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1. 1 media/medialibrarythumbnailsscreenshot.jpg 2013-10-30T17:40:43-07:00 Gabriel Peters-Lazaro 3bc3965831120bc593545fef6d0da73657e21ea0 Image Diana Lee 16 Media Library tag for Image structured_gallery 2015-02-05T01:48:16-08:00 Diana Lee 0c994d7f9dc5ee78dc93d8c823c300c060b9c890
2. 1 2014-06-06T12:28:49-07:00 Sangita Shresthova 497a02d289c277275bc5ece441097deedf8135e7 Browse Media Library Gabriel Peters-Lazaro 15 Media Library tag for Browse Media Library structured_gallery 2015-12-07T11:13:12-08:00 Gabriel Peters-Lazaro 3bc3965831120bc593545fef6d0da73657e21ea0
3. 1 2013-11-13T15:41:52-08:00 Raffi Sarkissian ea4d223e7e677fefa407ef0510a69291f3210963 Media About Race and Ethnicity Diana Lee 15 Media Library tag for Race and Ethnicity structured_gallery 2015-02-19T13:19:31-08:00 Diana Lee 0c994d7f9dc5ee78dc93d8c823c300c060b9c890
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This page is referenced by:

• 1 2014-09-26T16:25:40-07:00 Transmedia Mobilization, Participatory Politics, and the Civic Imagination 41 plain 2014-10-13T11:19:44-07:00
  In October, 2011, an army of people dressed as Zombies, many of them from Zombiecon, a horror fan convention joined the protesters in Washington Square Park, then the home base for Occupy Wall Street, standing in for corporate zombies that were sucking the lifeblood of the 99 percent. Seniors, not to mention the zombies themselves and other protesters, were texting, tweeting, and sending photos or videos: passing the word was the point. This is what democracy looks like in the 21^st century, where a more playful style of activism is emerging; one that owes much to fan culture.
  The roots of contemporary protest movements such as Occupy can be traced to the 1960s counter culture, however, the tactics have shifted from disrupting the signals or cultural jamming to a politics of circulation in which activist groups surf media flows. Instead of sabotaging symbols of popular culture, they capitalize on their power as a shared resource to reach wider audiences. Occupy in that sense, was more a provocation than a movement (Trope and Swartz 2011).
  By Any Media Necessary addresses a central paradox between a decay of public trust in core institutions on one hand and an expansion of the communicative and organizational resources available to everyday people on the other hand, where grassroots media are being deployed as a tool to challenge the failed mechanisms of institutional politics. We are signaling that youth are now pursuing politics through other languages than the ones that have been historically acknowledged within research on institutional politics and social movements. Hence, this chapter is an invitation for readers to rethink what counts as politics, where there are signs of political, social and cultural changes occurring around the edges of dominant political institutions.

  Across this opening chapter, we introduce four foundational concepts that will inform the case study chapters that follow.
  1) Transmedia Mobilization: unlike recent accounts of protest movements which have primarily focused on the political effects of singular platforms, we envision a transmedia mobilization (Costanza-Chock, 2010) in which young activists share assets, and deploy any and all available media channels and platforms to get their message across, “By Any Media Necessary”. Whereas traditional activism seeks to unify the message, transmedia activists seek to diversify both the message and channel, where communication is not only about content creation, but aggregation, curation and remix. We also discuss through contemporary examples how political story telling can be a strong contribution to a long political process, where the co-creation of shared identities and mythologies can help cement bonding within a movement as well as enhance bridging to potential supporters.

  2) Civic Imagination is the capacity to imagine alternatives to current situations. What distinguishes this concept of civic imagination from other concepts of political and public imagination is that it is a cross over from imagining the abstract to imagining things that have not yet been experienced; it is less structured and more fluid. Consequently, we argue that a first step towards change in how we perceive and treat each other would be to develop in oneself the ability to imagine democracy.
  3)  From Participatory Culture to Participatory 

  Politics: the book’s focus is not 

  on new technologies per se, but about the possibilities (real and imagined) that we might use these tools to achieve greater political power and the way that cultural practices are being deployed towards explicitly political ends.
  Today’s participatory culture is the product of decades of struggle not a natural outgrowth of technological changes. Present day grassroots movements acquire control through means of cultural production and circulation. This chapter situates the term participatory politics amid a flow of views about what constitutes politics emphasizing that it is an aspiration as much as it is a reality. This is all discussed while acknowledging the extant structural inequalities, where despite the fact that new platforms do enable new forms of collective action, they do not always guarantee the inculcation of democratic values or the adoption of a progressive agenda.
  4) Connected Learning: at the end of the chapter, we explore the mechanisms that help young people move from being socially and culturally active to being politically active. Through the concept of connected learning, civic organizations can help their young learners move swiftly into forms of social and political engagement by connecting the political realm to other activities they care about.
  The discussion and the examples advanced in this chapter all drive us to envision a shift in the way democracy in the 21^st century is being practiced and imagined by both American youth and movements. 

  Media Referenced in Chapter 1

  Jonathan McIntoch's remix of Buffy and Edward seeking to re-imagine and reverse the "sexist gender roles and patriarchal Hollywood themes" in a pro-feminist light. 
  "A Needed Response", a video by Samantha Stendal from the University of Oregon, was made in response to the media coverage of an Ohio rape case, in which the focus was on how the sentences would adversely affect the athletic careers of the perpetrators rather than the rape's impact on the victim's life. 
  Right Wing Radio Duck: A re-imagined Donald Duck cartoon remix juxtaposing Glenn Beck’s anti-immigrant rants with images from vintage Donald Duck cartoons.

   

• 1 media/Screen Shot 2014-10-22 at 8.48.03 AM.png media/Screen Shot 2014-10-22 at 8.48.03 AM.png media/youthspeaks.jpg 2014-10-09T10:27:41-07:00 Youth Speaks 18 plain 2014-10-22T12:48:26-07:00
  "When I started to write about myself as far as like my identity of being a queer male of color from East Oakland, that was terrifying...It becomes that you realize you have a responsibility, something that started off as just me needing to express myself because I didn’t have nobody to talk to or I didn’t think anyone would listen to me, becomes other people need to hear this because I know there's someone else from where I'm from or from a similar place.  This can change something for them."

  - Joshua Merchant, Off/Page Project Fellow, poet, and activist

   About 

  Youth Speaks is a San Francisco-based nonprofit organization that seeks to empower the voices of the next generation. Its mission is to provide a safe space for young leaders, self-defined artists, and visionary activists to explore, develop, perform, and publish their works and become agents of social change. In addition to providing educational programming, Youth Speaks presents an number of both local and national youth poetry slams, festivals, and reading series' to provide a forum for young artists to be heard. 
  Check out the Youth Speaks YouTube page to see performances. Find them on Facebook and Tumblr. and follow them on Twitter for updates.
  The Off/Page project is an offshoot of Youth Speaks and the Center for Investigative Reporting.  Off/Page encourages youth to bring together serious, journalistic facts and relateable, memorable poetry.  For instance, Off/Page hired young poet and activist Joshua Merchant to create a series of poetry workshops for youth in Stockton, one of the largest US cities to file for bankruptcy.  While Merchant led the workshops and taught young people in Stockton how to use poetry and spoken word to express their lives, the journalistic wing researched statistics and facts about Stockton.  The young poets were then able to combine this research with their poetry to create powerful political statements about life in a failing city. 
• 1 media/JLeavitt-Public-Private.jpg 2013-10-23T10:51:52-07:00 Public vs Private 16 structured_gallery 2014-11-03T16:25:48-08:00

  How might activists assess risks, especially those concerning privacy and security, as they share their stories online?  In a widely shared critique of so-called “Twitter Revolutions,” The New Yorker’s Malcolm Gladwell argues that online activists do not face the same kinds of risks as previous generations faced in their struggles for civil rights. Yet, we are finding that there are high risks for, say, undocumented who post videos coming out via YouTube or American Muslim youth who use social media to think through their identities in the Post-9/11 era. Many of these risks emerge as these youth make choices about the bounds between publicity (“coming out,” “speaking out”) and privacy, which are similar to more mundane choices confronting all youth in the era of Twitter and Facebook.

  Real World Example:

  "Coming Out of the Shadows" utilized the documentary format of interviews combined with more cinema verite protest footage.  The interviews help to contextualize and emphasize the vulnerability and risk that these protesters are taking to expose themselves in public spaces, to “come out of the shadows”. The emphasis on (in)visibility within immigrant reform protests plays out in an interesting tension with video as some protesters prefer to keep their identities hidden while others want to share their story in order to humanize their situation. 

  Ask Some Conversation Starter Questions.

  Here are some questions you can ask to get a conversation about remix started in your community: What do you share publicly and what do you keep private? How do you decide? Do you have a public social media outlet where you share you thoughts? Why or why not? Do you decide to keep some things more private to yourself or a small circle of friends? What is the advantage of sharing more about yourself with a broader public? Have you ever experienced any consequences from sharing something publicly? Can sharing personal information about yourself help get people to support you when you take action on a particular issue? Do you have an example of when this happened to you or someone you know?

  Looking to Start Your Own Conversation? If the HitRecord Public vs Private video and information contained here inspired you to action, you may want reach to the original call for submissions that inspired this video to be made in the first place. While the deadline for submissions has expired, you are always free to create your own responses to it!

• 1 media/map logo.jpeg 2014-09-15T10:36:49-07:00 MA+P Toolkit: Sound 9 Sound production and editing explored through a soundscape plain 2014-11-05T14:02:27-08:00 PAGE UNDER CONSTRUCTION
  This project is created and shared by  Media Arts + Practice professor Michael Bodie.

  Single Image Soundscape

  David Sonneschein says in his book, "Sound Design", that "the intuitive nature of sound, unlike the obvious, categorical presence of sight, allows our minds to create more internal images and relationships." In Project #1 you had the opportunity to explore a "Day in Your Life" through photography - a visual representation of the world around you. In Project #2 you will create a sonic world inspired by a photograph of your choice, using sound design to tell your story.

  Using a single image as your backdrop, you are tasked with creating an audio soundscape by combining a selection of sound effects, voice over, and music. The goal is to bring the picture to life, expanding the world represented through the photographer’s lens, and telling a story about what you perceive might have happened (or is happening) in the photo. The multiple layers of audio should be used to reveal something that might not be evident in the photo, allowing your audience to "create more internal images and relationships" during the experience.

  Tone is a key element in storytelling. Your confidence in your story's tone allows the audience to relax and willfully follow the artist's journey. In this project you must establish a clear tone from the beginning, then manipulate it, at some point, in order to shift the tone in such a way that deepens your story. When/how you do this within the 2 minutes is completely up to you.

  Sample Project (coming soon)

  Project Parameters:

  1) You must use an audio editing program (Audacity, ProTools, Garageband, etc)

  2) The audio should be approximately 2 minutes in length (with a 10 sec leeway)

  3) You must incorporate at least 6 individual audio tracks which can be a combination of sound effects, ambient sounds, music, and voice.

  4) Your project must be precise in its tone, and include at least one tonal shift within the sound design.

  5) It is imperative that you relay an idea/clear story with a beginning, middle, and end. Not necessarily in that order.

  Sound recording tutorial (rough cut 11/5/14):

  Sound editing tutorial (Video coming soon):

  Tools

  Free Audio Editor for PC/MAC:

  Audacity 

  YouTube to MP3 Converter:

  peggo.com

  Free Sound Effects Websites

  Free Sound Effects

  FreeSound.org