Archive for social-media
January 6, 2014 at 11:13 am · Filed under film, virtual worlds and tagged: AI, artificial intelligence, gender, Liat Clark, Michael Fassbinder, Prometheus, singularity, social-media, TED, uncanny, Wired
Spike Jonze’s new film Her has sparked some fascinating conversations about artificial intelligence, gender and how we might traverse the uncanny valley we experience when real worlds and virtual worlds overlap.
Liat Clark from Wired contacted me for a great piece about AI virtual assistants and he asked me why it was that Hollywood usually depicts friendly AI as female and threatening AI as male. I think that, even though we may be more aware of gender stereotypes and how limiting and self-destructive they can be, it doesn’t mean that we don’t invoke them in the stories that we tell about ourselves. We humans are caught in some very deep cultural grooves: we still tend to associate a helpful, nurturing creature with feminine characteristics and an aggressive and destructive force with male characteristics. To reverse that association would only result in reinvoking it: everyone would notice that it was “backwards.” In that respect, storytellers cannot help but invoke the tropes that define us – particularly when they’re weaving tales about artificial versions of ourselves.
Clark was also interested in why Hollywood tropes about love and romance always seem a bit retro, lagging behind the current zeitgeist. I think that the representations that define our popular culture are profoundly disconnected from reality and are more likely to reflect a marketer’s hunch about what a particular demographic craves rather than what real living people actually want. One reason I’m so excited about the prospects for social media is that it gives marketers and media companies better information than they’ve ever had before about what animates us, what preoccupies us, and what we care to share (this is the topic of one of my TED talks). I think marketers, advertisers, programmers and creators of entertainment content will need to respond to increasing pressure to supply what audiences actually want – rather than producing hackneyed stories based on primitive stereotypes.
Clark turned out to be much more skeptical than I was about just how far we can go with AI. As my friends well know, I am borderline obsessed with the possibilities of the singularity, and so I’m convinced that we’ll be able to make life-like versions of ourselves in my lifetime. For better or worse, I believe that we’ll make AI that conforms to our current notions of perfection, whatever those happen to be at the time. I also think we will undoubtedly change our definition of perfection the moment we think we’ve achieved it. We’re sort of predictable that way.
The broader question may be why we are so obsessed with humanizing technology in the first place. There’s a great scene in Prometheus in which the robot Michael (played brilliantly by Michael Fassbender) puts on some protective head gear which is entirely unnecessary for him. When a human asks him why he bothers, he says it’s because humans are far more comfortable with creatures that act and look like them. Bingo. Yes, we quite capable of empathy, but we are also deeply self-involved creatures, hard-wired for self-preservation, and anthropomorphism is a crutch we’ve been using for millennia. Our virtual assistants and the robots we engineer will no doubt reflect our knee-jerk discomfort with anything elementally different from ourselves.
Since last fall, I’ve been working with Cognizant on their Women Empowered initiative, which has created a community for female executives interested in increasing workforce diversity — in particular, attracting, developing and promoting female employees. It has been gratifying work, yoking together research that I’ve done over the years about women and social media with Cognizant’s effort to increase the number of women in leadership positions in IT.
Although women are the key drivers of the social media revolution (you can check out my TED talk about this), several studies have indicated that women are reluctant to use their social networks – online or offline – to promote themselves professionally.
My clever friend, Tim Leberecht, is a marketing guy and so he knows just how little control companies have over their brands. The reputation of a brand is basically what a brand is and no matter how much money you throw at it, ultimately, customers, and the general public, will determine a brand’s reputation.
In his TED talk, Tim explores how companies can productively cede control to their customers and employees as well as exerting new types of control and influence in creative new ways in social media contexts. I don’t want to give too much away — it’s only six minutes so check it out!
I was delighted when the editors of Women’s Studies Quarterly asked me to submit a piece to them about social media and gender. They had seen my TEDWomen talk on the same topic and suspected (correctly) that I’d be interested in pursuing those themes in print. They made another request as well: might I think of a way to add a visual component and a social media campaign of some sort?
Now that’s the kind of thing that takes a village. Thankfully, I have one! I immediately turned to the Lear Center’s terrific in-house designer, Veronica Jauriqui (who designed the visuals for two of my TED talks) and my trusty intern (and social media expert) Sarah Ledesma. Through Sarah we met the tremendously talented photographer Jasmine Lord, who immediately understood what we wanted (you can read about all of them here). I’m incredibly proud of the results, which you can check out on Pinterest and Tumblr.
Now for a little backstory: Read the rest of this entry »
April 30, 2012 at 11:35 am · Filed under film, jb exploits, online culture, TV, virtual worlds and tagged: entertainment, film festivals, gaming, media, social networking, social-media, technology, transmedia, tribeca film institute
Film festivals are tricky events to navigate. Of course they’re about art and commerce and, for some reason, all too many filmmakers are uncomfortable with that combination. Despite the entertainment industry’s craven reputation, there are plenty of people in it – not just indie movie types – who long for something pure: complex aesthetic objects that will transport people to new places and new ways of understanding this world and the many alternate realities we’ve crafted for ourselves. That idealism, and the understandable longing for money and attention to achieve that dream, is prominently on display at fests like Tribeca. And yes, a lot of it is about glad-handing and hitting as many cocktail parties as possible (as well as standing next to the right person at the red carpet premieres), but more and more these days, it’s also about figuring out how to make movies do that the networking for you. Filmmakers who’ve managed to crack the social media code have, indeed, mastered the twenty-first century art of networking.
I thought it was terrific that Tribeca devoted an entire day of the Fest to a conference on interactive media. The event was held in Frank Gehry’s gleaming IAC building, in front of an impossibly long wall of screens. The shallow wide room was packed from start to finish with a mix of digerati (I was thrilled to meet Christina Warren the entertainment editor for Mashable) and people who’ve been toiling in the traditional media trenches all their lives. The implicit goal was to figure out how to make sure that filmmakers learn how to adapt to an increasingly interactive media space – something more easily said than done. These days, film projects of all sizes are expected to have some sort of online presence, not only for the purpose of promotion but for something far more ephemeral: audience engagement. There are generally no accepted standards to measure the latter, but it usually means that you’ve managed to convince passive potential audience members to take an active role in promoting, extending, or even reimagining the film itself or its subject.
For all too many filmmakers, a transmedia campaign includes a basic formula: a Web site, a Twitter feed, a Facebook page and the coup de grace, an iPhone app. Much to the consternation of app developers like Michelle Byrd from Games for Change, creatives working in traditional media industries often assume that audience engagement just happens on these platforms: as long as you build it, someone will come. But take a quick look at all the apps you’ve installed and don’t use on your phone, and you’ll recognize that even scoring an install doesn’t necessarily lead to one iota of “engagement.”
Learning how to port linear, narrative art forms over to interactive platforms is a tremendous creative and technical challenge. Read the rest of this entry »