1
New Media and Culture
MCS 530
Dr. Paul Booth
I usually answer emails within 24 hours (weekday). If you do not hear from me within two days, you can
assume that I did not get your email. Please make sure that you send email to the correct email
address ([email protected]). Be forewarned: email accounts with Yahoo tend to get sent to DePaul’s
spam filter, and I tend not to get them.
Course Description:
This seminar considers the cultural ramifications of new media in shaping life experiences and meaning.
As interactive digital media technologies expand opportunities for social networking, text and instant
messaging, file sharing, collaborative authoring, blogging, podcasting and mobile communication, this
seminar asks how these new technologies impact identity formation, creative participation and concepts
of public culture. Issues of concern include race, gender, class, sexuality, cultural citizenship, fandom,
subcultures and democratic participation.
Course Rationale:
We live in a digital world. iPods, cell phones, PDAs, iPhones, PSPs, and other electronic devices rule
our space away from home, but even at home we are surrounded by digital devices. If we don’t record
our television on TiVo or another DVR, we download it from network websites or use Bittorrent to
grab them P2P. When we’re done watching TV, we wave our hand at our PS4 or connect online with
some friends in Korea to play Halo 4. Tired of video games? Try some homework – but don’t open your
bag. The reading is all pdf and you can compose your original thoughts and studies in a word doc. Time
for bed? Don’t forget to set your cell phone alarm to wake you up ten minutes before class.
We are at a crossroads between two eras, the waning of the print and the dawning of the digital. Yet,
even if technology changes, “new” remains constant. The technology may now allow us to download
individual songs for 99 cents each, but the basic concept of “music” hasn’t changed much. Media don’t
change so much as “remediate” and become part of a different set of technological apparatuses. This
course examines how the digital has affected contemporary (post) modern life. It takes a cultural studies
view of the impact of digital technology. As media become more complex, they also become more
integrated into our lives. This fact makes media studies a crucial field in contemporary society. It is
important not just to understand how media affect culture, but also to see at the level of the individual
how technology is consumed.
Therefore, this class will focus on how the digital is changing the way we live, think and act. Each unit
will explore, through readings, screenings, and discussion, what it means to be human in an era of
increasing digitation and mechanism. It is important to realize that issues may be raised that will not –
2
or cannot – be answered. This class will not seek definite answers about “what is to come,” but rather
will ask questions about what is here now, and how that affects our conceptions of ourselves. This class
uses a philosophical lens to examine the concept of “new media” throughout our cultural history.
Class Goals:
It is my hope that we can reach a number of goals together in this course. The first is to gain a better
understanding of key concepts in New Media theory and Digital Culture. The second is to gain the
ability to analyze and critique important theoretical texts in cultural studies. And the third is to develop
skills in presenting difficult and dense information in both written and oral formats.
Course Objectives:
At the end of this course, students will be able to:
1) Identify and review cultural issues in contemporary online media
2) Demonstrate an ability to synthesize lessons and readings in discussion and writing
3) Develop critical thinking tools and terminology
4) Prepare and present original research in a formal academic setting
Class Readings
There is one recommended textbook for this class. Although we may not always refer to the textbook in
class, some students might find it a useful resource as background on the history and concept of “new
media.” In the schedule, I’ve noted sections of the textbook that might be handy as a resource. You can
pick up the book at the DePaul Loop Barnes and Noble, or online.
Lister, Martin, Jon Dovey, Seth Giddings, Iain Grant, and Kieran Kelly. New Media: A Critical
Introduction, 2nd edition. London: Routledge, 2008. ISBN-13: 978-0415431613
In addition, you may want to purchase for your own reference a copy of any in the Popular Culture and
Philosophy series published by Open Court Publishing. Additional readings will be available on D2L.
Class Screenings: each week, I’ve assigned an episode of TV to watch before class. Much of the
intellectual and philosophical work in “new media” can be found in fiction and films, and I’ve
found that it sometimes helps to experience these difficult theories through televisual
adaptation. Please note that I will expect you to watch the TV episode each week and the
show may help guide our discussion. All the Black M irror screenings can be found on
Netflix. I’ve also recommended some sci-fi films that also feature the theme that week. These
films are not required, but offer a chance to explore these issues (especially if you’re having
difficult understanding the reading, the film might help give an example). The films are on
reserve in the Loop library.
Grading and Assignments:
Your grade is based on 500 points
Conference Paper 100 points
Conference Facilitation: 50 points
Synthesis Paper: 100 points
Book Chapter: 150 points
Attendance/Participation: 100 points
A
AB+
B
93-100 %
90-92 %
87-89 %
84-86 %
BC+
C
C-
81-83 %
78-80 %
75-77 %
72-74 %
D+
D
F
69-71 %
66-68 %
0-65 %
3
Conference Paper:
Each day we will hold a “conference session” in class. The conference session is intended to simulate an
actual academic conference panel. Each panel will consist of 2-3 students, each presenting a work of
original scholarship, based on the class topic for the day of the conference. Your Conference Paper
should address a significant issue in the field of new media and culture, and should be addressed to an
appropriate venue in communication, digital media studies, and/or technical communication. The paper
should include (1) a grounding in issues and problems in a relevant current literature, (2) an explication
of applicable theories and/or methods, and (3) either (a) a description and analysis of significant digital
texts/contexts or (b) a description and evaluation of a significant digital performance or production.
You will be able to sign up for the day that you want to give a paper. You should also turn in an
abstract (due the Monday before your conference presentation) that abstracts (300 words) your
topic and the venue at which you would present it. On the day of your conference presentation, you
will turn in a 1500 word paper, but for your presentation you should not simply read the paper. Instead,
present the research in an interesting and thoughtful manner. You should use some form of technology
to aid your presentation. Conference papers are due by 5:40pm the day of the conference.
Conference Facilitation:
In addition, three members of class will act as “facilitators” for the panel, and will ask questions which
expand on all the papers. These questions should move beyond summary or questions of definition, and
should expand on the work in question by relating it to the readings. Facilitators must also aid in
keeping class discussion moving after the panel. In additional, facilitators must write a summary of the
panel (1000-1200 words) that includes the question the facilitators asked and the answer the panelists
gave. Facilitation papers are due by the Monday after the conference at 5:40pm.
Synthesis:
The synthesis paper asks you to write a 2000 word synthesis of the readings for a week. You may
choose which week you wish to synthesize; however, you may not write the paper on a week when you
are giving a conference paper or facilitating the conference. Hint: Try to space things out throughout
the quarter so that you are not doing all three assignments in the last three weeks of the course.
Your synthesis should do three things: (1) draw lines of connection between the readings for the week;
(2) explore the relationship between the readings and the topic for the day; and (3) describe a new media
text that best exemplifies the readings for the week, and explicate those connections. Synthesis papers
are due by 5:40pm on the day we cover the readings.
Book Chapter:
The final paper for this class will simulate a book chapter in the popular “Philosophy and Popular
Culture” series of books (e.g., The Matrix and Philosophy, Battlestar Galactica and Philosophy, Seinfeld and
Philosophy). You will pick a popular culture text and write a chapter that uses the New Media philosophy
we’ll be discussing in class to analyze in detail that text. You may use your conference paper or your
synthesis paper as the basis for your book chapter; you must integrate the feedback if you turn it in as a
book chapter. We will be presenting our book chapters on the final exam day. I have posted an example
of a book chapter to D2L, although you are welcome to find more examples online or in the bookstore.
On the last day of class (and, if needed, the penultimate day of class), each student will give a 5-10
minute abstract presentation/summary on their chapter. This is an informal presentation that is
designed to give you and your classmates a chance to develop your ideas.
Book Chapters must be: 4000-5000 words; double-spaced; pages numbered; and properly cited
with consistent formatting. Please upload a copy of each paper (conference presentations, synthesis,
and book chapter) to D2L by 5:40pm on finals day. All work will be also be graded electronically. Please
let me know if this will be an issue for you. Also archive all your work electronically for your own
records.
4
Guideline for Assessing Grades
Late papers will not generally be accepted; if there is an emergency, you must contact me before the
paper is due and I may grant an extension; regardless, all extensions (for whatever reason) lose 5% ever
12 hours it is turned it past the deadline.
(A) The paper demonstrates a good grasp of the assigned readings. It is clear, well organized and
conforms to the norms of standard edited English. The paper also demonstrates insight and
sophistication in both content and style.
(B) The paper demonstrates a good grasp of the assigned readings. It is clear, well organized and
conforms to the norms of standard edited English.
(C) The paper is at least minimally satisfactory. A clear attempt is made to address the assignment and
the paper demonstrates at least a basic understanding of the assigned material. The main point or points
that the paper tries to make can be identified but there is some incoherent or awkward expression of
ideas. Writing may not be up to acceptable standards, and grammatical/spelling/mechanical errors may be
present.
(F-D) The paper is not turned in at all or fails to address the assignment.
Attendance
Attendance is expected. Tardiness will factor into the attendance grade, as will leaving class early.
Attendance is worth 3 points per class for a total of 30 points.
Participation
Class participation is your in-class interaction with class material. You do not have to say a lot in each
class, but you should demonstrate familiarity with the material, especially during discussions. For an
“A” grade on participation, you should be able to defend anything you say in class with reference to the
readings; personal opinions, diatribes and experiential anecdotes will result in a lower participation
grade. However, we will be using D2L extensively in this class, and your work on D2L or through
Twitter or other public online technology can add to your participation grade as well. I measure
participation by:
(1) the quality and quantity of your contributions (quality is valued over quantity);
(2) your interaction with other students;
(3) your ability to engage with the material;
(4) your ability to synthesize readings and screenings with class topics.
Class demeanor is the way we define the space of the classroom. I believe that the best classrooms are
safe spaces that are open to student/teacher interaction. In this light, students are encouraged to help
foster an environment that promotes learning and mutual respect. You should:
(1) Treat classmates and your professor with respect (e.g., not interrupting, not being rude, not
talking to your neighbor – basically, being a nice person)
(2) Pay attention in class (e.g., not daydreaming, not falling asleep – basically, acting like a good
student)
(3) Handle technology well (e.g., not playing on your laptop, not checking your cell phone –
basically, illustrating professional technology usage).
You will earn 3 points per class if you follow these guidelines; if you do not, you will lose one point per
guideline, per class. Failure to abide by these guidelines will result in a low or failing class demeanor
grade and may impact the overall course grade, at the instructor’s discretion. Cell phones are especially
distracting and I ask you to keep yours on vibrate and only check it if it is an emergency. If a cell phone
rings in class, I reserve the right to answer it; conversely, if my cell phone goes off in class, you may
answer it.
Terms of Enrollment
1. You agree that this syllabus is a contract, and that you are abiding by its terms and polities
(including grading).
5
2. You understand that any issues or problems you have with grading will be dealt with through
the policies laid out in the DePaul Student Handbook.
3. I reserve the right to change the syllabus only with notification to you.
The Dean of Students Office (DOS) helps students in navigating the university, particularly during difficult
situations, such as personal, financial, medical, and/or family crises. The DOS supports students both in
and out of the classroom in regards to, absence notifications to faculty, late withdrawals, and community
resource referrals. Additionally we have resources and programs to support health and wellness, violence
prevention, substance abuse and drug prevention, and LGBTQ student services. We are committed to your
success as a DePaul student. Please feel free to contact us at http://studentaffairs.depaul.edu/dos/.
Course Evaluations
One of your responsibilities in this course is to complete an online teaching evaluation for this class.
This course will be available for you to review during the 9th and 10th week of the quarter. Close to
that time, you will receive a notification to this effect via email. This is important information for me as
I redesign courses every time I teach them, taking into account your feedback. These course evaluations
are used by the university to determine class availability, assess course quality, and maintain student
enrollment. They are crucial, and I take them very seriously.
Disability Statement
Students who feel they may need an accommodation based on the impact of a disability should contact me
privately to discuss their specific needs. All discussions will remain confidential. To ensure that you receive
the most appropriate reasonable accommodation based on your needs, contact me as early as possible in
the quarter (preferably within the first week of class), and make sure that you have contacted the Office for
Students with Disabilities at 773-325-1677, Student Center #370.
Harassment Statement (adapted from the University handbook)
It is the policy of DePaul University that no person shall be the object of discrimination on the basis of
race, color, ethnicity, religion, sex, gender, sexual orientation, national origin, age, marital status,
parental status, family relationship status, physical or mental disability, military status, or other status
protected by local, state, or federal law in its education settings.
Further, DePaul University is committed to providing and maintaining a healthy learning and working
environment for all students, staff, faculty and other members of the University's Community, free of
discrimination and all forms of sexual and gender harassment, which diminish the dignity or impede the
academic freedom of any member of the University Community. In accordance with DePaul's
Vincentian values, its role as an educational institution, and both federal and state law, the University
condemns any form of sexual [or gender] harassment [or assault] and is committed to taking action to
prevent and eliminate all forms of them, including coercive sexual behavior. These types of harassment
also may constitute unethical conduct. Any staff member, faculty member or student found to have
engaged in such conduct is subject to disciplinary action, up to and including discharge and/or
expulsion. Sexual and gender harassment, as well as discrimination of any kind, are not only repugnant
to the DePaul community and a violation of this policy, but may be criminal offenses according to
Illinois or federal law. Members of the university's community who have been found in violation of
statutes related to sexual harassment and/or assault may be subject to additional University
disciplinary action.
If any members of this class are considered to be in violation of these standards, I will have no qualms
about reporting them to the University. Please be respectful of all students, faculty, and staff.
Statement of Academic Integrity
Violations of academic integrity will not be tolerated in this class. This includes passing off someone
else’s work as your own by not citing sources, as well as copy/pasting from the Internet. You are
welcome to use the thoughts and ideas of other people – just make sure to cite them! I encourage the use
6
of online resources, and expect that they will be cited correctly. This includes online sources such as
Wikipedia. Further, using material prepared for a different class, either this semester or a previous
semester, is considered an act in violation of academic integrity. Work for this class should be original,
and should originate in this class. Exceptions to this rule may be granted if discussed with me and the
other professor beforehand.
The DePaul Student Handbook defines plagiarism as follows: "Plagiarism includes but is not limited to
the following: (a) The direct copying of any source, such as written and verbal material, computer files,
audio disks, video programs or musical scores, whether published or unpublished, in whole or in part,
without proper acknowledgement that it is someone else's. (b) Copying of any source in whole or in part
with only minor changes in wording or syntax even with acknowledgement. (c) Submitting as one's own
work a report, examination paper, computer file, lab report or other assignment which has been
prepared by someone else. This includes research papers purchased from any other person or agency. (d)
The paraphrasing of another's work or ideas without proper acknowledgement."
In sum, teacher/student relationships are built on trust. Students must trust that teachers have made
appropriate decisions about the structure and content of the courses they teach, and teachers must trust
that the assignments which students turn in are their own. Acts which violate this trust undermine the
educational process. I expect that all information taken from other sources will be properly cited in
your papers. While I do not mind which style you use, you should be consistent. My personal favorite
style is Chicago style. For information about how to cite in Chicago style, you may find the following
book useful:
Turabian, Kate L. A Manual for Writers of Research Papers, Theses, and Dissertations, Seventh Edition:
Chicago Style for Students and Researchers (Chicago Guides to Writing, Editing, and Publishing),
University of Chicago Press, 2007
The first time someone is caught plagiarizing, he/she will get an F on the assignment, the severity at
my discretion. The second time, he/she will fail the course. Please refer to your Student Handbook or
visit Academic Integrity at DePaul University (http://academicintegrity.depaul.edu) for further details.
7
Class 01: Thought, Being, and Space
Readings:
Forster: “The Machine Stops”
Topic: Introduction, New Media and Culture
Recommended:
NM: 1.1–1.3
Class 02 New Media
Topic: New Media
Readings:
Jenkins: Introduction to Convergence Culture
Manovich: “What Is New Media” (pp. 27-48)
Nichols: “The Work of Culture”
Screenings: Black Mirror: “The National Anthem”
Recommended:
Videodrome
NM: 1.4–1.6
Class 03 New Media Thought
Topic: Hyperreality, Simulation, and Mediation
Readings:
Recommended:
Baudrillard: “The Precession of Simulacra” (pp. 1-19)
The Matrix
Booth and Ekdale: “Hyperreal Office”
NM: 2.1–2.3
Schroeder: “Playspace Invader”
Screenings: Black Mirror: “The Waldo Moment”
Class 04 New Media Thought 2
Topic: The Economies of Online:
Readings:
Recommended:
Benkler: The Wealth of Networks, Chapter 1
Rip: A Remix Manifesto
Jenkins, Ford, and Green: “Reappraising the Residual”
NM: 3.4–3.10
Terranova: “Free Labor…”
Screenings: Black Mirror, “15 Million Merits”
Class 05 New Media Being 1
Topic: Participation
Readings:
Delwiche and Henderson: “What is Participatory Culture?”
Enzenberger: “Constituents of a Theory of the Media”
Jenkins: “Quentin Tarantino’s Star Wars…”
McChesney: “What is the Elephant…?”
Screenings: Black Mirror: “White Bear”
Recommended:
The Thirteenth Floor
NM: 3.13–3.16
Class 06 New Media Being 2
Topic: Identity and Community
Readings:
Recommended:
Nakamura: “Race In/For Cyberspace”
Gattaca
Neely: “Making Bodies Visible”
NM: 3.17–3.24
Papacharissi: “A Networked Self”
Shaw: “The Internet is Full of Jerks”
Screenings: Black Mirror: “The Entire History of You”
8
Class 07 New Media Being
Topic: Technology and the Body
Readings:
Gunkel: “Can Machines Have Rights?”
Hayles: “Toward Embodied Virtuality?”
Sundén: Introduction to Material Virtualities
Screenings: Black Mirror: “Be Right Back”
Recommended:
Blade Runner
NM: 5.1-5.3
Class 08 New Media Being 3
Topic: Gaming and Play
Readings:
Dixon and Weber: “Playspaces”
Jenkins: “Game Design as Narrative Architecture”
Ito: “Mobilizing Imagination”
Screening: Download and play ONE of these games: The Room, Device
6 (iProducts only), The Silent Age
Recommended:
eXistenZ
NM: 4.4
Class 09 New Media Space 1
Augmented and Virtual Reality
Readings:
Baudrillard: "Aesthetic Illusion"
Booth: “The Quest of the Magi”
Chess: “Augmented Regionalism”
Screening: Download and play Ingress
Recommended:
Strange Days
NM: 2.6–2.8
Abstract Presentations
Class 10 New Media Space 2
Topic: Mobility and Surveillance
Readings:
Recommended:
Andrejevic, “Surveillance in the Digital Enclosure”
Minority Report
De Souza e Silva and Sutko: “Placing Location…”
NM: 5.4
Hjorth: “Domesticating New Media”
Screening: John Oliver interview with Edward Snowden
Abstract Presentations
Final Exam
Book Chapter Due
Presentations
9
Bibliography
Andrejevic, Mark. "Surveillance in the digital enclosure." The Communication Review 10.4 (2007): 295317.
Baudrillard, Jean. “Aesthetic Illusion and Virtual Reality” (1997). In Reading Images, edited by Julia
Thomas, 198-206. New York: Palgrave, 2000.
Baudrillard, Jean. Simulacra and Simulation. Translated by Sheila Faria Glaser. Ann Arbor: University of
Michigan Press, 1994.
Benkler, Yochai. The Wealth of Networks. New Haven, CT: Yale University Press, 2006. Available at:
http://www.benkler.org/wonchapters.html.
Booth, Paul. “Quest of the Magi: Playful Ideology and Demediation in MagiQuest.” In Produsing Theory
in a Digital World, edited by Rebecca Ann Lind, 69–85. New York: Peter Lang, 2012.
Booth, Paul, and Brian Ekdale. “Translating the Hyperreal (Or How the The Office Came to America,
Made Us Laugh, and Tricked Us into Accepting Hegemonic Bureaucracy).” In American Remakes
of British Television: Transformations and Mistranslations, edited by Carlen Lavigne and Heather
Marcovitch, 193-210. Lanham, MD: Lexington Books, 2011.
Chess, Shira. "Augmented regionalism: Ingress as geomediated gaming narrative." Information,
Communication & Society 17.9 (2014): 1105-1117.
De Souza e Silva, Adriana, and Daniel M. Sutko. “Placing Location-Aware Media in a History of the
Virtual.” In The Long History of New Media, edited by David W. Park, Nicholas W. Jankowski,
and Steve Jones, 299-316. New York: Peter Lang, 2011.
Delwiche, Aaron and Jennifer Jacobs Henderson. “What is Participatory Culture?” In The Participatory
Cultures Handbook, ed. Aaron Delwiche and Jennifer Henderson, pp. 3–9. New York: Routledge,
2013.
Dixon, Shanly, and Sandra Weber. “Playspaces, Childhood, and Videogames.” In The New Media and
Technocultures Reader, edited by Seth Giddings with Martin Lister, 480-490. New York:
Routledge, 2011.
Enzenberger, Hans Magnus. “Constituents of a Theory of the Media.” In The New Media Reader, ed.
Noah Wardripp-Fruin and Nick Montfort, pp. 259–276. Cambridge, MA: The MIT Press, 2003.
Original Publication: New Left Review (64) 13-36. Nov/Dec 1970. Reprinted in Enzensberger,
Hans Magnus, The Consciousness Industry, trans. Stuart Hood. New York: Seabury Press, 1974.
Forster, E.M. “The Machine Stops.” Online.
Gunkel, David. “Can Machines Have Rights?” ASU Governance of Emerging Technology (2013):
http://gunkelweb.com/lectures/Gunkel_ASU_transcript2013.pdf
Hayles, N. Katherine. How We Became Posthuman. Chicago: University of Chicago Press, 1999.
Hjorth, Larissa. “Domesticating New Media: A Discussion on Locating Mobile Media.” In The New
Media and Technocultures Reader, edited by Seth Giddings with Martin Lister, 437-448. New
York: Routledge, 2011.
Ito, Mizuko. “Mobilizing Imagination in Everyday Play: The Case of Japanese Media Mixes.” In The
New Media and Technocultures Reader, edited by Seth Giddings with Martin Lister, 492-505.
New York: Routledge, 2011.
Jenkins, Henry, Sam Ford, and Joshua Green. Spreadable Media: Creating Calue and Meaning in a
Networked Culture. New York, NY: New York University Press, 2013.
Jenkins, Henry. “Game Design as Narrative Architecture.” In First Person, edited by Noah WardrippFruin and Pat Harrigan, 118–130. Cambridge, MA: MIT Press, 2004.
Jenkins, Henry. “Quentin Tarantino’s Star Wars: Grassroots Creativity Meets the Media Industry.”
Convergence Culture: Where Old and New Media Collide. New York: New York University Press,
2006.
Jenkins, Henry. Introduction to Convergence Culture: Where Old and New Media Collide. New York: New
York University Press, 2008.
Lister, Martin, Jon Dovey, Seth Giddings, Iain Grant, Kieran Kelly. New Media: A Critical Introduction,
2nd edition. London: Routledge, 2008.
Manovich, Lev. The Language of New Media. Cambridge, MA: The MIT Press, 2001.
McChesney, Robert. “What is the Elephant in the Digital Room?” In Digital Disconnect: How Capitalism
is Turning the Internet Against Democracy, 1-23. New York, NY: The New Press, 2013.
10
Nakamura, Lisa: “Race In/For Cyberspace: Identity Tourism and Racial Passing on the Internet”
(2000). In Reading Digital Culture, edited by David Trend, 226-235. Malden, MA: Blackwell
Publishers, 2001
Neely, Sarah. “Making Bodies Visible: Post-feminism and the Pornographication of Online Identities.” In
Trangression 2.0: Media, Culture, and the Politics of a Digital Age, edited by David J. Gunkel
and Ted Gournelos, 101–117. New York, NY: Continuum.
Nichols, Bill. “The Work of Culture in the Age of Cybernetic Systems.” In The New Media Reader, edited
by Noah Wardrip-Fruin and Nick Montfort. Cambridge, MA: The MIT Press, 2003.
Papacharissi, Zizi. "A Networked Self Identity Performance and Sociability on Social Network Sites."
In Frontiers in New Media Research, edited by Francis L.F. Lee, Louis Leung, Jack Linchuan Qiu,
Donna S.C. Chu, pp. 207-221. New York: Routledge, 2013.
Schroeder, Randy. “Playspace Invaders: Huizinga, Baudrillard and Video Game Violence.” The Journal of
Popular Culture 30, no. 3 (1996) 143-153.
Shaw, Adrienne. “The Internet is Full of Jerks, Because the World is Full of Jerks: What Feminist
Theory Teaches Us About the Internet.” Communication and Critical/Cultural Studies (2014): 1–5.
Sundén, Jenny. Material Virtualities: Approaching Online Textual Embodiment. New York: Peter Lang,
2003.
Terranova, Tiziana. “Free Labor: Producing Culture for the Digital Economy.” Social Text, 63 18, no. 2
(2000): 33-58.