Tag Conferences

Imminent Incidents

via Cartographies of Time

On my calendar for the spring semester:

Saturday, February 11, 10:30am-12pm: Being the Media: Designing a Rrradical New Media (Paper Tiger Television’s 30th anniversary): I’ll be speaking about materiality and radical media during the Media Intensive on Saturday morning.

Tuesday, February 14, 12-2pm: City Workshop Series: I’ll be presenting “Radio City: Space, Sound and the City” at The New School — 80 5th Ave, Room 802.

Wednesday, March 21, 12-1:45pm: Society for Cinema and Media Studies Conference in Boston: I’ll be participating in the “Teaching the City: Pedagogical Issues in Urban Cinema and Media Studies” workshop with Amy Corbin from Muhlenberg College, Sabine Haenni from Cornell, Brendan Kredell from University of Calgary, Paula Massood from Brooklyn College, and Mary Woods from Cornell.

Thursday, March 22, 11am-12:45pm: Society for Cinema and Media Studies Conference in Boston: I’ll be presenting “Deep Time of Media Infrastructure” on the “Signal Traffic” panel with Lisa Parks from UCSB, Nicole Starosielski from Miami University, and Jonathan Sterne from McGill — all amazing!

Friday, April 20 – Saturday, April 21: Network Archaeology Conference at Miami University: I’ll be presenting Digging Through Archives and Dirt: Entangling Media Archaeology, Archaeology Proper, and Architectural History.” Jussi Parikka, Lisa Gitelman, Alan Liu, and Richard John will be there — as will two of my thesis students: Ben Mendelsohn and Rory Solomon. Yay!

All of June: Fellowship in Canada

All of July: Fellowship in South Korea

Urban Research & Mobile Media Session Tapes

Trebor Scholz has also posted the audio for the Mobility Shifts “Urban Research and Mobile Media” panel on which I participated with Jess Irish, Jane Pirone, Victoria Marshall, and Vyjayanthi Rao. I posted my slides before, but I might as well add them here, too.

Urban Research & Mobile Media by THE NEW SCHOOL NYC

Mattern_MobilityShifts_URT

 

Library Jam

via 3liz4 on Flickr: http://bit.ly/rASj3P

Trebor Scholz has posted the audio recording of the libraries panel (what one might call, figuratively speaking, a “jam”) I organized and moderated at the Mobility Shifts conference in October. You’ll hear me being all inarticulate at the beginning, then I make way for the brilliance of Kim Dulin from the Harvard Library Innovation Lab, then Linda Johnson from the Brooklyn Public Library, and finally, Deanna Lee from the NYPL.

The Library in Your Pocket: Library Tech Development and DIY Learning by THE NEW SCHOOL NYC

Some Stuff I’m Doing This Fall

via oschene on flickr: http://bit.ly/pUYGDF

 

Here are a few fall events at which I’ll probably be either sitting or standing at either a table or podium at the front of a room. There are other events for which we haven’t yet worked out the details, but which I’ll post eventually.

Friday, September 9, 7pm: 9/11: A Forum on Memory, Trauma, and the Media @ Wollman Hall, 65 East 11th Street; flyer posted below; open to all Media Studies students (I’ll be talking about paper and dust)

Wednesday, September 14, 10:15am-6pm: Object Oriented Ontology III Symposium @ various rooms at The New School; I’m presenting in the afternoon panel, from 4:15 to 6pm; program posted below

Thursday, September 15, 3:30-5pm: Installation of the President Ceremony @ Tishman Auditorium, 66 W 12th Street; here’s where I receive my Distinguished University Teaching Award!

Thursday, October 13, 7:30-9:30pm: “Urban Research & Mobile Media” Panel, with Jess Irish, Jane Pirone, Victoria Marshall & Vyjayanthi Rao @ Mobility Shifts Conference, The New School

Friday, October 14, 4-6pm: “Library in Your Pocket: Library Tech Development and DIY Learning,” with Kim Dulin, Director of the Harvard Library Innovation Lab; Linda E. Johnson, Interim Executive Director of the Brooklyn Public Library, Deanna Lee, Vice President of Communications and Marketing at the New York Public Library @ Mobility Shifts Conference, The New School

Tuesday, October 18, 6:30-8pm: “Beyond the Seminar Paper: Setting New Standards for New Forms of Student Work” as part of a “DH in the Classroom” Panel, with Mark Sample @ CUNY Digital Humanities Initiative, CUNY Grad Center, location TBD

Thursday, October 20, 7pm: “No Thing Unto Itself: Object-Oriented Politics” Panel, with David Turnbull & Noortje Marres, and moderated by Katherine Behar  @ James Gallery, CUNY Grad Center, details TBA

Thursday, October 27, 2pm: “Course Planning” Workshop @ New School Provost’s Office’s Pedagogy Seminar

Thursday, November 3, 2pm: “Course Planning” Workshop @ New School Provost’s Office’s Pedagogy Seminar

~~~~~~~~~~~~~~~~~~~~~~~

OOOIII
(TRANSLATED AS: WHEEEE!)

10:15–12.00: Morning Session: 65 W 12th St., room A404

  • (Ken Wark, moderator)
  • Graham Harman, “The Four Most Typical Objections to OOO”
  • Aaron Pedinotti, “Occasions, Decisions and the Given: Some Remarks on the Technical Underpinnings of the Harman-Shaviro Debate”
  • Steven Shaviro, “Panpsychism And/Or Eliminativism”
  • McKenzie Wark, “P(OO): Praxis (object-oriented)”
  • Q&A

12:30–2:30: Luncheon with Jane Bennett, 66 W 12th St., Klein Room A510, The Vera List Center for Art and Politics

  • NB this is an RSVP event with limited seating. We are working on simulcast possibilities.

2:30–4:00: Afternoon Session: 66 5th Ave., Kellen Auditorium

  • (Eugene Thacker, moderator)
  • Tim Morton, “Objects, Aesthetics, Causality”
  • Shannon Mattern, “Everything is Infrastructure”
  • Levi Bryant, “Strange Substances: On the Nature of Objects”
  • Mabel Wilson, “Object Lesson – A Pedagogy for Teaching Architects”
  • Q&A

4:15–6:00: Roundtable discussion, Bark Room: The panelists (Harman, Pedinotti, Shaviro, Wark, Morton, Mattern, Bryant, Wilson)
Featuring a special video appearance by Ian Bogost

6:00–8:00: Opening, “And Another Thing” exhibition; co-curated by Katherine Behar and Emmy Mikelson; The James Gallery, CUNY Graduate Center; 365 5th Ave.

  • The event will be videoed, recorded and livestreamed.

~~~~~~~~~~~~~~~~~~~~~~~

Um, excuse me. There seems to be a human at the center of your object-oriented ontology.

via http://thingsorganizedneatly.tumblr.com/

I’ll be participating in The Third Object-Oriented Ontology Symposium at The New School on September 15. When I received the invitation a few weeks ago, my immediate response was: “I’m honored to have been invited — but you know I’m not a philosopher, right? Are you sure you want me?” Fast forward a few days, and I find myself on the schedule. I’m working under the assumption that my role is to represent object-focused work from outside the fold — work that might have both something to contribute to, and something to learn from, OOO. Sure, I’m up for that. It’s encouraging to recall these words from Graham Harman in a Mute interview from this past summer:

…OOP will want to say more about numerous concrete topics. Here I’m not as worried, because other people are doing much of the work for us already. It’s not my job to tell anthropologists and video artists how OOP should affect their work. That’s their job. They’re supposed to tell me what they learned, and maybe it will have a retroactive effect on my philosophy.

Perhaps I’m one of those “other people.” Yet my acceptance of these terms doesn’t mean that I’m not shaking in my boots, positively daunted by the prospect of temporarily infiltrating such a tightly-knit and intimidatingly intellectual group.

I’d been observing the evolution of the OOO “movement,” if you will, from the periphery for the past year-and-a-half or so. I became aware of it, or them, when I started developing my Media & Materiality grad seminar early last year, and I’ve been sporadically following some of the key figures’ blogs since then. I’m of course sympathetic to their overall mission — or at least what I understand of it. Ian Bogost offered a “simple, short, comprehensible explanation” on his blog in December 2009:

Ontology is the philosophical study of existence. Object-oriented ontology (“OOO” for short) puts things at the center of this study. Its proponents contend that nothing has special status, but that everything exists equally—plumbers, DVD players, cotton, bonobos, and sandstone, for example. In contemporary thought, things are usually taken either as the aggregation of ever smaller bits (scientific naturalism) or as constructions of human behavior and society (social relativism). OOO steers a path between the two, drawing attention to things at all scales (from atoms to alpacas, bits to blinis), and pondering their nature and relations with one another as much with ourselves. [Here are some other attempts to articulate what OOO is all about.]

Sure, sign me up! This works for me primarily, I think, because I’ve been working under most of the same assumptions — although I might’ve articulated them differently (or not thought to articulate them at all) — for the past decade or more. I say this not in a “Pshaw! I’ve been doing this stuff for years!“-sort-of-way, but in a “Hey, cool, we’re of like minds!”-sort-of-way.

I’m going to be talking about infrastructures — micro and macro, animate and inanimate, concrete and conceptual — in my talk on the 15th. And I’m not going to attempt to ape the philosophy talk; I’d make an utter fool of myself. Instead, I’m going to talk the way I normally talk, and hope that we find some fruitful intersections. Still, for the past week or so I’ve been doing a little cramming with the OOO “primers” in an attempt to find answers to some fundamental questions: How do they define “objects”? And why is the object the “unit” we should use to “package” (for lack of a better term) things as disparate as plumbers, bonobos, and sandstone into a “flat ontology”? (See Bogost’s Latour Litanizer. Harman explains his litanizing strategy in Mute: “In many cases I try to have the lists include one object from the sciences, one living creature, one machine, one compound entity, one human political unit and perhaps one fictional entity, just to enforce the notion of a ‘flat ontology’ in which all objects are equally objects.”)

Because I have infrastructure on the brain, I’m also having a really hard time getting past what seems to me an inherent contradiction in the infrastructure of the OOO enterprise itself — all the blogs; the university-based conferences, and the airplanes and faculty travel budgets that take the geographically dispersed “core” OOO group to those conferences; the doctoral students who lobby their departments to make those conferences happen; the open-access publishers that have helped to popularize the field; the glaring gender imbalance in the community; the linguistic infrastructure, so dependent as it seems to be on neologizing and developing new OOO “versions.” I just can’t get over the contradiction between, on one hand, the desire to remove the human, and human experience, from the center of philosophy; and, on the other hand, the blatant anthropocentrism — I might go so far as to say egocentrism (I’m referring to a systemic characteristic, not to the egocentrism of any particular individual(s)) — of the work involved in developing and promoting this post-/anti-/other-/whatever- humanist framework.

I’m sure I’m putting my philosophical naïveté (or stupidity?) on full display here. Maybe this is simply the way things work in this field: even within a collective enterprise, as OOO seemingly is, one still has to cultivate recognition for one’s unique contributions to the field (which presumes that we’re still looking for “individual genius”). And that responsibility involves coining new phrases; branding new theories; promoting (through either good or bad press!) one’s colleagues’ terminology and ontological flavors; convening the group for international symposia; and writing lots of lengthy treatises debating the merits of different colleagues’ unique OOO variants, while barely mentioning any actual objects at all. Harman, again in the Mute interview, offers a SWOT-based marketing analysis of some of the available brands:

It’s hard to say which brand of speculative realism is the most popular among philosophers (perhaps Quentin Meillassoux’s), but in humanities fields outside philosophy there’s no question that object-oriented philosophy is the dominant version. This is not surprising, given OOP’s highly democratic approach to objects. Those forms of SR which claim that sociology is worthless compared with neuroscience are obviously not going to be useful to sociologists. By contrast, OOP is far less judgemental about the other disciplines and welcomes interaction with them. OOP makes room to an equal degree for electrons, medieval history, literary criticism, and musicianship, so it’s little wonder that we’ve become a quick favourite across the widest variety of disciplines.

This self-reflexivity is endemic to “emerging” fields. I’ve noted before how much writing in the Digital Humanities still seems to be about what the Digital Humanities even are. Yet the emergence of a new field of study, a new method, a new ontology offers up the possibility to create a new discursive space — to design the “infrastructures” through which these developments can take shape. In their introduction to The Speculative Turn, Levi Bryant, Nick Srnicek, and Harman acknowledge the roles that a vibrant blogging community, adventurous new journals, and open-access publishing have played in shaping the discursive politics surrounding Speculative Realism. But why don’t we expand the OOO “litany” to call our attention also to other “objects” in the movement itself: disciplinary values (individual genius?), the Carbon footprint for those symposia, gender, the academic market for branded theories, and the politics of its rhetoric — which, from my vantage point, seems to have an anthropocentric bias out of character with the movement’s professed mission.

I offer this observation as a non-expert, as an external observer who’s quite sympathetic to what OOO stands for but not entirely sure that its discursive practices fit me well. And here I have to acknowledge my own biases: I’m not one for neologizing. I’m reluctant to refer to myself as a “theorist” because I’d never presume that I could generate an “original” theory. I’m way too self-effacing to think that the world could possibly need me to invent new language or intellectual frameworks.

The work that I do is simply a product of contact lenses (one object from the sciences), border collies (one living creature), a series of usually trusty Mac computers (one machine), the Dewey Decimal system (one compound entity), Happy Valley (one human political unit), Ferris Bueller (one fictional entity) — and, if you’ll permit me to add my own category to the litany, extreme sleep deprivation (one psychosomatic condition).

What if OOO, as an “institution” or practice, were to think of itself as a “flat ontology”?

Objects: Taped, Tracked, Theorized

Before catching the bus to Boston on Thursday afternoon, I decided to do a quick loop around Chelsea to catch some shows before they closed. Chris Marker’s Passengers was eh, but Ellen Kooi’s photographs were quite enchanting. I knew nothing about her, but surmised, based on her work, that she’s either Scandinavian or Dutch; I was right: she’s Dutch.

I had high hopes for Carter Mull’s The Day’s Specific Dreams, but I found the execution less compelling than the conceptualization. According to the press release, “The exhibition’s title takes its cue from Stéphane Mallarmé’s essay, Un Spectacle Interrompu (An Interrupted Spectacle), in which the author proposes that major cosmopolitan cities’ newspapers should chronicle the dreams of their population. This is a fitting proposal for Mull, who breaks apart the newspaper into temporal poetic fragments, erases differences between found images and ones of his own making, and buries the indexical potential of the photograph in favor of its ability to capture the abstract and elusive ruminations of our cultural imaginary.” The show was just as much about image-making as it was about newspapers. I appreciated the juxtaposition of this Photoshopped image of a printer, drawn from Diderot’s Encyclopedie, and 1,800 metallic prints, scattered across the floor, each featuring a frame from an iPhone 4 commercial. The images feature lots of splotches and bleeds — a skeuomorph of the analogue “glitch”?

I’m not sure if it was considered an “official” part of the show, but Sara and Gerald, a broadsheet that Mull co-edits, was free for the taking in the gallery. I always like a show with tangible take-aways; I have a few boxes in the basement that are full of postcards, posters, trinkets, and other ephemera I’ve picked up at various galleries over the past 15 or so years.

I was surprised to discover inside, just today, this fitting hauntological (are we using this word anymore?) reference:

Then at bitforms I saw Tim Knowles’ Recorded Delivery, in which he tracked, via photography and audio recording, a package along its 902-mile journey from London to the Isle of Barra. This piece reminded me a lot of sensor-driven projects, like SensibleCity Lab’s Trash Track, but Knowles’ work, from the point of view of the package itself, is more a manifestation of object-oriented ontology (creating an interesting ontological resonance with Mull’s broadsheet).

I wish I knew how to make sense of this:

Finally, my favorite of the afternoon was Simon Evans’ Shitty Heaven, in which he “assembles prosaic materials, such as scraps of paper, scotch tape, pencil shavings and correction fluid into diagrams, maps, flowcharts and diary entries that obsessively catalogue the fragments of a life.” I’m a complete sucker for this kind of work. It’s an obsessive — almost outsider-art-ish — mapping of the comical or the absurd:

These supposedly function as “yantras,” or visual energy diagrams. And of course the material object itself makes one conscious of the physical energy expended in copying the text and assembling the work:

And this reminds me of a more tactile, egocentric version of a Mark Lombardi chart:

Then we were off to Boston, where I caught The Record: Contemporary Art and Vinyl, which I was so excited about last year that I pre-ordered the catalogue. I knew I’d never made it to NC to catch the show at Duke’s Nasher Museum, and it was a lucky coincidence that it was in Boston while we were in town. Lots of great stuff (and some of my favorite artists) were here, playing with the record as both a sonic and physical resource.

And then to wrap it up, I was very grateful to have had the opportunity to meet two fantastic object-oriented comm/media colleagues on our “Design and Communication: The Philosophy of Objects, Systems, and Spaces” panel at the ICA conference. I’m glad to know more about Liz Moor’s fantastic work on branded materials and Christine Harold’s exciting work on the “makers movement.”

In short, an object-filled week!

The History of Universality, Technological Determinism, and Other Deep Thoughts

This weekend I attended the “Media Histories: Epistemology, Materiality, Temporality” conference at Columbia. Now, when I say “attended,” I mean to say that I was physically present, in room 501 Schermerhorn Hall, for most of the sessions. Unfortunately, I wasn’t able to attend Jonathan Crary’s keynote on Thursday evening. I also missed Joseph Vogl’s keynote on Friday, because I went downtown for Diana Taylor’s keynote at the Memory conference at The New School. And I just couldn’t make Saturday morning happen, so, sadly, I missed Erhard Schüttpelz, Weihong Bao, and Marilyn Ivy. Even though I was bodily present for all the other panels, I can’t say that I was mentally all there. As I explained a few weeks ago, in regard to my experience at SCMS, there’s a limit to my concentration — particularly when the object of concentration is a 45-minute scholarly presentation…or two or three in succession. I found myself much more engaged with the first presenter on each panel, and a little less attentive to the second and third presenters. Regardless of the order of presentation, however, several of the presentations seemed to me much better suited for the page than the ear (a valid observation at a conference on epistemology and materiality, I’d say!); I would’ve much preferred to read these papers, and I hope I’ll have the opportunity to do so at some point.

Those presentations that most stuck with me were Adrian Johns’ “Unpacking the Universal Library: The Morals of Massive Research Collections, 1810-2010″ and John Durham Peters’s “Two Cheers for Technological Determinism.” I was also inspired by Jimena Canales’s “A Tenth of a Second”; her book has been on my “wish list” for a while, and I’ve finally decided to order it. And Mary Ann Doane’s “Lost Time: Technologies of the Gap” reinforced my admiration for her earlier writings on time, indexicality, and cinema.

Job Koelewijn's Mobius bookshelf via BoingBoing: http://bit.ly/hv9ipz

Johns’s presentation was particularly satisfying because he essentially covered, in 30 minutes, much of the same terrain we’re covering in my “Libraries, Archives & Databases” graduate seminar this semester; it served as a welcome reassurance that I did a pretty good job of constructing that syllabus! He called for a historicization of the concept of universality. The dream of the universal library of course has a long history — but various epochs’ notions of universality are tied to their distinctive understanding of how books work; of the economics of book production, distribution, and consumption; of how reading takes place (i.e., what does it mean that, today, books are scanned not to be read by people, but to be read by machines?); of how aspirations toward “placeless” information are perhaps paradoxically tied to the construction of library places.

The Q&A after the presentations, led by Ben Kafka, raised interesting questions regarding the significance of ordering and classifying library materials; these are not only epistemological concerns, but also moral ones. And what of the new librarian for the digital library? Is she a human or an inanimate aggregator? According to Johns, librarians advocate for themselves as professionals who perform important skills-based, critical educational roles. We’d all agree that this should be the case — that librarians should serve as “information mediators,” and patrons should rely on them as such — but will this be the case? Or will patrons simply turn to aggregators whose algorithms for selection we don’t understand? These questions of “library morality” have long been woven into library history; just look at the Progressive Era library and its aspiration to serve as an instrument of uplift. How the library aspired to function, and how patrons used it, are two separate issues.

As a closeted McLuhan sympathizer, I was especially psyched by Peters’s “Two Cheers” polemic. Peters traced the history of “technological determinism” — particularly its use as an insult (calling someone a technological determinist, Geoffrey Winthrop-Young says, is akin to saying he likes to strangle puppies!) or its invocation as a preemptive disclaimer (“Of course I do not mean to lapse here into technological determinism!”). He traces the concept through Thorstein Veblen’s use of the German technik (see also this), to 20s and 30s debates about economic history, to Lucian Febvre, to Mumford’s technic, to McLuhan, to SCOT and actor-network theory. Peters argues that fear of technological determinism rests in part on a “suspicious subject/object distinction,” a failure to recognize that human are “always-already technical beings.” We often fail to realize that “to say that technology creates possibilities is not to say that it causes them.” Fear of technological determinism “hinders big thoughts.” Media studies is necessarily interested in media shape, form, delivery, etc., and to resist exploring and arguing for these factors’ potential roles in influencing social change or shaping history, is to “giv[e] up critique.”

An immensely inspiring talk.

Redeeming McLuhan?

 

We’ve Got the Archive Fever… Achoo!

Awww! via Aureusbay on Flickr: http://bit.ly/fOX2Ih

My plan was to try to bounce between three great conferences happening in the city this weekend: the Media Histories: Epistemology, Materiality, Temporality conference at Columbia, the Memory conference at The New School, and the Mapping New Media symposium at the Bard Graduate Center. Alas, I missed the mapping symposium (thanks to the wonderful Tanya Toft for generously sharing her notes with me!), which left me to spend two days thinking about universal libraries, archives, drawings, paperwork, medium-specificity, seriality, temporality, memory, preservation, epistemology, materiality, and myriad related “ities.” What a luxury! It’s rare that I can spend a whole day — let alone two — thinking about the ideas that most captivate me. Still, I must admit: all that archive fever is enough to give one an archive headache! (groan)

But wait: it’s actually such references to “archive fever” that trigger a slight uneasiness. Over the past couple years I’ve noticed that a lot of people are appropriating Derrida’s phrase to refer to a supposed infatuation with archiving — a passion for assembling and sorting and storing; a compulsion to do things like organize houseplants in retired card catalogues (which I’d totally do, by the way, if I had a card catalogue sitting around); a tendency to refer to our hard drives and junk drawers as “archives.”  ”We’re cuckoo for collecting!”

But that’s not what “archive fever” is about, really.

via pcorreia on Flickr: http://bit.ly/eC2Z2o

 

Derrida’s lecture is titled Mal d’archive, which, Carolyn Steedman argues, would be much more appropriately translated as trouble…, misfortune…, pain…, hurt…, sickness…, wrong…, sin…, badness…, or evil of the archive, rather than the “faintly comic ‘fever’ of the English translation.”[1] But even if that off-the-mark title translation escapes us, Derrida’s description of the mal d’archive in the book’s Exergue should clue us in to the fact that this mal isn’t some cutesy fad: it’s an “irrepressible desire to return to the origin” — one linked as much to the pleasure principle [2] as it is to the death drive.

Not so cute. I’m not cuckoo for that.

X

[1] Carolyn Steedman, “Something She Called a Fever: Michelet, Derrida, and Dust” The American Historical Review 106:4 (October 2001): 1159-1180.

[2] Side note: principle/principal are homophones that lend themselves to funny mix-ups. Consider, for instance, what a Pleasure Principal would be. I bet that’d be a popular job :-)

Workshopping Solipsism: Or, I’m Really Bad at Titles

I recently returned from New Orleans and the 2011 Society for Cinema and Media Studies conference. Despite the fact that two of our workshop participants were unfortunately unable to join us, we hosted a pretty awesome workshop on mapping. Brendan and I agreed that the experience was among the most positive and inspiring we’d had at a conference in a long while. Thanks to Brendan, Nicole, and Daniel for their fantastic contributions — and to Germaine and Jesse, who were there in spirit!

US Shipping Board, 1925, NYPL Digital Gallery: Image ID: 92539

The workshop worked in large part because the participants’ presentations and the ensuing conversation were so engaging. But, for me at least, our success was in part attributable to the fact that our workshop was not a panel. By Saturday afternoon I simply couldn’t handle another panel. As Jason Mittel wrote on the SCMS blog, it’s hard to process four consecutive theory-laden, 20-minute papers, then move on to another conference room and do it all again…and again…and again. I discovered last year, at the LA conference, that I could remember much more from the workshops I attended than from the panels, primarily because I was way more engaged in the workshops.

And from the perspective of a presenter, workshops (in which each person does a brief 7-minute presentation, ideally non-scripted, leaving lots of time for discussion) are much more interactive, more informal — and for those reasons, more memorable. I recall past conferences, when I’d wait nervously for my turn to present, fearing that everyone in the audience would bolt right before my paper, and consequently I heard absolutely nothing any of my fellow presenters was saying. I was too freaked out over my own impending performance to listen. And then even after I did my thing, I was too concerned with how stupid I sounded, or how fast I talked, to process any of the Q&A. I’ve calmed down considerably since then, which certainly helps, but a slight anxiety persists…and I still remember very little of what anyone else says on a panel.

Formals panels serve their purposes, of course — but I think that from here on out, as much as I can help it, I’m going to fit my own conference presentations into workshops.

That's me in the red tights. It was FREEEEEZING. Via Storefront

Yet just a few days before SCMS I participated in a (slightly intimidating) panel discussion at Domus magazine’s Critical Futures #3 at Storefront for Art and Architecture. As happened in New Orleans, half our panelists — Justin Davidson, Kazys Varnelis, Lebbeus Woods — were sadly unable to attend, which left four women, plus a last-minute addition from the Domus editorial team. As one might expect at a discussion hosted by Storefront for Art and Architecture, the word “architecture” was uttered roughly 27 billion times over the course of the evening. After a while, it felt like a MadLibs daydream in which every blank was filled with “architecture”: “The architecture of architecture is that architects are architecting architectural architecture! Architect?” Most of the claims being made about architecture criticism, about architecture blogs, about architecture magazines, are true of criticism, blogs, and magazines in general – of contemporary culture in general. Thanks entirely to the smart people on the panel the evening’s conversation covered a pretty wide scope. But there were occasional peeks at the tendency, within the broader global, online/offline architectural criticism debate, toward architectural solipsism — which often flips into architectural imperialism (i.e., all the world’s concerns are architectural concerns) — a tendency that makes me a little uncomfortable.

I experienced something similar this past weekend at SCMS, which, despite the addition of the “M” — for “media” — to its name a decade ago, is still very cinema-heavy. Even with other media folks in the room, most debates still seem to be framed in cinematic terms. I realize that the Film Folks got to the party first; they established the discourse. But not all mediation can be reduced to “filmic” terminology, and many claims made of film would benefit from a cross-media comparative perspective and wider historical contextualization (à la media archaeology).

Both film production and architecture — and the branches of academia that study them — are in a bit of a transitional phase, so I suppose this self-reflection is only to be expected. It’s interesting to see where that self-reflection leads, though: to a defensive or offensive position, or something else.