applied media studies

1 APPLIED MEDIA STUDIES Interventions for the Digitally Intermediated Age

KirstenOstherr

Introduction In the era of "co de for America," do-it-your self (DIY) maker movements, hackathon s, and STEM to STEAM, the field of medi a studies is ideally poised not only to analyze but also to intervene in the practices _of media production and consumption that characterize our always-on , always-connected, screenoriented lives. Doing so involves collaboration and translation across diverse modes of practi ce and fields of expertise . T his work also requires inventing new strategies for conducting research, for presenting scholarly work , and for engaging with stakeholders beyond the academy. W e call this emergent field of practice "applied media studies" for three key reasons. First, we want to emphasize a shared foundation in scholarship and methods that foreground the medium specificity of representation al technologies as we explore how the digital intermed iation of information and commun ication shapes meaning in the world . Second , we want to high light the role that new kinds of hands-on, critica l, and creative "applied" projects are playing in the evolution of schol arly practice in the field of media studies. T hird , we want to exp lore and expand debates and methods at the inters ect ion of humanisti c media studies and applied sciences. All of the project s described in this book repre sent collabor ations among humanists, scient ists, artists, and engineers, and in traversing those disciplin ary boundaries , the concept of"app lied" work in the hum an ities provokes comparisons wit h "applied sciences," raising import ant questions about the value and relevance of problem-orient ed practice in relation to more abstract or theoretical work. T his collect ion extends that dialogue by providing concrete examples of applied media work that offer new models for understanding humanistic knowledge form ation as a produ ctive field that can be "applied" to solving "real-wo rld " problems, whi le also establishing feedback loops that bring new lines of inquiry

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back to more theoretical research. App lied Media Studies presents the insights and experience of media scholars who have forged inn ovative path s thr ough thi s com plex terrain , blendin g theory and praxis in applied proj ects th at engage directly in the creation of new media infr astru ctur es, communiti es, and texts. O ur goal in namin g and definin g th e emergent field ofa ppli ed media studies is to open up new approac hes to research and teachin g throu gh screen-b ased techn ologies and media int er faces. Arising from th e already multidi sciplin ary field of media studi es, appli ed media studi es adapts the meth ods for appro achin g tradition al objects of inquir y in th e field- th at is, electronic, screen-b ased media- to respond to the demand s of twent y- first- centur y research and teachin g th ro ugh criti cal experim entation on and with twe nty-fir st- centur y tools. Whil e older technolo gies of mediation such as cinema and television had fairly hi gh barri ers to entr y, more recent iterations of th ese media enable form s of real-tim e parti cipation that allow scholarship about media to beco me scholarship throu gh media. T he distin ct mat erial infr astru ctur es of celluloid film and analogue television were cert ainl y malleable, as vividly demonstrated by arti sts such as Stan Brakh age and N am Jun e Paik. But they were not ne arly as malleable as th e digital code upon which mo st of our mediated inform ation, communi cation, and ent ert ainm ent rest today. In the contempor ary era, more and more form s of visual, aur al, and textu al represent ation are digitally int erm ediated (th at is, th ey appear, make meanin g, and circulate throu gh a compl ex mi xtur e of digital platform s), perp etu ally redefining wh at compri ses "screen-b ased media." Ex pandin g on Bolter and Gru sin's (1998) "remediation," scholarship th at takes the act and infr astru ctur e of mediation as its object of stud y is particularl y we ll suit ed to translating theoretical and hi stori cal perspectives on repr esent ation int o appli ed practice. As M cPh erson (2009) has argued , th ese pr actices of tr anslation produ ce new kind s of mediated , multim odal techn ological int erventi ons, and new kind s of social ent anglement s. Rh ein gold (2012) identifi ed netwo rked media creation as a un ique sandbo x for explorin g life in th e twe nt y-fir st centur y, notin g, "Wh en you start en gagin g in kn ow ledge or media produ ction , you tend to develop a mu ch mor e sophi sticated und erstandin g of how kn ow ledge and media is produced mor e gener ally" (84). As the case studi es in thi s bo ok att est, th e work of tran slation, collaboration throu gh difference, and experim ent al praxis has allowed the contributor s to thi s collection to extend their scope and imp act far beyond the bound aries of th eir academic settin gs by engagin g dir ectly in appli ed media studi es proj ects w ith local and global communiti es.

Science and Humanities, Pure and Applied By callin g att ention to th e "appli ed " dim ensions of th e media studi es proj ects presented in thi s collection , we gestur e towa rd a long traditi on of scholarly debate on th e distin ctions betwee n "pur e" and "appli ed " wor k th at has pro foundly

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shaped relations within and betwee n the sciences and the hum aniti es. In both domains, th e "pur e" end of th e research spectrum has typically been valued more hi ghly th an th e "appli ed " end . Yet in th e era of digital int erm ediation, techn ological appli cations in fields such as statistics, appli ed mathematics, electrical engineer in g, and comput er science have increased the value att ribut ed to applied scientifi c work by society as a whole. O ne outcome of th e digitization of everythin g from mechanical processes to int erp ersonal communi cation is that th e output of appli ed science is experienced dir ectly by industrialists and consum ers alik e. For exampl e, discoveries in nanotechn ology lead to production of faster and cheaper microprocessors th at impro ve th e quality and reduce the cost of new sm artph ones. Anoth er criti cally imp ort ant out com e of ubiquit ous digitization is th at many previously elusive ph enomena are bein g quantifi ed and measur ed , as th e conversion from analogue to digital entails th e rend erin g of multidim ension al and multi sensorial signals int o num erical form and bin ary code. As a result , value in Am erican society has become inseparable from practices of qu antifi cation , and th e digital era has beco me th e era of the quantifi ed self {Lupton 2016; N eff and N afus 2016). In thi s cont ext, the statu s of comput ation al, quantit ative applied sciences has been elevated, whil e th e statu s of non- comput ation al, nonquantit ative hum aniti es has declin ed . T he "two cultu res" famously describ ed by C. P. Snow (1959/ 1961) as split into "polar group s" of scienti sts and literary int ellectu als (also describ ed mor e generally as "non- scienti sts"), are reprodu ced today as data- dri ven and non-d ata-dri ven cultur es. But th e proj ects describ ed in Applied Media Studies show th e result of collabor ative wo rk that could not be accompli shed by scienti sts, techn ologists, or hum ani sts workin g alone . Indeed , applied media studie s provides a stron g count er arg um ent to th e "tw o cultur es" thesis because it sho ws th at multidi sciplin ary effort s to reim agine th e uses and meanin g we make of digital network s, signals, and sensors result in substanti ve imp rove ment s to techn ology and society. A brief discussion of th e ori gins and evolution of th e "appli ed " versus "pure " debates wi ll help frame th e cont ext for applied media studi es to day. First coined by th e English poe t Samu el Taylor Co lerid ge, th e term "applied science" appe ared in hi s Treatise on Method (1817). Ho wev er, accordin g to histori an of science R obert Bud (2012), Co lerid ge himsel f was tr anslatin g a distin ction established by th e phil osoph er Immanu el Kant in hi s Metaphysische A ,ifangsgrundeder Naturwissenschaft (Metaphysical Foundations of Natural Science) (1786). Kant distin guished betwee n "reine Wissenschaft(pur e science), which was based on a priori prin ciples, and angewandte Vernunfterkenntnis (applied rationa l cogniti on)," based on empi rical observation (Bud 2012: 538). Con temporary schol ars see th e Kanti an distin ction as shapin g found ational ideas about th e relative compl exit y, int ellectu al contributi on , and cultur al value of "pur e" versus "appli ed " science (sometim es know n simpl y as "techn ology"), whose legacy still shapes uni versities today.

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Indeed , th e distin ction betwee n "pur e" and "appli ed" science has visibly shaped th e fundin g, or gani zation , and condu ct of scienti fic research in the U.S. since World War II. In a 1961 Technologyand Culture essay, James Feibleman defined "pur e science" as "a meth od of investigatin g natur e by th e exper imental method in an att empt to satisfy the need to kn ow " (305). He contra sted thi s approach with "applied science," un derstoo d as " the use of pur e science for some practical hum an purp ose" (305). T he instrum ent alist connot ati ons of "appli ed" wor k impli cit in Feibleman's definiti on speak of th e stru ggles for powe r, resour ces, and pr estige th at have dri ven heated debate over th e meanings of th ese term s, both in th e publi c sphere and in th e academy (Bud 2012: 537). Scholars have show n th at "th e subordin ation of techn olog ical kn owledge to scientifi c knowl edge" led historians of "pur e" science to exclud e scholarship on th e history of "appli ed " science or techn ology from conferences and publi cation s in th e po stwar era (Alexand er 2012: 518). Ex tendin g thi s analysis, hi storian Ruth Schw artz Cowa n critiqu ed th e impli cit hierarchies associated w ith distin ctions betw een "appli ed " techn ology and "pur e" science in a lectur e aptl y titled, "Technol ogy Is to Science as Female Is to Male" (1996). Summin g up the impli cations of th e anal ogy by notin g, "So me say th at science is th eo retical and technolog y is practical; oth er people say th at men are ration al and wom en are practical" (576), Cowa n's assessment of th e gend ered devaluin g of the "pr actical" in thi s cont ext provid es a useful fram ework for int erpr etin g th e conn otations of "appli ed " work in oth er cont exts, includin g the hum aniti es. D ebates about the relative merit s of "appli ed " wo rk have follow ed a tendentiou s path in the hum aniti es. Whil e the term "appli ed hum aniti es" appears int ermittentl y in print startin g in th e early twe nti eth centur y, th e first extended discussion of th e term in a scholarly text does not occur until 1974. In th at year, Ca rn egie M ellon Engli sh pro fessor Erwin Steinb erg publish ed an essay called , "Applied Hum anitie s?" to argue th at, in the face of increasin g specialization at the "pure ," abstract end of th e spectrum of hum aniti es scholarship , mor e hum anists must brin g to bear their professional expe rti se on cont emp orary problems. D oing so may frequ ently requir e not only that th ey move beyond their ow n narrow disciplin es [... ], but also th at th ey addr ess th emselves to educated men and women out side of th eir ow n fields and sometim es out side of academi a. (445) Steinb erg's ration ale expr essed a complex blend of conservatism , as he mourn ed th e dw indlin g numb ers of English prof essors dedicated to teachin g tr aditi onal form s of literary appr eciation and comp osition , and progress ivism in his praise of emergin g fields w ithin English th at studi ed un conventional topics in popul ar culture , such as television, detective novels, and western s (446-4 7).

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The essay goes on to cite several examples of the interdis ciplinary, purposeful public engagement that the author celebrates under the heading of "applied hum anism," including the founding of the journal American Quarterlyin 1949, followed by the establishment in 1952 of the journal's scholarly organ ization, the American Studies Association , the creation in 1964 of the Centre for Contemporary Cu ltur al Studies within the Department of Eng lish at the University of Birmingham, England, and the launch of the journal of Popular Culture in the U.S. in 1967. Steinberg ultimately advocates teaching the insights of these novel fields as the primary vehicle for doing "applied humanities, " though he also makes a brief call for what might be cons idered proto-digital hum anities research , stating, " Indeed, I would urge at the blue sky end of the hum anities continuum increased attention to some of the techniques that have proved so successful in the social sciences : statistical analysis, for examp le, and the use of the computer" (450). It is perhaps ironic that Steinberg positions computationa l approaches to the humanities at the "pure" rather than the "app lied" end of the spectrum where forty years later they found a home, since for man y critics, practices such as text mining and distant reading (Moretti 2013) "fa il the ' So what' test" (Schulz 2011) that defines knowledge-seeking at the heart of "pure" research. We wi ll return to computationa l humanities below. Here, it is wort h noting the unnamed backdrop to Steinberg's celebration of the democratizing forces that were bestowing schol arly legitimacy on topics previously considered the domain of" low" cu ltur e (Wi lliams 1974; Levine 1988). The attention to popular culture and mass media in this era also opened up research on technology-the " low culture" of science-more genera lly, but this work developed alongside philosophical approaches at the "pure" end of the humanities spectrum , influenced by Frenc h theorist Jacques Derrida 's (1967/1977) method of textual deconstruction. Steinberg critiqu es these more abstract methods, celebrating material cu lture at the expense of theory, but his view was not the dominant one in this era. The valorization of the "pur e," theoretical work of deconstruction , poststructuralism, and postmodernism among literary scholars and many other hum an ists for decades signa led a distant stance toward the world outside of the academy, expressed through crit iques of empirica l claims abo ut objective reality, including applied methods for approaching them. The framework of "pure " versus "applied" has resurfaced periodically in debates about so- called crises in the humanities since Steinberg's publication in 1974. A piece from The New York Times called "T he Applied Humanities: A Businesslike Approach" (Kolbert 1985) described the growth in programs dedicated to real-world application of humanities knowledge, or " bringing academic skills to bear on non-academic issues." That article emphasized the strategic turn toward "real-world" application of fields such as philosophy to help address existing problems as in, for example, ethicists helping to resolve biomedical confl icts in hospitals. Many of the sources interviewed for the

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article in The New York Times plainly admitted that the move toward "applied" work was driven by a shrinkin g job market and decreased overall support for many disciplines in the humanitie s. While such instrumentalist approaches to "applied" work leave man y schol ars concerned that the move from the "pure" to the "applied " end of the spectrum is a one-way path with potentially fatal, irrevocable consequences, others-particularly in the field of media studies__:_ see the move as timely , politically necessar y, and consistent with a wide range of scholarly methods . For example, in an essay describing the response at the MIT Program in Comparative Media Studies to the attacks of 9/11, dir ector of the program Henry Jenkins wrote of "applied humani sm" as "the idea that insights from the humanities and social sciences need to be applied and tested at actual sites of media change." He noted that MIT already had applied physics and applied math, and argued, " It was tim e [MIT] had applied humanism. We challenged our students to do projects that had real-world impact and that confronted pragm atic challenges" (2004: 91). Jenkins does not dwell at length on the varied connotations of the term "applied." Instead , he focuses on describing the project that resulted from this mindset: the collaborative development of a website that both produced and analyzed media coverage following 9/11. Ex panding on this model, the contributors to Applied Media Studies blend discussion of the conceptual frameworks and theoreti cal foundations that have guided their projects with descriptions of logistical challenges, technical hurdles, and social complexities th at arise from moving their scholarly work into a real-world testing phase. The call to "apply" critical media studies suggests a new role for critique that goes beyond the description and interpret ation of cultural forms to demonstrate how critical perspectives might change or even improve existing circumstances in the world through direct intervention. While the purpose of this book and the projects described within it is not to provide a defense of the humaniti es, the work nonetheless demonstrates the power of bringing hum anist methods of critical inquiry into the practice of technology development , interface design, and media production. At the same time , by claiming the modifier "applied " to describe the hum anist media studies work in thi s collection, we put pressure on the long-standing but often misleading opposition between theoreti cal and practical work. In the years since the global financi al crisis of 2008, much theoretical work in fields ranging from physics to liter ary studies has faced dwindling support from institutions of higher education responding to public pressures to narrow the field of intellectual inquir y to more instrumental objectives, achievable within a reduced tim e-to-d egree framework , and oriented toward targeted vocational training (Brown 2016). This shortsighted approach to learning places little value on exploratory inquiry , creativity, aesthetic experience, and abstract forms of knowledge acquisition. It also fails to acknowledge several powerful currents in public cultur e and hi gher educ ation, such as the

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concept oflifelong learning, the reorientation of research and teachin g clusters around complex probl ems such as global warming or health disparitie s, and the grow ing recognition by many educationa l in stitutions and employer s that some of the mo st desirable degr ees or job applicant s are those who have cu ltivated skills in critical and creative thinking , probl em solving, eth ical reasoning, and multimedia commun ication (Anders 2015; Henke et al. 2016; Shulm an 2017; Deming 2017). Co untering the instrument alist critique of applied work is the flouri shing " STEM to STEAM " movement, whi ch integrates science, technology, engineering, and math (STEM) with the arts and humanities . Pioneered by John Maeda when he was president of Rhode Island Schoo l of Design (2007-2013), the movement has gained significant mom entum , attracting attention from policymakers, educators, and indu str y. In presenting a rationale for this approach , Maed a argued that "Art + Design are poi sed to transform our econ omy in the twenty-first century just as science and technology did in the last centur y" (STEM to STEAM 2017). In this spirit, a resolution was introduced to the U.S . House of Representatives (2013) affirming that integrating art and design into STEM policy "encourages innov ation and economi c growth in the United States" (H.RES.51, 113th Cong. 2013-2014). The STEM to STEAM movement has drawn attention be cause it responds directly to two crit ical challenges seen by many policymakers as vita l to econom ic growt h , social stability, and national secu rit y: the decline in the U.S. global ranking in STEM fields, coupled wit h high dropout rates and limit ed numbers of girls and historically underrepresented minorities going into STE M fields. The STEM to STEAM movement argues that int egrat in g the arts and design is a powerful technique for attracting and retaining a stro nger, more diver se technology workforce, thereby producing more inn ovat ive results at a nation al level (Maeda 2017). The STEM to STEAM movement frames and makes visible an approac h to humanistic academ ic engagement that extends beyond traditional structures of narrowly defined disciplines. While critics may reasonably object to the imperialistic resonances of a framing rationale rooted in aspirations of global STEM dominan ce, others might see in this approach a strategic form of instrumenta lism. Maeda and other proponents of STEM to STEAM demonstrate insight in seeking policy-level affirmat ion of the vita lity that the arts can bring to our data-dri ven world. They recognize that framing arts investment as a strategic national priority resonates w ith contemporary discourse on the role of creativity, flexible thinking, and risk taking-all attributes of artistic practice-in fostering innovation . Validation of this viewpoint through national and state polic ymaking is a powerful techniqu e for ensuring ongoing resour ces and support for students, practitioners, and leaders of organ izations. As a specific, concrete examp le of the STEM to STEAM approac h , applied media studies shows the reciprocal benefits of bringing critica l and creat ive practi ce toget her to intervene in the information and commun ication technologies that shape our world.

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Critical Contexts In its definition of"applied" scien ce, the N ational Science Foundation describes "systematic study to gain knowledg e or underst anding nece ssary to determine the means by which a recog ni zed and specific need may be met" (NSF 2010). The most pressing needs of our time-su ch as ending hunger, assuring access to clean water, and redu cing armed conflict-affect humanity across the globe. These are social, human problems , but the digit al platforms that co nnect population s through social and political engagement toda y are not being designed to meet our society's greatest "recognized and specific need(s)." The major globa l problems of the twenty-first century require multidi sciplinar y approaches, not narrowly technical solutions, and digital network s serve a core function in fostering dialogue across traditiona l boundaries . As daily life becomes ever more intermediated through the mobile platforms that are our constant companions, humanist media scholars are pre sented with opportunit ies to bring our scholarship directly to bear on large-sca le public experiences through intervention in the design and implementation of digital interfaces. The transformation of all forms of media production in the digital age invites-and perhaps demands - media scholar s to reconsider how their work engages with the creat ion of media content that shapes the publi c sphere. Organizations such as the National Endowment for the Humanities and the Mellon Found ation have called for applied hum anities work th at tackles grand challenges. Doing so in the field of medi a studies requires critical reflection on the entanglement of technologies with their contexts of use. A key part of this consideration is the recognition that situated knowledges (Haraway 1988) ground the particular theoretical standpoints from which needs are identified and knowledge-including scientifi c or technical knowledge-is generated. This fundamental tenet of Feminist Science and Technology Studie s plays a central role in much applied media studies work, shaping methodologies including collaborat ive participatory design and fieldwork , as well as "first -p erson" authorship practices that readers will see reflected in the writ in g style of this book. Awareness of the situated dimen sions of knowledge is particularly important because, in contemporary media ecosystems, we face many contradictory situ ations at the interse ction of technology and human use. For examp le, the same media too ls th at were credited for democratizing access to the world's knowledge (Wikipedia) and connecting dissidents who sought to topple oppressive, authoritarian regimes (Twitter) have been critiq ued for reproducing social hierarchies that exclude and exploit m arg inalized voices (Ratto and Boler 2014; Allen and Light 2015; Gordon and Mihailidis 2016). The need for more humani st engagement in technolog y development has been recognized by Silicon Valley observers who celebrate the founders of successful companies like Linked in and Slack that explicitly credit their humanitie s backgrounds as key fertilizers for their big, multimillion doll ar ideas (Rowan 2012; Anders


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2015). Feeding this recognition back into applied media studies doe s not mean designing pipelin es to commercialization, but rather acknowledging and act in g upon the tr anslational pot ential of humanisti c method s to int ervene in ex istin g problems at the interse ction of hum an and technological needs . The scholars in this collection launched their experiments from a foundation of exper tise in media forms, histories , theories, aesthetics, infrastructur es, and policies. By bringing their scholarly backgrounds into play with their work in making new forms of medi a int ervention s, the contributors to Applied Media Studiesbring de cades of experience exploring the mediation of cu ltur al form s to the present digital media enviro nm ent. The case studies and dialogues in thi s volume therefore draw from and extend a rang e of critica l scholarly debates, expand ing on science and technology studies and situated knowledge critiques to include scholarsh ip on "useful" cinema, media indu stries, DIY and cr itica l making , software studies, and digital humanities (DH). In film and media studies , research on nontheatrical films produced by corporation s, government agencies, and other organ izations outside the entertainment indu stries has opened up a body of work explorin g the uses of media to create deliberate, instrumental effects on audiences (Acland and Wasson 2011; Anderson and Dietrich 2012; Orgeron, Orgeron, and Stre ible 2012). Scholarship on these media forms, known various ly as instructional, educational, useful, industrial, or sponsored films, hi gh lights the frameworks that media studies can bring to bear on questions of how aesthetic, stylistic, narrative , formal, and historical dimensions of visual medi a design have been used to pursue specific effects in their viewers or users. Like " interaction " or "user experience" designers today , developers of instrumental films in the 1940s- 1960s worked to create media that reshaped the perceptual experiences of users through their interaction with the screen. Situated between advertising and documentary genres , these films worked both to persuade and to exp lain, and the resulting mode of address often enta iled an invitation to participate in a new world view through engagement with new products or processes (Ost herr 2018). As Hediger and Vonderau (2009) note in their introduction to Films that Work: Industrial Film and the Productivity of Media, " industrial films are perhaps best understood as interfacesbetween discourses and forms of social and industrial organization" (11). Shifting this framing from instrumental to interventionist , applied media stud ies entai ls an integration of functionality and critiqu e that aJlows for new understandings of mediation as critical making . One contemporary site for work on indu strial film is in the study of medi a industries at universities that pursue direct dialogue between academia and indu stry . Scholarship on media industrie s ranges from the historical work on nontheatrical film cited above to research on contemporary production practices, suggesting an obvious site for applied media stud ies work. However , scholars working in this field acknowledge the need for guidance on how to further develop their work as an "applied " practice. As Freeman (2017) has observed,

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While the study of media industrie s itself indicates a bridging between theory and practice-between the study of media forms and the pragmatics of media making-far less attention has been paid to what the study of media industrie s looks like as practice -based or practice-led research, or how collaboration between academia and the media industries actively shapes practice. (n.p.) The tension between critique and cooperation with industry is an active topic of debate within applied media studies, both at the level of sponsored research and in cases where experiments with technology development intersect with start-up ecosystems. Debates about the role of digital technologies in shaping the methodologies, objects of study , and dissemination techniques for hum anist scholarship have led to the emergence of new research and teaching methods that embrace a "hands-on" philosoph y. An exemplary project is Critical Making (2012), a DIY book project created and curated by Garnet Hertz, that "explores how hands-on productive work-making-can supplement and extend critical reflection on technology and society" (n.p.). Initi ally released as a 300-print run of hand-stapled and folded pages made on a "hacked photocopier," the project assembles 70 contributions from art ists and academics whose work in some direct way engages and reflects upon the role of"making" in the contemporary era. Addressing an audience of "makers" outside the academy, Hertz calls on his readers to see the CriticalMaking project "as an appeal to the electronic DIY maker movement to be critically engaged with culture, history and society: after learn ing to use a 3-D printer, making an LED blink or using an Arduino, then what?" Hertz's call to engagement with academic critica l frameworks reverses the common refrain that academics shou ld engage more with the "rea l wo rld "; instead he highlights the widespread appea l (bot h within and beyond the academy) of merging critica l reflection with hands-on creative practice, demonstrating the synerg istic value of these highl y comp lementary-though often artific ially separated -pur suits. Media schol ars have grapp led wit h issues related to "DIY" media-making since th e int eractive web and the advent of hand-held digital cameras, smartphones, and YouTube radically transformed the practices of media-making that constitute the substantive focus of our field (Snickars and Vonderau 2010). In "What Happened before YouTube," Jenkins (2009) argues that fans have been producing their own media texts, infrastructures , and distribution networks since long before YouTube came along to make it easy for users to " broadcast themselves." Jenkins' work on participator y culture has spanned decades and demonstrates the deep histories of creative practice by non-specialists , outside formally defined media industries, that embody and inspire the approach taken by many of the scholars whose work makes up this collect ion.

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Applied medi a studi es practitioner s have fur ther int egrated DIY and maker cultur e int o th e realm of hum anistic medi a scholarship and practice. Lowg ren and Re imer (2013) have demonstr ated th e enh anced in sight th at com es from brin gin g togeth er different types of experts to approach a probl em collaboratively as "ex pert amateur s." A key featur e th at DIY cultur e brin gs to academi c practice is its agile approach to lab cultur e. As a method th at do es not depend on form al exp erti se or th e expensive admin istr ative and techni cal infr astructur e th at usuall y support s expert makin g in science labs or engin eerin g fabrication sites, DIY pr ax is can rapidly adapt to new softwa re, emergin g formats, and cur rent event s in th e world . Rou ed- C unlif e describ es autodid actic and in formal inform ation sharin g as key featur es of DIY cu ltur e, notin g that thi s work " is rarely dependent on fundin g and thu s has the pot enti al to incorp orate inn ovative solutions at a high er speed th an we typically see in th e hum aniti es" (2016: 40). Whil e hum aniti es labs may be lower cost th an th eir equipm ent-he avy count erp art s in th e appli ed sciences, th e need for a lighter and more fluid int erplay betw een hum anistic work and relevant fields out side academi a is well recogni zed by th e author s in thi s collection. A field adjacent to DIY makin g known as Criti cal Co de Studi es or Software Studies extend s the tenets of criti cal m akin g and th e found atio ns of medi a th eor y to th e analysis and buildin g of video games and oth er form s of code. Ian Bogost's collection, 10 PRI NT CHR $(205.5 + R N D (1)); : GOT O 10 (2012), examin es a sin gle lin e of softwa re code as a cultur al text, drawin g upon the editor's experti se as both video game developer and criti cal theori st. T he proj ect exposes th e hidd en assumpti ons emb edded in a lin e of a popul ar pro grammin g language, thereby revealin g th e operation s of the invisible algorithm s th at surround us within seemin gly neutr al technol ogies. As a design int ervention itself, the book appro aches its obj ect throu gh collabor ative author ship of th e chapters, each examinin g in hyper-cl ose det ail the impli cation s of the codin g framework . Anoth er widel y cited hand s-on mod el is M anovich 's collabor ative work in the Softw are Studie s Initi ative (2008- 2016), w here comput er scienti sts, art historians, and philo soph ers collabor ate on experim ents tha t blend softw are development with cultur al analysis of large ima ge-b ased dat asets to analyze contempor ary culture . Like th e work of appli ed media studi es, critic al cod e studi es do not merely "appl y" a freestandin g bod y of th eo ry to som e practical problem ; rather , schol ars follow a more iterative feedback loop methodolo gy that appro aches "makin g" from a th eoreti cal standpoint and adapt s as it learn s from th e experim ent , fuelin g new question s and th eoretical insight s based on the hand s- on work. Mu ch schol arship in th e digital humanitie s shares the inter est in learnin g by doing and hand s-on criti cal thinking describ ed here (Burdi ck et al. 2012; Gold 2012; C oh en and Scheinf eldt 2013; Gold and Klein 2016). Yet historic ally, few DH proj ects have origin ated in de ep engagem ent w ith medi a studie s, and consequentl y, the appro ach to "the digital" or to pro cesses of med iation has oft en

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been focused on discussion of textua l forms. While scholars from media studies have participated in debates in the digital hum anities (Acland and Hoyt 2016), much of the debate in the formative years centered on issues related to the cha llenges and opportunities that arise when traditional text-based disciplines (such as literary studies) "go digital." Sayers (2018) characterizes the methodological tendencies of DH as rooted in disciplinary habits, noting, "With its prevalence in English departments and studies of literature and language , digital humanities frequently deems text its primary medium for both composition and analysis" (21). However, as Graham (2018) notes in her contribution to this co llection, the fields of digital humanities and applied media studies are not opposed, but rather complementary and evolving approaches to new forms of digital scholarship. Indeed, Ramsay (2013) has described certain kinds of DH work as " haptic engagement," to signal the high-level hermeneutic that emerges from the hands-on dimension of building that characterizes work ranging from text markup to map creat ion through GIS. The distinctions made in the pages of Applied Media Studies aim to extend the insights of both fields rather than define rigid, impermeable boundaries around either. Current developments in digital humanities also signa l the importance of integrating disciplinary knowledge and methods, and Sayers' Companion to Media Studies and Digital Humanities (2018) provides an excellent starting point for pursuing the int ersections of these fields.

Methods The idea for this book came out of a workshop called '"Applied ' Media Studies" that was held at the 2015 annua l meeting of the Society for Cinema and Media Studies in Montreal, Canada . At that meeting, the workshop chair (Ost herr) moderated a discussion featuring several of the contributors to this volum e: Tara McPherson, Jason Farman, and Lisa Parks. Many addit ional (future) contributors to this book were also in the room, and a lively discussion ensued. The rich experience and insight contained in the participants' descriptions of their collaborative, transdisciplinary projects was immediately evident, as was the need to capture the unique blend of conceptual framing and practical guidance that emerged. After the session ended, participants and audience members agreed that our field of practice-and the field of media studies as a wholewould benefit from a publication featuring the collective expertise in the room. In particular, many recognized the value in capturing the experimenta l perspectives th at emerged as we discussed the issues we were currently grapp lin g with. The recognition that tactical in sights from the proverbial trenches might fade once projects had reached a "finished " stage led to a sense of urgency in capturing and disseminating the dialogue that the conference panel had provoked. T his book is the result .


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Applied Media Studies gat hers the expertise gained through the contr ibut ors' experience in hands-on, collaborative media proje cts in order to preserve and share that knowledge and construct a found ation for future applied and theoretical work in this field. The work of doing applied media studies is inh eren tly collaborat ive, and the wr itin g in this volume reflect s that quality through an approach to scholarly writ ing that de-emphasizes the single - authored monograph. Instead, the authors hip methodology here is also collaborative. To produce six of the chapters in this book, contributors responded to a set of open-ended int erv iew-sty le questions. As editor, I cur ated and synthesized their replies to provide a set of focused, diverse response s to the centra l questions raised in thi s book. Each multi-authored chapter is followed by detailed, single-authored case studies that explore the issues raised by the collaborative writing in greater depth. The collaborative chapters in this book present a dialogue about the challenges and opportunities related to implementing applied media studie s projects. Core issues include funding , sustainability, collaboration across disciplines , building conceptual models that draw on, extend and "app ly" media theory , what it means to be a humanities-ba sed Principal Investigator, how to build collaborative networks, and how to link these projects to teaching and research. Additional questions concern the comp lex, sometimes unintended consequences of interv ening int o practices that are more commonly studied from a distan ce, and the political and ethica l implications of this work. Applied Media Studies demonstr ates how new concep tu al frameworks have emerged through the contributors' act ive participation in building new spaces, models and networks for engaged media studies. The goal of this collect ion is to make the insight s, chall enges, and lessons learned by the contributors available to a broader audience of scholars interested in doing applied media stud ies work . At present , no resource exists to guide medi a scholars who want to engage in a hands-on, "start-up" approach to their work. Instead, many early exper iments have taken place in relative isolation from each other, with limit ed public dialogue to support the development process. Ind eed, the motivation for creating Applied Media Studies came from the contributors' direct experience w ith inventing new methods for engaging in experimental, interdisciplinary , collaborative work with "real -world " relevance and impact. Without except ion, all of the contr ibutor s to this volume noted the lack of scholarly resources available to help guide their work as they redefined their humanist scholarship beyond the study of media , to include the creation of media interventions guided by theory and research. By publishing this collection and making additional, comp lement ary material available online through a compan ion work on the open access Scalar platform (available at http ://sca lar. usc.edu / works / applied-media-studies/index) , a community of schol ars will be able to build on one another's experiences and extend these novel methods for bridging media th eory and practice using twenty-first-century tools .

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Chapter Outline and Case Studies T he stru ctur e of thi s collection moves betwee n collaboratively auth ored chapters and sin gle- auth ored case studi es. Each section of th e boo k addr esses a core set of themes, w ith Section 1 prov idin g the Intr oduction and a shor t piece by Lind say Graham , "Appli ed M edia Studi es and Di gital Hum aniti es: Techn ology, Tex tu ality, M eth odology," that expand s on th e int ersec tin g methods and affordances of th e two fields of prac tice. Section 2, "Fo und ations," asks contributor s to describ e how and why th ey started doin g appli ed media studi es, and what, in th eir view, is th e theore tical, histor ical, and / or political rationale for reim aginin g hum anistic me dia studi es as an appli ed practice. Two case studi es follow th e int erview- style chapt er. Tara McPh erson's "Fro m Vectors to Scalar: A Bri ef Prim er for Appli ed Media Stud ies" explores th e various ways in which collaborative, appli ed research challenges tr aditi onal mode ls of humaniti es scholarship w hile also affordin g new ways to think about the role th e hum aniti es mi ght play in th e wo rld . Dr aw ing on over a decade's experience runnin g a hum aniti es-b ased di gital publi shin g and software lab, McPh erson elucidates th e un easy tensions produ ced by practice-b ased wo rk w ithin fields where th e single- auth or monograph is th e nor m . Co llaborative applied research often brin gs toge th er teams of parti cipants with diverse background s and competencies wh ose scholarship and creative output s do not neatly fit w ithin the reward stru ctur es of research uni versities. McPh erson addr esses th ese challenges throu gh a five-p art prim er for und ert akin g applied media studi es. In th e second case stud y, O sth err describes th e developm ent of th e Medical Futur es Lab, an appli ed media studi es proj ect th at emerged in response to a set of conceptu al pr oblems in medicine and media studi es surroundin g th e role of techn ology in doctor-p atient communi cation. Osth err 's essay demonstrates how appli ed media studi es can lead from th eoretical problems in hum an- comput er int eraction to practice-b ased answers in techn ology design, offerin g a model for a probl em-b ased, field- specific hum aniti es lab. In th e third section , "C hallenges," contribut ors discuss th e greatest pleasur es and fru str ations of doin g appli ed media studi es, describin g how thi s work has impa cted th eir teachin g, research , publi cation , and service to th e profession. T his section also addr esses th e role of instituti onal settin g, askin g cont ributors to reflect on th e ways th at different contex ts-s uch as urb an research uni versity, rur al liberal art s college, elit e private instituti on , or large, publi c instituti on- shape th e kind s of wor k th at are possible, and th e varyin g resources and con str aint s th at th ese settin gs imp ose. A case stud y follows by Lisa Parks, Lindsay Palm er, and D ani el Grinber g, called "M edia Fieldwo rk: Criti cal R eflections on Co llaborative !CT R esearch in Rur al Za mbi a." T hi s case stud y considers what it means to condu ct media fieldwo rk by criti cally reflecting upon a collaborative research proj ect in rur al Za mbia in 20 12 and 20 13. T he chapt er discu sses wh at a media studi es approach to fieldwo rk ent ails, what th e


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affordan ces and limits of such an approach might be , and what kinds of unexpecte d results might emerge. Parks, Palmer , and Grinberg reflect on what happens when media scholars develop theory based on user research, and then design and build media resources in response. The second case study for Section 3 is Elizabeth Losh 's "Rapid Response: DIY Curricula from FemTechNet to Crow d-Sourced Syllabi." Losh discusses applied media stud ies as a method for developing collaborative teaching practices that directly and rapidly respond to cu rrent social and politi cal events. Through discussion of several examples, including the FemTechNet Distributed Open Collaborative Course, "T he Selfie Course," #FergusonSyllab us, #Charlestonsy llabus, #Orlando Syllabus, and # BrexitSyllabus , Losh analyzes the logistics, politics, technical affordances, and bro ader scholarly and social implications of bring in g hashtag activism into real and virtual classrooms. Section 4, "Trans lation ," asks contributors to address the core challenges of collaborat in g across divisions such as humanities and sciences, bridging academic and community practices , and translating between the diverse stake holders involved in these projects . Participants discuss how they overcome the typical siloes of uni versity structures, and how they translate between fields with radically different training, terminology, and theories of knowledge. Anne Balsamo 's case study, "Collaborating across Differences: The AIDS Quilt Touch Project," discusses the process of creating a distributed cross-d omain research team that included participants from the academy, the non-profit sector, government, and industry. Together, participants from seven different institutions across North America created digital experiences to augment the viewing of the AIDS Memorial Quilt. The essay elaborates on the process of assembling this team of collaborators, each of whom brought important expertise as well as unique, domain-specific (and biographical) background knowledges to the project: ways of knowing the world, ways of organizing workfiow, ways of expressing , ways of negotiating participation . Balsamo's study describes the significance of some of those differen ces, and the process of negotiation required to collaborate across those differences. Heidi Rae Coo ley's chapter, "The Time and Struc tur e of Cross-College Collaboration: Developing a Shared Vocabulary and Practice," describes a team-taught course called "C ritical Int eractives." The course brings together undergraduate and graduate students from a varie ty of humanities disciplines, library and information science, and computer science to develop mobile applications for tou chscreen devices that bring visibilit y to un acknowledged histories ofracia l and social inequity relevant to Columbia, SC and its flagship research university. Cooley explains how shared vocabulary and practice evolve comp lementarily over the cour se of a project 's development , with examp les from two "critical interacti ve" projects that move from the university into the community and back . Section 5, " Intervention ," addresses the complex, sometimes unintended results of intervening in practi ces that are more co mmonly studied from a

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distance , and the political and ethical impli cation s of this work. The case studie s for this section explore what happ ens when media scholar s be co me actively involved in the reshaping of medi a experiences and infr astructures, th ereby becoming part of the very processes the y seek to critique. Contributors were asked about unintended ethical or legal issues, including Intellectu al Property regulations the y have had to address with respec t to the open, collaborative work the y created in online spaces. Patri ck Vonderau's "Technology and Language , or, How to Apply Medi a Industri es R esearch ?" uses Spotify as a lens to explore th e less obviou s social, techni cal, and economic processe s associated with "the digit al," by both analyzing and inter ven ing in the platform 's functionalit y. Vonderau' s case study is based on a multi-year project funded by the Swedish Resear ch Council th at engages in a reverse engineering of Spotify' s algorithms, aggregation procedures , meta-data , and valuation strategies. The chapter investigates the pro cessing of music as data by studying and intervening in the interaction between different actors involved at the 'back-end ' or 'business-to-business' side of streaming services . In his case study, "Transforming the Urban Environment: Medi a Interventions, Accountability and Agoni sm," Bo Reimer asks what happens if you leave the safe environment of your univer sity building and conduct research in the wild, starting proc esses in urban environments rather than just analyzing them . The answer, based on Reimer 's experience of taking part in collaborative, interventionist research for the last fifteen years, explains the ethics and politics of carrying out such work. Section 6, "Infrastructure," asks contributors how they have managed to attain the needed resour ces for their projects, and what kind s of institutional homes they have found to house them. Contributors also discuss how they cultivate the necessary team members as participants come and go, and what kinds of background , tr aining, and mentoring of undergraduate and graduate students, as well as faculty member s, is needed to do thi s kind of work (if any is needed at all). In the final case study for the book, "B uilding a Lantern and Keeping It Burning ," Eric Ho yt describes and reflect s upon the two years spent developing Lantern, from 2011 to 2013, and the two years following its official launch , from 2013 to 2015. Lantern was intended to provide a user-friendl y search portal for the collections of the Media Histor y Digital Library, but Hoyt also had the goal of using it to make an argument about the limited range of historical sources scholars typicall y use. The proc ess of buildin g Lantern spanned a tr ansition from working at a kitchen table as a graduat e student in California to working in a media dep artment as a first-year profe ssor in Wis consin . Hoyt consistently depended upon the input of collaborators, but he found with equal consistency that he need ed to learn new progr ammin g language s and open source technologies to keep the project moving forward. Yet , Hoyt notes that the work on Lantern will always remain incomplete-there are more scanned


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magazines to add to the index, sever breakdowns th at requir e repair, and new users with new kinds of querie s. The Co nclusion to Applied Media Studies builds on the dialogue th at run s throug hout the collaborative chapters in the book with an annotated com pilation of the contributors ' favorite resour ces for helpin g them, th eir co lleague s, and th eir student s eng age in applied media studie s work . Co ntributor s were asked what kinds of conceptual models th ey have found helpful for extending and applying media theory as they move between makin g, writing, and teaching. Additional questions sought recommended articles , books, biogs , and Twitter streams , and finall y, participants were asked to identif y gaps in the field where they feel future research shou ld be focused. As more and more fields of scholarly pra ctice are tran sformed by the digital turn, media scholars are uniquely positioned to help identify best pra ctices in scholarship through interventionist media design . The contributors to th is volume describe their experiences doing applied media work with practitioners from other fields, providing practical and conceptua l guidance for engaging in hands-on projects with computer scient ists, eng ineers, visual artists, medical doctors, and members of interested publics . As applied hum anities labs continue to spring up in universitie s around the world, we hope that this book wi ll serve as a valuable referen ce point for making tho se new approac hes to scholarly practice viab le over the lon g term.

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