a protest of the pressures put on the paper by the administration. We later ended up defending our choices as journalist before a hearing conducted by the Student Government, which had been stung by criticisms of its policies and campaign tactics and saw this issue as a chance for pay back.

Several years later, I got involved in advising a high school newspaper editor who decided to stand up to the principal and the school board who wanted to stop him from reporting news about controversies going on in his school: he took the school board into court and won what was then a fairly groundbreaking case in student press law.

All of these experiences have left me with enormous respect for the work of the Student Press Law Center, a watchdog group that monitors struggles over censorship of student produced media and provides resources for editors who want to assert their First Amendment rights. A recent visit to their site showed a range of information which seems relevant to readers of this blog.

The website reports on a recently released study on the Future of the First Amendment, funded by the John S. and James L. Knight Foundation, which looked into young people's attitudes towards free expression. Among the studies findings was evidence that there has been a significant increase in the percentage of students who have studied the First Amendment in their classes (up 14 percent since 2004), that 64 percent of students favored the right of student journalists to publish what they want without prior restraint (up from 58 percent two years earlier), and that 45 percent of students (compared to 35 percent just two years ago) believe that the First Amendment "goes too far" in protecting the rights of the media. We can see this last statistic perhaps as evidence of the climate that has shaped this culture since 9/11 -- where criticism of the government's position gets read by a significant percentage of Americans as unpatriotic or "going too far."

The site provides interesting coverage of the ways that the Deleting Online Predators Act might impact student expression, focusing on the uses of MySpace and other social networking sites for political activism:

David Smith, executive director and founder of Mobilizing America's Youth, the Washington, D.C., based group that operates Mobilize.org, said that many students ...are finding that social networking sites can be "a great tool for social activism."

He said this was demonstrated particularly with the rallies that took place in the spring against congressional anti-illegal immigration legislation. In March, thousands of high school students across the country, including an estimated 40,000 in Southern California, walked out of school in protests, many of which were organized in part on MySpace.

"There was so much conversation, at least within the Beltway, saying 'Where did this come from? This issue, we didn't realize it was so hot out there, so how could you mobilize tens of thousands of young people?'" Smith said. "It seemed like it came out of nowhere, when if these people were actually on these various sites and had been able to be privy to these different conversations, they would have realized that these conversations had been happening for a long time, and because of the way social networking sites are designed, it's easy to activate people and get them to do stuff offline as well."

And although Mobilizing America's Youth was not directly involved with the immigration protests, Smith said the organization uses MySpace and several other social networking sites to inform students about political issues and motivate them to get involved in the group's campaigns. One of these causes is the Save Our Social Networks campaign against DOPA.

"There are very few members of Congress that have a MySpace account, I don't think any of them have Facebook accounts," Smith said. "So they have no personal connection to these networks that millions upon millions use. They have no concept of how these sites are used positively."

Going back through their archives, one can find a really disturbing 2004 report on the growing efforts of schools to extend their authority over student expression to include things they have posted on the web which may have been produced off school grounds, outside of school hours, and not on school equipment, even if they did not explicitly target the school community. Principals have tried to argue that such posts can be subject to punishment because other students may access them on school computers, especially if they include commentary on school related issues. The report summarizes the current status of such cases:

While most courts recognize the constitutional limitations placed on public school authorities to punish students for their private, off-campus activities, a few have been very reluctant to tie the hands of school officials completely. Some courts have gone out of their way to justify schools' responses to off-campus speech, suggesting that students may not have the same rights as the general public when their off-campus school speech has a "disruptive" effect on campus. In other cases, school officials attempt to link off-campus speech to some on-campus event, such as the distribution at school of an underground newspaper written away from school.

Taken together, these three stories give some interesting data points about some of the struggles which are shaping participatory culture. Young people have new opportunites to become involved in the political process and to express their perspectives in ways which are relatively unfettered by prior restraint, but those opportunities are threatened both by laws which would block inschool access to social networking software and by school policies which might punish youth for what they do on their own equiptment on their own time. And young people are themselves, no less than others in our culture, struggling with anxieties about what constitutes an abuse of their rights to free expression and when media may go "too far."

I had a disturbing conversation the other day with one of my colleagues who seemed to believe that the First Amendment provided protections to professional journalists that extended beyond those protections allowed to citizen journalists. Many of the others around us seemed equally confused about this core principle. Nothing could be further from the case. At the time the First Amendment was drafted and amended to the United States Constitution, there was little that resembled modern professional journalism. Many of the founding fathers had written pamphlets debating the merits of Revolution against England which had been self-published. They wanted to insure the ability of all citizens to write and publish what they want. Of course, in a world where only a few had the means to print and distribute their ideas, this freedom of the press had limited application in the lives of most people. Freedom of the press did not mean that printing presses were free. We have become accustomed to hearing the professional press assert their First Amendment protections but we have had fewer occasions to think about what it means to us as individual citizens.

The emergence of new media has lowered barriers to participation in the marketplace of ideas. Now, more of us are expressing our ideas through blogs or posts on discussion forums and thus more of us are starting to feel a stake in what happens to the First Amendment.

Those of us who care about this push for a more participatory culture should pay close attention to the legal struggles surrounding student journalists and bloggers. Students are using these new media as they make their first steps towards civic engagement and political participation. How they get treated can have a lasting impact on their future understanding of their roles as citizens. In my case, struggling to defend my rights as a student journalist left me with a deep commitment to free expression. For many others, those hopes can be crushed, leaving them apathetic, cynical, and uninterested.

From Viewers for Quality Television to Television Without Pity

Another in a series of outtakes from Convergence Culture: Where Old and New Media Collide, this sidebar takes a look at two very different mechanisms by which audience members expressed their feelings about television programs -- Viewers for Quality Television and Television Without Pity. Each emerged, in part, in response to shifts in the ways the television networks conceptualized their viewership -- TQT reflected a new focus on demographics (and the recognition that middle class consumers were highly desired by advertisers) and TWP reflects a new focus on expressions, that is, on the emotional investments audience members make in the programs they watch. This originally appeared in Chapter Three of the book. The shift in the ways networks and advertisers think about consumers is reflected in the differences between the two audience forums which can be seen to characterize their respective eras - Viewers for Quality Television (in the 1980s and 1990s) and Television Without Pity (in the early 21st century). As Sue Brower notes, Viewers For Quality Television (VQT) was a product of a specific historic juncture, where Nielsen first began to provide information about audience demographics and media producers sought to exploit this information to sustain shows which had low ratings but attracted highly valued niche audiences. Shows, such as Hill Street Blues, Cagney & Lacey, and St. Elsewhere, touted themselves as "quality television" because they attracted "quality audiences" and their producers formed alliances with fan groups to construct a case for keeping these series on the air.

Viewers for Quality Television emerged from these grassroots, but corporately supported, efforts to sustain programs that appealed to college educated and upper middle class consumers. The group regularly polled their membership to identify not only what shows they liked but who they were and what products they purchased. Evaluations of quality emerged through consensus within the readership of VQT monthly newsletter, though the group's founder and spokesperson Dorothy Swanson offered this definition: "A quality show is something we anticipate before and savor after. It focuses more on relationships than situations; it explores character, it enlightens, challenges, involves and confronts the viewer; it provokes thought and is remembered tomorrow. A quality show colors life in shades of grey."

While the group supported a range of shows, including sitcoms such as Frank's Place, Designing Women, or Brooklyn Bridge, VQT was most closely associated with hour long ensemble-cast serialized dramas, such as ER, Murder One or NYPD Blue. VQT held an annual convention where they announced their list of recognized shows for the year. Their rankings were widely monitored by industry leaders and media observers, who saw them as giving a boost, no matter how small, to deserving series.

If VQT embraced the ensemble cast drama, TWP has become central to building up and sustaining audiences for science fiction, fantasy, reality, and other cult programs. In the summer of 2004, featured series included 24, Alias, Joan of Arcadia, Gilmore Girls, Smallville and The Sopranos, not to mention Survivor and American Idol. Most of these series define their quality more in terms of their contributions to popular genres than in terms of the concept of "novelistic" television Swanson promoted.

If VQT became emblematic for the shift towards "high demographic" programming, TWP may become emblematic for this search for a more interactive, attentive, and committed consumer. The site offers recaps and discussion forums for 25 shows, most which fall into those genres which attract the highest viewer commitments, according to Initiative's research. While VQT asserted itself as an earnest and aesthetically-minded tastemaking community, TWP is an altogether more playful group as suggested by its motto, "Spare the snark and spoil the network." Swanson argued that the most active segments of the television audience were drawn towards quality and that fans of lesser shows wouldn't put the effort into sustaining such collective efforts. Yet, TWP demonstrates that shows which no one would call high quality may provoke strong emotional reactions and generate net chatter.

VQT sought the ear of network leaders and program producers; these same people are increasingly monitoring TWP as a window into their illusive younger consumers. If the networks had to wait a year to learn how VQT ranked their shows, TWP responds instantly and in a much more nuanced fashion: its professional recappers post a detailed and often scathing critique of each episode within days and sometimes hours after it aired; these reviews in turn generate extensive discussion among the site's readers. As the site's FAQ explains, "Our mandate is, more or less, to give people a place to revel in their guilty televisual pleasures. In most cases, we have a complex love/hate relationship with the show, and this site is a way for us to work through those feelings. If we plain hated a show, we wouldn't pay it any attention at all."

While VQT was about quality, TWP is about passion. Many production companies will assign an intern to monitor the TWP lists to see how the audience reacts to various plot twists and character revelations, though many producers, at least those with thick skins, have been known to lurk there themselves. According to Sep, one of the site's resident experts, "It's certainly a tool for networks to see direct and immediate fan reaction that is far more specific than the Nielsen system."