December 2008 Archives

Greetings to anyone coming to this site via the mySingapore Twitter stream! To provide you with some context, my name is Geoffrey Long and I'm the Communications Director for the US side of the Singapore-MIT GAMBIT Game Lab. In early December 2008 I flew from chilly Cambridge, Massachusetts to sunny Singapore to help our Singapore lab present at SIGGRAPH Asia 2008 and to see Singapore for the first time myself. Armed with my trusty Canon PowerShot SD890 IS, I decided to keep a running videoblog of my experiences there – and the results are below. You can also find still photographs from my trip in this Flickr album.

And now, the links:

• SG0801: The kickoff! Wherein our hero gets things going from the tarmac at Logan International Airport in Boston.
  
  
• SG0802: Heathrow. Wherein our hero reflects on the pug ugliness of Heathrow Airport's new Terminal 5, which looks like the Airport That IKEA Built - and not in a good way.
  
  
• SG0803: Singapore! Wherein our hero reaches Singapore at last, and realizes that the key to creating an airport that feels welcoming, as opposed to industrial and cold, is a combination of color and foliage.
  
  
• SG0804: iHotel. Wherein our increasingly-exhausted hero sets up camp at the hotel in Singapore, and reflects on what he's learned in one bewilderingly long day of travel.
  
  
• SG0805: Hiking in the Park. Wherein our hero makes the boneheaded mistake of scaling a set of steps up a huge hill at around 11AM near the Earth's equator. *cough, wheeze*
  
  
• SG0806: The Spice Trail. Wherein our hero reveals his secret foodie nature and miraculously refrains from making a Dune joke.
  
  
• SG0807: 360 Degrees of Singaporean History. Wherein our hero does his best iPod commercial impersonation while literally surrounded by Singaporean history.
  
  
• SG0808: Christmas on Orchard. Wherein our hero reports from one of the biggest, most impressive stretches of shopping space he's ever seen.
  
  
• SG0809: Geekville. Wherein our hero, lost in one of the biggest malls he's ever seen, discovers that days spent in meetings and setting up show booths are bad for blogging.
  
  
• SG0810: @SIGGRAPH. Wherein our hero reports from the expo floor, remarking on the apparent state of computer graphics in Singapore.
  
  
• SG0811: Let it rain, let it rain, let it rain... Wherein our hero, weary but happy, relaxes outside the mall to the lovely sounds of a Christmas typhoon.
  
  
• SG0812: Digital Trees? Wherein our hero reports in after the Lucasfilm Singapore party and marvels at a canopy of towering structures serving double duty as public art and public function.
  
  
• SG0813: Illuminated. Kites. Wherein our hero is awestruck by the simple ingenuity of putting lights on kites.
  
  
• SG0814: After Lucasfilm. Wherein our hero speaks briefly about his time visiting the Lucasfilm Animation Singapore offices. (Apologies for the sound quality, lighting quality and lack of content due to NDA - most of you can probably skip this one.)
  
  
• SG0815: At the Night Zoo. Wherein our hero pays a visit to Singapore's famed Night Zoo and then discovers that his camera really doesn't take video in the dark worth a dang. This footage of the fire show was the best I could do!
  
  
• SG0816: Night Zoo, Lucasfilm and the Last Day. Wherein our hero provides a recap of the Night Zoo and the Lucasfilm visit, sends a shout-out to Eddie Wong, and contemplates plans for the last full day in Singapore.
  
  
• SG0817: Malls and Circuses. Wherein our hero expounds on the Singaporean love of shopping malls.
  
  
• SG0818: The Asian Civilizations Museum. Wherein our hero explores, among other things, a video triptych entering the Asian Civilizations Museum.
  
  
• SG0819: The Merlion! Wherein our hero successfully completes his pilgrimage to the (in)famous Singapore Merlion.
  
  
• SG0820: The Esplanade. Wherein our hero introduces the audience to the arts and shopping center that is Singapore's Esplanade (and reveals that he's not entirely sure about the preferred pronunciation of the word esplanade).
  
  
• SG0821: Signing Off from Terminal 5. Wherein our hero brings this entire adventure very nearly full circle by signing off from London's Heathrow airport, and begrudgingly revises his opinion of the earlier-maligned Terminal 5.
  
  

Thanks for stopping by, and let me know what you think!

As many of you know, I finished my master's degree in Comparative Media Studies at MIT in the spring of 2007. I liked it so much there that I decided to stay on, first as the Communications DIrector for CMS and the Singapore-MIT GAMBIT Game Lab and then as a combination of Communications Director and Researcher for GAMBIT. As you may also be aware, the co-founder and co-head of CMS (as well as my friend and mentor), Henry Jenkins, is leaving MIT for USC. The state of CMS at MIT is, as you might imagine, in a somewhat perilous state at the moment: among other things, admissions to the CMS master's program is on hold for 2009-2010. The official line is:

In light of the upcoming departure of Henry Jenkins, the faculty and Dean are working to ensure the continued success of the program while exploring potentially new lines of inquiry and activity within media studies. CMS will continue its undergraduate degree programs, its programming, and its research throughout this time, and will have more to report about the Masters program next fall. Please check back then.

There's a heathy dollop of irony in the fact that although I am a Communications guy, I haven't felt it appropriate to say much about this, given my employment by the university. Still, I don't think it's outside the realm of reasonability for me to repost an open letter to MIT that was co-penned by a number of alums from the CMS class of 2005, including my friends Brett Camper, Rekha Murthy, Karen Schrier and Parmesh Shahani. I believe it was first posted to Rekha's blog yesterday, and it's been forwarded on to other media outlets such as The New York Times. We'll see where all it ends up, but it's the last paragraph that really drives the point home. Concerning the first sentence of that last paragraph, I hope it's not too much to my employers for me to note, simply... Yup.

Take it away, Master's class of '05:

Why We Need Comparative Media Studies
– an open, collaboratively written letter to the Massachusetts Institute of Technology

December 5, 2008

Dr. Susan Hockfield, President
Massachusetts Institute of Technology
77 Massachusetts Avenue
Cambridge, MA 02139-4307

Dr. Hockfield:

The Massachusetts Institute of Technology is known globally for bringing the best and the brightest together in a hotbed of intellectual energy, innovation, and applied study. Increasingly, its reputation for academic leadership is reaching beyond science, engineering, and economics and into the humanities. As graduates of MIT’s Comparative Media Studies (CMS) Masters program, we have seen firsthand the role this visionary program plays in the wider world. Recently, CMS co-director Henry Jenkins III announced his plans to leave the Institute for a post at the University of Southern California, leaving only one dedicated faculty member — co-director William Uricchio — and an uncertain future for both the graduate and undergraduate programs. This decision has inspired us, the CMS Class of 2005, to reflect on our program’s unique and important approach to the study of media and technology. We urge you, Dr. Hockfield, and others in the Institute’s leadership, to give the support Comparative Media Studies needs to truly succeed at MIT.

Every fall, Professors Jenkins and Uricchio welcome a small cohort of students and professionals to a two-year graduate experience that will transform them into the media experts that industry and academia increasingly seek. The co-directors, whose complementary experience and leadership styles have been key to the program’s success, practice a philosophy they call “applied humanities”. With so much of our time spent interacting through and with media, applied humanities calls for a greater understanding of its historical, cultural, economic, and global context. Everyone — business and government leaders, journalists, educators, and citizens — benefits from humanities learning, including the ability to read, write, and circulate information to diverse audiences, across distribution channels that vary in their form and content demands. Applied humanities blends traditional academic research with hands-on engagement in the public and private sectors. Comparative Media Studies creates the environment for such principles to flourish by bringing together students from a wide range of fields, including education, film and video preservation, journalism, advertising, software development, and venture capital. The program’s deeply collaborative environment turns out thinking-practitioners who can translate for a broader public and ask forward-looking questions. How is social networking changing politics? What are the ethics of video games? What happens when popular cultures move across national borders? What is the future of digital reading?

Our rapidly changing times also call for the remembrance of technological and media history, lest we remain caught up in our societal fascination with newness. CMS reminds us that early radio in the 1920s and comics in the 1950s triggered moral panics over our “impressionable” youth — fears which we look back on as reactionary and simple-minded, even as the same turns of phrase are employed over certain video games and social networking sites today. Meanwhile, the asynchronous debates of Current TV and Twitter are pulling the political town hall meetings of the past into the 21st century, and Obama’s weekly online video address is bringing F.D.R.’s fireside chats to YouTube. From Herodotus, to the printing press, opera, and silent film, the CMS program’s deep grounding in history has taught us to apply an active historical frame in our professional roles shaping media business and policy.

We have had three years since graduation to test what Jenkins, Uricchio, and a supporting team of non-CMS faculty have imparted: in industry, academia, non-profits, and beyond. We’ve brought our talents for reflective communication to books, blogs, video games, and top Ph.D. programs. Many of us have created our own job descriptions. As Jenkins explains, the CMS program prepares students for jobs that may not have existed just a few years ago, yet are becoming vital to public and private sectors in flux.

Comparative Media Studies is not the only top-notch media program out there, but it is one of very few in the United States. As a field, media studies is often ensconced within humanities and social sciences departments, with limited exposure beyond pre-existing disciplines such as sociology, film studies, art history, or education. Forging a new paradigm for intellectual accomplishment means breaking down barriers between academic disciplines in non-tokenistic, durable ways. In the seemingly unlikely setting of MIT, applied humanities has flourished, with students drawing from urban studies, architecture, history, anthropology, and computer science to formulate and express their ideas. The program’s weekly public colloquia have brought leading media scholars and professionals to MIT, creating a rare opportunity for cross-disciplinary dialogue. Over the past decade, the program has also hosted several international scholars-in-residence, who have shared their expertise on topics as diverse as mobile phone culture in Japan and the history of military games in Germany. The program has also led to the formation of several major research initiatives, including the Convergence Culture Consortium (media convergence and its business ramifications), Center for Future Civic Media (social bonds in local communities), Project New Media Literacies (participatory culture) and the Singapore-MIT GAMBIT Lab (problem solving through video games).

With CMS, Jenkins and Uricchio created a new paradigm, yet they were never fully supported financially, physically, or emotionally by the Institute. Unfortunately, this is part of a more widespread reluctance of policymakers and academic institutions from K-12 onward to fully integrate media studies as an essential discipline of study in the 21st century. We applaud the work of programs at the Georgia Institute of Technology, Carnegie Mellon, the University of Michigan, and USC, where students and faculty are innovating the field. As these and other universities begin to recognize the value of applied humanities, we urge MIT to continue its leadership role in this field. Jenkins’ departure will be a huge loss for the MIT community. Let’s not compound his loss with the greater one of the entire program. Comparative Media Studies can continue into its second decade, but only with the full support — both moral and financial — of the Institute behind it. We hope that you and other decision-makers will see this time of change as an opportunity to demonstrate that the principles established by the founders are big enough to endure. We appeal to MIT to continue the Comparative Media Studies program, and we encourage other such programs to take form at colleges, universities, and K-12 schools around the world.

Yours sincerely,

The Comparative Media Studies Class of 2005
-Brett Camper
-Joellen Easton
-Brian R. Jacobson
-Andrea McCarty
-Rekha Murthy
-Karen Schrier
-Parmesh Shahani

cmsalum05 [at] gmail

Wherein our hero brings this entire adventure very nearly full circle by signing off from London's Heathrow airport, and begrudgingly revises his opinion of the earlier-maligned Terminal 5.

Final bonus video: turnaround footage of Terminal 5.

Wherein our hero introduces the audience to the arts and shopping center that is Singapore's Esplanade (and reveals that he's not entirely sure about the preferred pronunciation of the word esplanade).

Wherein our hero successfully completes his pilgrimage to the (in)famous Singapore Merlion.

Wherein our hero explores the first part of a video triptych entering the Asian Civilizations Museum...

...The second part of said triptych...

...And the third part of the triptych, which then leads into an introduction of the nifty interactive video kiosks that the museum uses to introduce each exhibition space.

Each video kiosk has a unique idle state, ranging from the resident character's whistling, to humming, to storytelling, to playing with masks. This one featured a fatherly gentleman singing a very comforting, loving lullaby - which was beautiful but also a little disconcerting, given his proximity to huge cases full of weapons.

An example of a video docent playing with masks in his idle state, and of what happens when you actually touch the screen in question.

Wherein our hero expounds on the Singaporean love of shopping malls.

Wherein our hero provides a recap of the Night Zoo and the Lucasfilm visit, sends a shout-out to Eddie Wong, and contemplates plans for the last full day in Singapore.

Wherein our hero pays a visit to Singapore's famed Night Zoo and then discovers that his camera really doesn't take video in the dark worth a dang. This footage of the fire show was the best I could do!

Wherein our hero speaks briefly about his time visiting the Lucasfilm Animation Singapore offices. (Apologies for the sound quality, lighting quality and lack of content due to NDA - most of you can probably skip this one.)

Wherein our hero is awestruck by the simple ingenuity of putting lights on kites.

Bonus video:

Wherein our hero reports in after the Lucasfilm Singapore party and marvels at a canopy of towering structures serving double duty as public art and public function.

Wherein our hero, weary but happy, relaxes outside the mall to the lovely sounds of a Christmas typhoon.

Wherein our hero reports from the expo floor, remarking on the apparent state of computer graphics in Singapore.

Wherein our hero discovers that days spent in meetings and setting up show booths are bad for blogging.

Wherein our hero reports from one of the biggest, most impressive stretches of shopping space he's ever seen.

Wherein our hero does his best iPod commercial impersonation while literally surrounded by Singaporean history.

Wherein our hero reveals his secret foodie nature and miraculously refrains from making a Dune joke.

Wherein our hero makes the boneheaded mistake of scaling a set of steps up a huge hill at around 11AM near the Earth's equator. *cough, wheeze*

Wherein our increasingly-exhausted hero sets up camp at the hotel in Singapore, and reflects on what he's learned in one bewilderingly long day of travel.

Wherein our hero reaches Singapore at last, and realizes that the key to creating an airport that feels welcoming, as opposed to industrial and cold, is a combination of color and foliage.

Wherein our hero reflects on the pug ugliness of Heathrow Airport's new Terminal 5, which looks like the Airport That IKEA Built – and not in a good way.

A little context: I turned 31 on Saturday, at which point I promptly fled to country for Singapore. America is a country for the young, I decided. I will therefore leave it to its starlets and its High School Musicals.

No, actually I'm in Singapore to help shill for GAMBIT at SIGGRAPH Asia 2008, where I'll be hanging out at the GAMBIT booth and telling people about the wonderous amounts of fun and hijinks that are to be had in our summer program. I'm also here to just get a sense of the place, which should be a huge help for my job in general. It was decidedly weird to go from celebrating 31 with Laura and my parents in Boston to jump on a plane and fly literally halfway around the world, but I have friends here that I'm hoping to meet up with ASAP so they can show me around.

One thing I've decided to try out, though, is using the video function of my Canon Elph SD890IS to videoblog this excursion. So far I'm finding out it has a sort of crappy microphone, but that's not that surprising. The video above was grabbed while waiting for the plane from Boston to London to take off, and I'll upload some more travel videos momentarily. Tomorrow: tourism!

Wish me luck!

Dang it. For those of you following my misadventures with my The Winter Children project, book two was originally supposed to be called Wolfmother instead of Children of Winter, Children of Wolves, but I scrapped that when someone pointed out the Wikipedia page of a certain Australian hard rock band. Now my plans for Book III being called The Wild Hunt are probably going to be scuttled because, lo and behold, that's also the name of the new Hellboy arc that just kicked off this week.

What's annoying about this is that I knew that – as a big Mignola fan, I must have read about that new title months ago, and just filed it away in the back of my head, tagging it as something cool, and then when I was brainstorming for Children of Winter, Children of Wolves it popped in there. As Hellboy himself would say, "Crap."

Still, it's not the end of the world. I like Children of Winter, Children of Wolves better as a title than Wolfmother anyway, so I'll probably come up with something better than The Wild Hunt eventually. Right now we'll just consider that the working title, shall we?

Yes, it's an old blog tradition in which I like to participate. When I remember. Which, admittedly, isn't often.