Out a year ago, Many Splendored Things is being read by game scholars, which is fantastic. Adding to the thrill, some of them like it. Recent reviews are out from Ashley Darrow for the Manchester Game Studies Network and from Miguel Sicart for a WiderScreen special issue on sex and play. I’m taking Sicart’s definition of this being “one of the most important books on play” as an objective fact.
Category Archives: academic pleasures
An excerpt from our new book with Kylie Jarrett and Ben Light, NSFW: Sex, Humor, and Risk in Social Media, is up at Literary Hub, just here. With the title, “What does ‘NSFW’ Mean in the Age of Social Media?”, it’s actually the first part of our chapter on dick pics and looks at the different roles that humor and gendered naked bodies play in the viral logics of social media.
Edited by Anne Fleig and Christian von Scheve, Public Spheres of Resonance: Constellations of Affect and Language, is out with Routledge. It has a fabulous lineup, from Anna Gibbs to Britta Timm Knudsen and Ann Cvetkovich. And me! My contribution is titled “Resonant Networks: On Affect and Social Media” and, well, asks how the concept of resonance may work in studies of social media. This is the intro/abstract:
In an era of clickbait journalism, Twitter storms, and viral social media campaigns varying from social protest to commodity promotion, it has become strikingly clear that networked communications are not merely about critical rational exchange or functional information retrieval, but equally – and perhaps even more explicitly – an issue of affective exchanges and connections of both the fleeting and more lasting kind. As argued in this chapter, the notion of affective resonance provides a means of accounting for encounters with the world in which bodies move from one state to another, and possibly become transformed in the process. This conceptualization is hardly specific to online phenomena as such, and it is used here to explore affective encounters between people, networks, interfaces, apps, devices, digital images, sounds, and texts in the context of social media. Moving from my own considerations of resonance in connection with online pornography to examinations of the role, both pronounced and not, that affect has played in Internet research, this chapter asks how affect matters and makes things matter in a contemporary media landscape driven by the quests for attention, viral circulation, and affective stickiness.
Edited by the one and only Ricky Varghese, and in the making for quite a while, RAW: PrEP, Pedagogy, and the Politics of Barebacking is freshly out from University of Regina Press. It includes “Strange optimism: Queer rage as visceral ethics”, my exchange with Paul Morris of Treasure Island Media looking at how the notion of ethics might map onto their production practices and Paul’s career in pornography more generally. I continue to believe that we need more dialogue with people producing the objects we study, are we to better understand how they perceive the significance, context and purpose of it all. Working with Paul is always surprising and pleasurable – and of course this book has the best cover.
In a surprising turn of events, I will get to interact with game studies galore during the coming academic year. In October, I’ll be keynote for the 13th Philosophy of Computer Games conference, “Aesthetics of Computer Games” in St. Petersburg and, next June, at DiGRA 2020, “Play is Everywhere”, in Tampere. Very exciting, and just a tad intimidating, given that I am no game studies scholar. But I’ll play!
Happy news from the Academy of Finland, which has granted Strategic research funding for our consortium, Intimacy in Data-Driven Culture (IDA, first research period 2019-2022). This is a collaboration between University of Turku (media studies, law, ICT), Tampere University (gender studies, media and communication), Åbo Akademi (law) and Aalto University (design), with a fabulous group of researchers, academic and societal board members, and collaborative stakeholders. As PI, I’m very excited. Here’s the summary:
IDA examines the tension between digitalization, data-driven media, and the possibilities for, and the rights to intimacy in contemporary Finland. As a range of activities from work practices to personal connections are increasingly organized through digital devices, applications, and services that both generate and leak data, considerations of intimacy need to extend to the infrastructural roles that digital technologies play in the functionality of private, social, occupational, and collective lives. It is further crucial to analyse how vulnerabilities connected to digitalization – from the difficulties of privacy management to sexual grooming, harassment, and abuse – impact people differently according to their age, gender, sexuality, dis/ability, ethnicity, and occupational status, and what tactics of resilience and protection they necessitate. And as public concerns on data breaches and third-party uses of personal data have grown increasingly manifest, it is necessary to also ask what ethical methodological possibilities are best suited, or can be developed, for understanding data traffic, user agency, consent, and rights.
Bringing together scholars from media and communication studies, computer science, law, design research, game studies, and gender studies, and combining qualitative inquiry with computational analysis, IDA produces new knowledge and public understanding on the impact of data-driven culture and develops ethical and socially sustainable data practices together with stakeholders ranging from public institutions to NGOs, civic and professional organizations. IDA brings scholars together with stakeholders and opinion leaders and therefore has a unique opportunity to generate high impact societal debate. It critically examines datafication within the current digital economy, asking how it is experienced, made sense of, and resisted, and what solutions remain available for developing socially sustainable data-driven culture.
The consortium first analyses the impact of data-driven culture on people’s different social roles and relations as citizens, immigrants, family members, parents, adolescents, caretakers, employees, entrepreneurs, friends, and sexual partners, the intimacies that these involve, and the vulnerabilities that this gives rise to. Second, the consortium inquires how intimacy functions as a contested resource in data-driven creative labour, public careers, and social connections. Third, IDA explores and develops democratic ways of managing, protecting, sharing, and using personal data, bringing considerations of intimacy together with those concerning privacy.
In my much younger years, I was trained as a film scholar. Even before that, I had a fascination for Yul Brynner’s star image. While I more rarely work on film these days, the Yul fascination has never gone away. Two years ago, I wrote some of this up in an article that’s just out with Screen, titled “Striking poses: the fantastic figure of Yul Brynner” – and, behold, the issue cover comes with a Yul in drag. Since this is a penultimate pet project, the fact makes me very happy. And here’s the abstract:
Since his successful 1956 appearances in the Hollywood films The King and I (Walter Lang), Ten Commandments (Cecil B. DeMille) and Anastasia (Anatole Litvak), Yul Brynner’s star image emerged as elaborately masculine, foreign and exotic, as well as markedly flexible in the range of ethnicities that it was set to convey. Combined with his varying mythical tales of international origins and sexual prowess, Brynner’s intense gestural register and striking body aesthetic, as encapsulated in the trademark baldness, rendered the actor a spectacular sight in 1950s Hollywood. In fact Brynner’s mere physical presence dominates many of his films in ways suggestive of elasticity between acting and presence, role and actor – as well as of the centrality of screen presence more generally. This article explores Brynner’s fantastic cinematic figure image in terms of its fabrication, flexibility and reappearance by examining both his film work and biographical accounts. It tracks transformations and continuities in Brynner’s performance style with specific attention on its idiosyncratic and repetitive elements in terms of pose, gesture and motion, with the aim of foregrounding the role of physicality – both material and represented – in the creation of star image.