Johanna Blakley

Media | Entertainment | Fashion

Archive for jb exploits

Inspecting Indian Vogue

VogueIndiaCover

As I was shedding my last bunch of rupees at Indira Gandhi Airport in New Delhi, I quickly snagged a copy of Vogue India to read on the plane. I was curious to see how different it felt from the American version, especially after spending two weeks crisscrossing Northern India.

One thing I’d been warned about before arriving is that women on the street do not – I mean DO NOT – wear the kind of revealing clothing that you see in Bollywood films. Head to toe covering is the standard; even short sleeves are pretty rare. Even when it’s hot. Scorching hot.

Billboards and TV ads in India reflect the bodacious Bollywood ideal, but I can’t recall seeing anybody dress like that in even the glitziest restaurants and hotels in Delhi.

Much of the recommended clothing in the editorial portions of the magazine also defied street conventions, including shorts, short skirts, form-fitting or whisper thin dresses (a big no no, I was told), and long skirts (OK) with equally long slits (absolutely not OK). There was also a gorgeous swim suit spread, but I had to wonder: where in India could they be worn? As far as I could tell, Western-style hotel swimming pools would be the only acceptable place.

Similar to American Vogue, the Indian version featured profiles of successful women, including a comedienne, a radical novelist, and a slough of Indian art collectors in Dubai. The issue had a very global feel – it was, for instance, the first place I glimpsed Adidas’ fresh new World Cup garment collection, which they concocted in collaboration with The Farm Brand, a Brazilian fashion label.

I wasn’t surprised by the insane number of jewelry ads; women in India are often not allowed to have bank accounts or real estate assets, but the jewelry is often all theirs (check out this NPR piece about Indian women’s obsession with gold). Read the rest of this entry »

Participant Media’s Impact Index

TPI

The New York Times devoted significant ink this week to The Participant Index (TPI), an effort by Participant Media to quantify and compare the relative social impact of films, TV shows and online video. The article also mentioned the Lear Center’s $4.2 million Media Impact Project: I’m the co-principal investigator on that project and we’ve been consulting with Participant on the development of TPI.

Here’s a little back story: Participant approached the Lear Center because of its academic expertise in measuring the impact of educational messages embedded in entertainment content. Our Hollywood, Health & Society program (for which I wrote the initial grant) has partnered with the CDC for the last 14 years to look at how health story lines in popular TV shows affect viewers’ knowledge, attitudes and behavior. The survey component of TPI includes a combination of questions that have become standard in entertainment education evaluation: the “transportation scale” identifies the type of emotional involvement that the entertainment content triggered and the outcome questions indicate what real-world actions a subject has taken after exposure to the content. TPI combines these two measures to create a score for each piece of video content in the study. Read the rest of this entry »

Fashion & Originality on the TED Radio Hour

TEDRadioHour

Guy Raz interviewed me about the culture of copying in the fashion industry in what he called “maybe our best show ever.” During the TED Radio Hour, we discussed the cult of originality and the fashion industry’s constant creative incursions into the archives of fashion. The show also includes Steven Johnson on where ideas come from; Mark Ronson on sampling in the music industry and Kirby Ferguson on the ubiquity of remixing. Check it out and let me know what you think!

Tracking “Culture”

culturetrack

I’ve been ODing on data about the arts and culture sector lately, participating in an event at the NEA and another at Disney Hall last week (you can watch the video here). I think that the arts are seriously undervalued in the U.S. and so I’m always looking for data that helps us better understand how and why humans are attracted to certain melodies, visuals and stories, and what they think they’re accomplishing when they settle into a cushy seat to soak up an opera, a ballet or a  concert.

At Disney Hall, a packed house heard top line results from Culture Track, a 13-year tracking survey of arts and culture audiences in the U.S. There’s a huge amount of data here: the 2014 survey (you can download a report) includes responses from over 4,000 people in all 50 states who are “culturally active” – they already attend some array of museums, theaters, music, dance or opera programs.

I’d say the big take-away for me is that arts audiences are not particularly loyal to arts institutions any more – they’re loyal to their own taste. Instead of subscribing to a museum or a theater, they prefer to pick and choose from the options available. Arthur Cohen, who presented the findings, described audience members as “culturally promiscuous:” they’ll have a good night at a theater and then never call for a second date.

I think that new media plays a big role in this sea change. People who use the Internet (and a vast majority of this group does) have become accustomed to seeking out what interests them rather than sitting back and being told what they might like. And so one thing you see in the Culture Track report is that attendance is down, people are going less frequently, but they are visiting a wider array of cultural offerings.

Read the rest of this entry »

Measuring the Impact of Art

audience

Last week I attended a high-caliber symposium co-sponsored by the National Endowment for the Arts (NEA) and the UK’s Cultural Value Project. They brought together a dizzying array of researchers (demographers, cognitive scientists, arts policy wonks, “recovering” academics, etc.) to discuss how we ought to measure participation in arts and culture on the local, regional, national and global scale.

“Participation” and “engagement” are key metrics for arts institutions and their funders. But the inquiry often ends right there. I think the vast majority of people in the arts – including artists and administrators – take it as a given that art has a beneficial effect on society. I happen to agree with them. Wholeheartedly. But many powerful people in this world – including those who hold the purse strings – are not necessarily convinced. Funding for the arts is paltry compared to expenditures on science, where, lo and behold, we have a lot of convincing evidence about the importance it holds for humanity. Read the rest of this entry »

Imagining the Future of 3D Printing at Fractal

fractal13

Ever since I started doing research on fashion design and copyright, I’ve been tracking the progress of 3D printing technology. The disruptive possibilities of this technology are abundantly clear in the fashion sector, and so I was thrilled to receive an invitation to attend fractal, a very unique conference in Medellin Colombia, where a diverse group of experts was asked to facilitate conversations about 3D printing, synthetic biology and other bleeding edge topics.

Hoping to shake-up the typical conference format, the instigators behind fractal – the intrepid Viviana Trujillo and Hernan Ortiz – decided to invite the audience to use “design fiction” to spin stories of the future that would reveal the key social, cultural, political and ethical quandaries that accompany the adoption of new technologies. The facilitators were a fascinating group: Reshma Shetty , an MIT-trained synthetic biologist; acclaimed artist and director Keiichi Matsuda, whose augmented reality installations have been featured at MOMA and the V&A, and Paul Graham Raven, a speculative fiction practitioner who uses narrative to solve engineering problems in the UK.

In addition to telling stories about how homes might be made out of living things and how augmented reality applications will fundamentally change the contours of our self-presentation to the world, we tackled the topic of 3D printing. Read the rest of this entry »

11 Things You Didn’t Know About Documentary Film Lovers

hotdocs

I was honored to give the Industry Keynote at Hot Docs, a giant documentary film festival in Toronto. I don’t know what they put in that water (which was delicious, by the way) but Torontonians love, love LOVE documentaries. They have a 700 seat theater that, year round, shows docs only, and I was completely charmed by its tagline: ESCAPE TO REALITY.

Of all conventional TV and film genres, you could easily argue that documentary is the one that is most self-conscious about its artful manipulation of reality. Since much of my research focuses on the impact of entertainment and media on individuals, communities and society at large, documentaries have proven an especially exciting object of study. (I have a TEDx talk about some of this research.)

In order to prep myself for the fest – which included a whopping 197 documentaries – I thought I’d revisit some survey research that we conducted at the Lear Center on the relationship between political beliefs and entertainment preferences. We discovered in those studies that predictable patterns emerged suggesting that even our escapes from reality – to ballets, tractor pulls, and blockbuster films – were tethered quite tightly to our deeply held beliefs about the world and how it ought to be.

For a nerd like me, this is absolutely fascinating stuff.

Our archive of data – from two large American representative sample surveys, and from a smaller version we conducted in Tunisia after the Arab Spring – includes detailed demographic, ideological and taste information about documentary film fans. Hot Docs gave me an excellent excuse to mine that data. Read the rest of this entry »

The Social Impact of Social Media in India

apogee

One of the more amazing side-effects of having videos on TED.com is that you receive invitations to speak all around the world. For the last two years, the intrepid organizers of the APOGEE conference at the Birla Institute of Tecnology and Science (BITS), one of the premier technical universities in India, had invited me to visit their obscure corner of Rajasthan and speak at their signature annual event. I had been warned that I would probably have a lot of difficulty traveling alone as a white woman in Rajasthan, and so I had to decline their requests until I could line up a male chaperone.  Luckily for me, he materialized last Fall at a conference at MIT – BITS Pilani’s sister university, as it were – and we planned our great Indian adventure together.

When I alerted the BITS Pilani crew to my traveling companion’s bio (John Beck had been the Director of Photography for all of NASA’s Mars missions for the last 18 years), they invited him to speak at the conference as well.

I have long been an admirer of Indian textiles, the incredible classical music and dance, and like most city dwellers, I fight with my friends about who has the best Indian take-out. But I had heard many grisly tales about the filth, the misogyny, the appalling poverty, and the deeply ingrained institutional corruption.

But the overriding reason that I decided to make the journey was because I could not turn down the chance to witness the incredible change that is afoot in India. I was thrilled when the organizers asked me to speak about the social impact of social media in India, a topic that I’ve been following closely for some time.

Even though the Internet penetration rate is extremely low in India, the 17% of Indians online already account for the third largest Internet population in the world. They will move up to number two next year, powered in part by a 91% increase in smart phone ownership by 2016.

And just in case you didn’t know, Indians are really, really social. Facebook, Google+, Twitter and LinkedIn are flourishing in India, where 25% of all time online is spent on social networks.

Last year, LinkedIn celebrated luring 20 million Indians to their service, making Indians the second largest member base. Google+ has attracted a much higher share of online Indians than it has in the States (78% vs. 44%). I was greeted with loud applause when I displayed data from GlobalWebIndex demonstrating that online Indians are far more likely than online Americans to own and use social media accounts on all the major social media platforms.

Who knows what new platforms will be arriving over the next couple of years, but whatever they are, they will see an increasing share of Indians using them. And traditional media – film, TV, publishing – both in India and all around the world, will never be the same. Read the rest of this entry »

Embracing Blur

JBEmbracingBlur

Z Holly, the former vice provost for innovation at USC and host of the first TEDx ever, sure knows me well. A newcomer to the prestigious TTI/Vanguard Board, Z thought I would be good fit for their next conference on Embracing Blur.

Um, she couldn’t have been more correct. I have long been fascinated by the interplay between representations and reality (my last TEDx talk dealt with this pretty directly). And I’d venture to say that the majority of my work at the Lear Center explores the cultural and commercial ramifications of this blur.

What Z didn’t know was that my dissertation was actually about “betweenness” – something I saw as a key formal and thematic characteristic of avant-garde modernism. Many of my friends and colleagues wondered how a high-theory English PhD ended up in a think tank studying the impact of media, but it all seems quite rational to me: isn’t the key formal and thematic characteristic of 21st century media the blur between representation and reality? What we considered avant-garde in literary Paris at the turn of the 20th century is the (often unacknowledged) cultural dominant of contemporary global pop culture.

And so the description of the TTI/Vanguard program couldn’t have been more appealing to me:

A flood of technologies is washing away traditional boundaries between work and play, companies and governments, war and peace, near and far, virtual and physical, society and the individual. In its wake, a global nervous system is emerging as we connect billions of people with each other and with billions of newly smart objects. This unbounded organism is developing an unsurpassable intelligence, resistant to human control. Where is it taking us? Can we hope to understand it, control it, contain it?

Z had to warn me though – there’s one thing about this conference that is very atypical: every attendee (and there’s over a 100 of them) has a mic and can interrupt you at any point during your presentation.

This wouldn’t be quite so nerve-wracking if you didn’t know that the crowd would be composed of carefully vetted C-level folks from Fortune 100 companies and an engaged board that includes Alan Kay, Eric Haseltine, Gordon Bell, Nicholas Negroponte, and John Perry Barlow (never a guy to sit back and listen to anything he thinks is bullshit). Read the rest of this entry »

Myth Girls & the Art of Making Books

For several years now, I have been on the board of an experimental literary press where we have spent a great deal of time trying to figure out how to keep the printed book vibrant and alive. At Les Figues Press, we decided to publish books in unique dimensions and we coupled each author’s work with the visual work of another artist, hoping against hope that the resulting physical object would convince even the most cyber-savvy readers to purchase our special little hunks of pulverized tree.

So I contantly keep my eyes peeled for efforts to revitalize interest in the printed book. My most recent encounter with an inspiring innovation was in Medellin, Colombia, where the intrepid forces behind Proyecto Liquido – a group that explores the overlapping territory in fiction, art, science and technology – had transformed an online short story published 18 years ago into a surprisingly layered tactile experience.

With a black rubberized cover (not unlike the one on my iPad), Kij Johnson’s Chicas Miticas (Myth Girls) feels more like a machine than a book.  Everything inside is dual: from the bilingual translation (Spanish and English) to the double-sided format (the book is basically composed of two pamphlets facing one another). While one side is devoted to a disturbing tale about the terrible cost of freedom, the opposite renders the story into sleek, hyper-polished illustrations by Oscar Gonzalez, one of the five collaborators who transformed Johnson’s story into this unique material object.

If the book were simply illustrated, and bound in this surprising way, it would have been arresting enough. But three pages into the lushly animated version of this stark tale, you finally see a depiction of the main character, but only from behind, and rendered on vellum, so that you can see her ghost-like presence in two inhuman vistas, extended by a trifold. A few pages further in, you reach the material heart of the work, where lush illustrations bleed into layered vellum inserts and – I kid you not – a ripped quilted jacket is sewn directly onto the page. Read the rest of this entry »

Follow

Get every new post delivered to your Inbox.

Join 3,225 other followers