Love or Loathe Loose Ties? Laugh and Learn about Social Media Norms with Garfunkel and Oates

If you connect ML4ML with all your facebook friends, we promise to always wish you a happy birthday with lots of exclamation points, clever punctuation, and emojis, when prompted by an alert message, unless we forget or have something else to do--which you will be totally okay with because we don't really know each other anyway, we just like some of the same things, maybe. Yeah, emerging online behavior norms and interpersonal ethics are pretty tricky. If we are going to have any hope of sorting out the emotional confusion between our close friends and myriad acquaintances that our social media apps refer to as our "friends," we need to activate our digital media literacies. With help from musical parody act, Garfunkel and Oates, let's see how laughing with their song "Happy Birthday to My Loose Acquaintance" can help us consider some key questions about emerging interpersonal ethics.

"We coexist in a mutually unstated /unattached cohesion that facebook created...
to keep our minor affinity with minimal maintenance"

This song has a couple of brilliant moments, like the lyrics in the caption above, that offer tight definitions of what Internet scholars call "loose ties," connections to people that only exist through shared interests or other mutual acquaintances, often supported or created by digital algorithms in social networking apps and maintained with minimal attention and effort. This post offers resources for using the Garfunkel & Oates song to explore the value of loose tie relationships in social media, and how they affect our behavior, beliefs and attitudes towards friendship. First, enjoy a hot minute of crack-up from G&O:

Above is my Vialogues post with the embedded video featuring my annotated discussion questions and comments, and here is a link to a pdf of those notes. I have also uploaded the lyrics text, and my annotated questions/comments to Genius (embedded below), the awesome annotation app that I highly recommend (there is a way to get a free educator account to restrict the annotation/ discussion to your group's work, but my post is public). So, you can 1) focus on the lyrics conversation through Genius if that works best for your group, 2) start a group Vialogue of your own (or add to mine); or 3) do the group analysis analog, without tech, using the annotated printout pdf to support discussion for a group viewing or listening session. I also did a Vialogue post of just the lyrics, and here is a link to a pdf of the lyrics.

Read “Happy Birthday to My Loose Acquaintence” by Garfunkel & Oates on Genius

Once you've had a good discussion of this song, it can make for a nice model of how parody can be constructive (and instructive). Making funny songs is actually really hard (I'll reflect on my own experience in a musical comedy writing workshop in an upcoming post), but young media makers often strive to make their peers laugh through mocking familiar behaviors in the style of pop culture media they enjoy. It's hard to fine good models of doing parody to spark constructive discussion--so, this sort of video/song and discussion provide an opportunity to link analysis to learner's own production interests. Look for a post soon about some strategies for making musical comedy.

Often the best question to ask is the simplest; so, I recommend asking: Why is it funny? Ask for any given joke, like the line "Happy birthday dear person who I sort of know." The typical response is that it’s funny cuz it’s true. But that’s pretty weak. Push for better articulation. For this song, I think it’s more accurate to say that it’s funny because it seems like a contradiction ["dear person” instead of friend, who I “sort of know”] that many of us use without thinking about it. This makes us conscious of our error, and the inconsistency is funny (partly because it’s safe too, since so many people do it, we’re not feeling like the outcast or feeling like we’re cruelly singling others out). It’s nice to know we are wired to get pleasure from finding out our own mistakes and foibles.

Modern Farce, a Symphony of Screens: Modern Family Plays on the "New Normal"

Is your screen time out of control? It's tough to judge how our own digital media use is affecting us, but it's easy to judge characters on sitcoms--that's what they're there for! As far as I know, last week's episode of ABC's Modern Family (Season 6, Episode 16, "Connection Lost") was the first major network sitcom broadcast to set its comedy completely within the ubiquitous screens its characters use to communicate with each other.

Last week's Modern Family episode unfolds entirely on Claire's laptop screen, shot on Apple devices, portrayed in "real time"--ripe for media literacy inquiry.

This fantastic farce of misapprehension, misplaced assumptions, and dubious online ethics offers an opportunity for us to reflect on how digital environments have become a new norm as a setting for our daily dramas.

The gags call our attention to the limitations of the media we use to communicate and problem-solve, and to how they may complicate our attempts to understand and represent ourselves and each other. There's a central theme around parental surveillance, or as Haley says to her mom, "It's called privacy--Google it!" The production choices--sliding between frames, opening and closing windows, using natural sound from other media--all heighten the hilarity (IMHO), and it's in real time; so, I think we can look at this as innovative from an artistic perspective. It can also be seen as a relentless informercial for Apple products, which were used to shoot entire the episode and provide the context for show's dramatic action--the ultimate target for some analysis of native advertising techniques (but wait, Apple says they did not pay a penny!...). This is a mess for media literacy inquiry if there ever was one!

I think this whole episode is worth a group viewing, and can be used to connect with a wide range of media literacy issues for high school, college and adult learners in English or media studies classes. It's a great way to start an exploration of new literacies, multimodality, new media literacies, or critical media literacy in teacher education classes. Youth media groups and media arts classes can also benefit from studying the production techniques used in this episode to represent online experience in a televisual medium (in this regard, it's also great for comparison to this Portlandia clip discussed in a prior post). My (bad) instinct is to try to do it all, to milk a text with such rich possibilities for all its worth, and to offer multiple paths for diverse interests that we jigsaw together. So, after the jump, I'll set up a series of interest groups with particular things to look for and discuss in this episode, and you pick and choose to focus on what will work for you and yours. Deal? Deal.

"Historical Context, It's Why Old People are Sad" (and why ML4ML is Back!)

Where have you been? Well, as you can see from yesterday's new post, ML4ML is back! Our beloved blog has been on hiatus while I finished my dissertation contributing to the history of media literacy--here's a clip of my defense:
Whoops! That was just an approximation of the process brought to you by the funny folks at BYUtv's Studio C, but dissertation defenses do get a bit medieval, and literally reach back to medieval times. My advisor literally told me to "Bring a sword," and that she loves "the ritual," which many describe in terms of brutality and torture. Speaking of which, I won't get it into what my historical research is about here--it's not funny enough, yet. But I will offer the following clip from The Daily Show with Jon Stewart to emphasize the importance of context, and in particular historical context.

Obama: I'm a single mom, and at the end of the month, 

              it's really hard for me to pay the bills.

Stewart: That's not why you lost. Actually, that joke was brought to you by Context.

              Context, look at how silly the world would be without Context. 

In this post (after the jump), I recommend using the Daily Show clip below to remind us how much knowledge it takes for jokes about current events in the news to make sense (this clip is from just last November, the day after the GOP won back the U.S. Congress in overwhelming fashion in the midterm elections), and how accurate representation is not just about showing real images and quoting accurately.

Wilmore asks, "Doth we protest too much?": Media Literacy and the State of the Black Protest OR "Trying not to get shot on our way to work"

With the Department of Justice report on the Investigation of the Ferguson Police Department released this week, media literacy educators everywhere should be supporting learners in analyzing how news producers and audiences are responding and representing the findings in relation to media representation of race and social justice. Beyond analysis, it is vitally important for students to see how their work and participation matters.

On the Harry Potter Alliance's successful protest of Warner Bros. to ensure all chocolate with Harry Potter's likeness was fair trade, Wilmore quipped:
"After Ferguson and Garner, it bugs me a little bit that in 2014 this is the only chocolate that got justice... But my point is, they succeeded. Okay, so they can work. There is hope."

Without a connection to civic engagement, media literacy analysis can lead students to feel cynical about their own power to make change. But often, learners are already cynical about politics and have little awareness of how their own participation, online and off, can and does have an impact. In this post, we'll look closely at some comedy about anti-racism protests to start discussion of our own feelings about civic engagement. On his debut show on MLK day, Nightly host Larry Wilmore posed questions about the "State of the Black protest." Just as Wilmore used his jokes about protests to set up the topic for his panel, the segment offers media literacy educators a compelling way to engage learners in media analysis of Wilmore's comedy to launch subsequent discussion of how students feel about protests, which are media events themselves, and about other forms of engagement for emerging digital citizens.

Wilmore's humor considers both cynicism and hope for effective civic action while provocatively connecting to issues of social justice and race representation in media. Through analyzing the following segment (posted with suggestions after the jump), your group will be primed to discuss a range of questions linking their media literacy with civic engagement: What issues are worth public protest? What can/do/should protests achieve (expression of outrage, articulation of demands, public awareness, tangible change, an outlet to diffuse violent uprising)? What methods should protests take (including in the digital sphere)? What level of disruption of daily life do protests merit? How/when should news media cover public protests (and when should you spread the word or participate)? Can protests today address race issues effectively? What other sorts of civic action can make change in response to public issues, particularly issues involving Black men and law enforcement? How does your digital participation matter when you represent yourself and your views, and when you pay attention, comment, share or otherwise engage with these issues? Suggestions and examples for connecting media analysis of the clip to these larger questions about civic action, social justice, race and media representation--all appear after the jump below the embedded clip.

Medieval Help Desk Reminds Us to Play to Learn

With new apps, new operating systems, and new devices delivering our daily information and entertainment for work and play, learning how to learn about new media technology is an essential part of media literacy. So how do we gain greater access to access? Start a discussion of strategies for learning new media technology with this classic video, "The Medieval Help Desk," from the Norweigan show "Øystein og jeg" (2001) written by Knut Nærum (with English subtitles).
The comedy setting is the moment when bound books replaced scrolls as the medium of choice for recording written knowledge. The difficulties between the monk and the new book medium offer opportunities to examine our own strategies for learning new interfaces, and the tech support character presents an example for us to compare to the teaching techniques that work and fail for us around acquiring new media skills.  For me, the new book-user monk's reluctance to play around with the book on his own is most poignant. His fear of messing up or losing data keeps him from engaging in the play that he needs in order to learn--and the tech support monk does not help him towards that exploration.

After the jump, I suggest a few questions for pre-viewing discussion, analysis of the humor and discussion about strategies for teaching and learning to use new communication technology.

Workshop Launches ML4ML at Open Mics, Open Minds Symposium

Well, we made the leap to launch, and now ML4ML is open for the sharing. Thank you to our workshop attendees at University of Rhode Island's humor communication symposium, Open Mics, Open Minds: An Exploration of Social Issues through Standup, organized by Writing&Rhetoric PhD. pursuant and kickboxing English language educator Jillian Bellanger. Special thanks to Renee Hobbs and the Harrington School of Communication & Media for hosting the event.

The one day symposium brought together an exciting mix of academics, educators, and comedians to talk about theory, practice and effects of humor communication. Identity politics in comedy was a central theme as keynote speaker Jerry Zolten reviewed the history of standup as revolving around ethnic and gender stereotypes from early 20th century acts mocking their own minority identities for White audiences to more modern comics challenging racist and sexist attitudes from multiple perspectives. Many of the workshops discussed the power dynamics between comedians and audiences, as well as teachers and learners, in relation to representations of social issues in humor. I loved hearing the mix of perspectives from practitioners of comedy on the stage alongside teachers using comedy in the classroom and scholars trying to know something about how humor works. And I thought it was a stroke of genius to place everyone in the position of comedy makers in the afternoon writing workshops, which was an eye-opening blast.

The conference convinced me that research agendas should emerge from such conversations between the various stakeholders in comedy discourses. I was left thinking about lingering questions raised at the conference: How do we create a safe and inviting forum for people to discuss their discomfort and offense around issues of race, gender and sexuality? What does a focus on humor about social issues in an educational or academic setting facilitate and inhibit for discussion of identity representations in media and our personal senses of social identity? When and why does humor open minds versus reinforcing firmly held beliefs and attitudes?

We'll see how responses to these questions unfold around for future posts and comments on ML4ML.

Clearing Social Media Debts: Do You Need a "Human Bandwidth Manager"?

Overloaded with email? Tired of tweets? Pissed at pinterest? Instaslammed? If you ever feel guilt from neglecting social media participation or fatigue from trying to fit in connecting to all your online "friends," you're in good company. On last week's Portlandia episode (Season 4, Episode 3), Carrie Brownstein declares "Social Bankruptcy" taking the "nuclear option" to erase herself from the Internet and social media against the advice of her "human bandwidth manager." Kick off a discussion about love/hate relationships with social media using this clip.
The premise of posing a financial counselor for social media participation may be particularly poignant for college students, powerfully casting our time spent online as an investment. Possible discussion questions to pose before viewing: What are the techniques used to deliver the humor? What's the premise for each joke? What messages does the sketch deliver about the costs and benefits of retreating from social media use? What values and lifestyles are represented? What would happen to you or your friends if you took similar action to Carrie? How do you balance and value your social media participation and offline activities? Discussion could connect to classic media literacy activities like keeping a media diary/log for a week to assess your own time management and types of engagements, or experimenting with a media retreat to gain perspective on our investments in online culture and relationships.

An avalanche of messages buries Carrie. How would you visually portray your relationship to social media? 

The opening sequence of the Portlandia sketch visually communicates the prominence of social media messages in Carrie's character's life. How would you visualize the role of social media in your life? Production activity extensions might include making short documentaries on your social media commitments, or those of friends and family; or making your own comedy sketches to exaggerate the cost/benefits and parody media management strategies. You might even try creating interview scripts for the "human bandwidth manager" and improv roleplaying to discuss media management strategies.

Using humor to introduce discussions of love/hate relationships with communication technology may help to keep participants open to learning about each others strategies and styles of media management, rather than slipping into a mess of judgmental jockeying and defensiveness--especially with this sketch that gets at familiar feelings, both positive and negative. By showing the costs of extreme immersion and extreme withdrawal, the sketch opens up space discuss strategies of balance for digital media participation.

Soundtracking Senator McConnell: Mobilizing Remix in Politics

Last night, Jon Stewart invited Daily Show viewers to join in the fun of setting a two and a half minute wordless campaign ad from Senator Mitch McConnell (R-KY) to music. As a moderate liberal democrat incensed by McConnells socially conservative republican leadership, Stewart regularly mocks McConnell on the show, often simply for his diction and appearance, which Stewart apes in the character of Cecil the Turtle from Looney Tunes.

Click the pic to see Stewart's call for remixing McConnell's campaign ad.

Aside from the obvious juvenile derision of a political adversary, Stewart's bit poses as pure Internet silliness--fun with remix culture. He shows the same few seconds of the ad with several different songs, showing how the music can change the message in myriad humorous ways. This suggests a fun and fruitful media literacy exercise lesson for any age group (hint: you don't have to use McConnell!). I'll offer some specific ideas and reflections on my experience doing similar remix activities with students (and Girl Scouts!) to develop media literacy after the jump. However, partisan political attacks aside, this Daily Show clip is more than just a call to mockery; buried in the lead is an important lesson on remix and convergence culture in politics. Stewart points out that McConnell most likely posted this 2m30s wordless ad in order to facilitate Super Pacs (political action committees) using and remixing the images in their own ads to support his campaign. Super PACs can collect and spend unlimited funds on political ads without disclosing sources of the money (as candidates must for donations over a certain amount), provided there is no collusion or communication between the politician and the Super PAC [Colbert did an absolutely hilarious series of segments exploiting and exposing how Super PACs work--a brilliant teaching resource on the topic]. Ask: How does McConnell's alleged strategy work? How does he intend to benefit? How do voters lose out in the process? So, McConnell offers these images to the public, affording him some direct control over his public image portrayed in remixed ads by the Super PACs supporting him without directly communicating with them.
[After the jump: More on this, w/ the Daily Show clip and ideas for soundtracking lessons for media literacy]

Limitations of the Medium: The Gettysburg Address Powerpoint

As I prepare for a few speaking engagements at academic conferences next weekend, I am keeping in mind lessons learned about what powerpoint presentations giveth, and what they taketh away from effective communication by sharing this classic by Peter Norvig--The Gettysburg Powerpoint Presentation.

Exploring various media in terms of their affordances and limitations is a classic approach to semiotics, and I wish all presenters considered how this powerpoint totally decimates the power of Lincoln's speech while still abiding by many principles for presenting clear information. It's a great piece to discuss with students before they design presentations, particularly in public speaking classes. What does the speech communicate that visuals do not? What makes the speech effective? Why are the visuals less effective? It also presents an opportunity for social studies students in middle school and high school to create a more effective powerpoint presentation for the speech. I'd introduce an audio recording or professional performance in a still shot on video, then show the powerpoint, and then show the clip from Ken Burns' Civil War--and ask students to shoot for something somewhere between Norvig's satire and Burns' film. Students could also go the other direction, and add all sorts of flashy visuals, video clips and preposterous image collages to create their own Gettysburg Address Powerpoint presentations that humorously show the limitations and common abuses of powerpoint features in public speech communication. Norvig has also posted a great story about the making of his powerpoint and the response he's gotten from it.

Back in 2003, Wired magazine hosted a "debate" of sorts pitting the view that "Powerpoint is Evil" from Yale Professor Edward Tufte, author of the Cognitive Style of Powerpoint monograph, against "Learning to Love Powerpoint" from new wave rock God and avant-garde artist David Byrne (front man of the Talking Heads). Tufte bemoans the use of Powerpoint in schools, arguing that the constraints of the software encourage poor visual communication. Byrne discusses how he moved from feeling limited by the software to exposing its limitations through mockery to transcending its constraints in art. Especially for college courses discussing multimodal composition, Tufte's tirade and Byrne's celebratory transcendence make for a fascinating contrast to approaching communication tools and how they shape our discourses. For any class, Byrne's art illustrates how playing with the affordances and limitations of media offers avenues for both critical commentary and self expression. DJ Alchemi posted a nice review of Byrne's powerpoint art in 2004 after arguing that the Tufte/Byrne "debate" was bogus. He also links to an NPR discussion with Byrne and some more presentation software art from DJ Spooky (using Keynote). I really like the idea of designing multimodal composition lessons starting with Tufte's critique and following Byrne's learning curve from mocking the medium in the medium as a means for learning its affordances and limitations, to transcending the rules and habits of communication imposed by the medium for artistic commentary, critique and self expression. So, there's an idea. Any takers?

And here's a bonus image for your Friday pleasure...

 I want a poster of this in my classroom.

"Strong Female Protagonist" Web Comic Features Strong Female Protagonist

I once heard someone say they were paraphrasing Mark Twain as saying, "The sign of a gifted intelligence is the ability to be ironic and sincere at the same time." By that standard, Strong Female Protagonist is a seriously smart comic--and funny, too.

Writer Brennan Lee Mulligan and artist Molly Ostertag spoof on the superhero genre while exploring the everyday struggles of female adolescence, as protagonist Alison Green, a.k.a. Mega-Girl, struggles to make a difference in the world beyond fighting and violence while negotiating celebrity culture.

Looking at what makes Alison/Mega-Girl different from most comic book heroes presents an opportunity to learn about the limitations of typical superhero comics. For a quick introduction, there's a great overview of the plot, characters and style of the comic by Mey in her "Drawn to Comics" column over at the Autostraddle blog ("News, entertainment...and Girl-On-Girl Culture"). I think this comic would make a great addition to any study of media constructions of heroism in high school or college English/Film/Media classes, particularly in relation to superheroes in comics or film genres where relatable "Strong Female Protagonists" are few and far between and questionable to downright sexist portrayals of women characters masquerading as good role models are the norm. More images and ideas after the jump.
[The comic includes some profanity and sexual situations, including same sex and transgender themes; as always, preview the content for your learning community to assess appropriateness].