An Object-Based Conversation with Bianca Datta

Bianca Datta spends a lot of time with objects. We all do, but not like her; she designs them, makes them, thinks about them, and responds to questions from prying interviewers about them.

Bianca is a product designer and first-year graduate student in the MIT Media Lab’s Object-Based Media group. I wanted to learn a bit about her design sense and the ways she relates to objects in particular, so I showed her seven objects that each sparked a conversation about different aspects and stages of her life.

01-maryland

I started off easy. Bianca is from Maryland—Montgomery County, not Baltimore, which most people mistakenly assume (or maybe they just don’t know any other cities in Maryland). She explained her home state as a “microcosm of the US,” which, looking at the state’s map, she attributed in part to its geography. The peninsula, the panhandle, and the two major metropolitan areas each form their own identity.

02-penn

Bianca then set off to Philadelphia to study at Penn’s School of Engineering. She knew that she wanted her work to have energy applications, and started off focusing on chemical engineering, but later found a home in Penn’s materials science lab as a Materials Science and Engineering major. She claims that chemical engineering didn’t work out because she is “not into math or physics,” which befuddled me. It’s all relative.

Bianca has many Penn mugs (all gifts) and paraphernalia, and when I ask which is her favorite, she ponders for a while: “that’s really tough. I have so many.” She settles on a hoodie that she got for being a residential advisor, which she likes not only for the color and comfort, but its associations; it reminds her of home, as well as camaraderie with her fellow RAs.

The mug itself also had significance: “I am really big on tea,” she says (she was late to our meeting because she was getting coffee). She associates tea with her family, and uses it as a way to connect with people; as an RA, she would offer tea to students to encourage them to stay and talk. Nowadays she organizes many of the Media Lab teas.

03-dormitron

At Penn, Bianca took a formative product design class that led her towards her current work. One of the projects in that class was Dormitron, an RFID-operated door, which would replace your dorm’s traditional key with an RFID chip, making your dorm’s door work like the key card in the campus entrance, or a bit like a hotel room.

Bianca first downplayed the project by saying “every year somebody does an RFID thing [for the class],” and mentioned that there are still barriers to wide adoption due to security liabilities. But she also insisted that her team’s product was better designed than others. Although she regrets not being able to participate in the product’s actual fabrication, it was her first opportunity to go from idea to product.

05-3m

Bianca spent one college summer in Minneapolis working for 3M, which introduced her to the corporate working world as a materials engineer. She was simultaneously impressed with the range of 3M and with their level of trust in her expertise and experience.

Her summer at 3M convinced her to go to graduate school, maybe to postpone the red tape (or poster tape?) of major corporations, and because she found that the most interesting work at 3M was being done by people with PhDs. It seemed like a good sign.

Although she was not working on improving 3M’s poster tape, she did have strong opinions: “I hate command hooks. They’re useless and always fall off the wall.” She points to 3M as proving that generic products are not all the same; her 3M sticky-notes stayed on longer and left less residue than the non-branded alternatives. Still, she notes, it’s not always worth the added cost.

06-flip

Along with Partnews RA Alexis Hope, Bianca designed a digital input/output device during the famed Media Lab class “How to Make Almost Anything.” The project was initially an excuse to try out the Processing programming environment, which allows for interesting visual effects. If you press a button, the background changes; this allowed them to switch between a “moon” view and a “sunrise” view for the object.

Bianca’s final and favorite How to Make project was a nap pod called DUSK, which she tells me currently exists and lives in the Media Lab, so I plan to find it and sleep in it tomorrow. For her the project was exciting because she made it from scratch; it was “in my head, and now it’s real, and its big, and I get to use it.”

07-stuffmatters

This book was on Bianca’s otherwise defunct Goodreads page, so she was surprised that I’d found it. On one hand Goodreads was just a “one-off thing” for her, but on the other, “this book is all about what I do.” It is a popular-scientific approach to materials and objects, with successive chapters on cement, paper, grass, and so on. Bianca’s current research examines how human beings relate and connect to materials; for instance, why we view some materials as stable, friendly, and durable, while others are considered foreign or cold. So this book is right up her alley.

Unsurprisingly, Bianca prefers paper reading over screen reading, which gives off the illusion of being “less serious.” But like most people, she makes plenty of concessions for the sake of digital convenience.

Bianca read Stuff Matters at Cambridge’s local Book Club for the Curious. As a first-year student, she felt like this connected her to the city and community. Whether tea mugs, hoodies, or books, Bianca associates her favorite objects with their social functions and associations. As an expert in things, her favorite things are the ones that connect her to her favorite people.

Phil Interviews Charles Kaïoun

Charles KaiounAfter scouring the web for useful information about Charles, all I found was a sparse twitter account, a non-descript bio/resume (he is a 20-handicap golfer), and a handful of links to websites. I was left wondering who is Charles Kaioun, this virtual enigma – someone who I interact with on nearly a daily basis at MIT, but who I also hardly know.

I decided to record the interview in 360 degree sound, testing a cheap pair of binaural audio recording headphones I picked up over winter break, trying to see if it might be possible to capture the sense of a first encounter with Charles.

Our conversation in a half occupied lounge of MIT’s Sloan School of Management floated from a family history of war and genocide to Y2K and virtual reality.

We began the conversation with a discussion of Charles’ heritage, which like mine is one of mixed origins with buried histories. Play Here: Charles 1 (02:00)

At the start Charles’ story evokes my own challenge to capture my family history, which I share with Charles and sparks a further discussion. Play Here: Charles 2 (01:47)

At this point, our conversation begins to drift from a discussion of our grandparents generation and its enigmatic qualities to present day virtuality. Charles 3 (0:58)

Charles begins to discuss how he might blend past and present with a virtual walk trough of his family history. Charles 4 (01:33)

Charles’ interest in virtual reality is inescapable. I have to ask where this passion originated. Surprisingly it leads back to Y2K. Charles is captivated by the magical properties of computing technology. Charles 5 (03:00)

We end back where we started with a look back at our grandparents stories, wondering what we might look like 80 years from now to future generations. Charles Close (0:57)

I am left thinking of the stories of Charles’ grandparents – his sister’s effort to document their lives and Charles’ passion for virtual reality – wondering whether the future of news might in fact have something to do with re-capturing the past.

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Phil Gara

Phil Gara, filmmaker and MBA candidate at the Sloan School of Management, tries to avoid labels. He has been to a film school run by Werner Herzog, plays forward on the MIT ice hockey team, and participated in Hurricane Sandy relief efforts. He has produced and directed a number of documentary films and shorts, including Project Z (which examines global security issues via zombies), Occupy Central Park, and Morning on Mars (about the Mars Rover landing). I spoke with him about his internet presence, snap judgements, and the essence of drama.

AN: So, you did a film school with Werner Herzog. What was that like?

PG: …He’s able to focus on a level that’s much different than what everyone else is able to do. It’s, I think the success of his films is just the ability to focus in on a subject, and focus so deeply that you draw insights that would otherwise escape anyone else.

AN: You also made a film, Occupy Central Park.

PG: That was about the Occupy Movement. It was about this kid trying to organize a concert in Central Park in the middle of this movement. It just kind of followed for a month this effort… I mean, that was one of the films I made. I guess for some reason that one shows up more in Google results or something?

AN: I just zeroed in on that because I have actually been there.

PG: It definitely does make me less employable, I find.

AN: Really?

PG: Well, I mean, I’m in business school, right? I definitely notice whenever I apply for a job, my film page, facebook views get like a huge amount of views, and, I don’t know. I just imagine that for a large company that’s risk-averse, it’s not necessarily something that’s gonna help me get a job. … I’ve just kinda let that stuff all stay out there, but it’s definitely something I always think about. You know, if you have this stuff in public everyone can kinda infer things. If you actually watch the film, it’d be a pretty sort of even-handed look at the movement, etc. But those are all things you can’t really infer from just a search term or something.

AN: I understand that you were also involved in Hurricane Sandy relief.

PG: Yeah, I did a little bit of that. … I have all these pictures and videos I still haven’t done anything with. … The way I did it would just be going with a friend of mine… to Staten Island, kind of walk the streets to see people who were working on their houses, just clearing out sheetrock, and just asking if they needed a hand. Usually that was more effective, I felt, than going through a large organization. …I kind of wish I had done a more of an in depth film about the whole Sandy thing. …The ones I’ve seen kind of didn’t capture it, just how rough it was for a lot of people.

AN: What do you think is the most important thing about you that’s not available on the internet?

PG: I always worry about the inferences that people draw from the limited amount of information on the internet, and it can’t really judge your intent or your thought process, etc. The sort of tagging and search-term-keyword way of the internet organization seems to lend itself toward labels…and so I’m always worried about being labeled and having false inferences drawn from those labels. So let’s say, for example, if you made a film about the occupy movement, that would connote a bunch of different labels. …I’m always trying to be in between and avoid labels. Like, I did make a film about occupy but I’m also in business school. So that’s kind of, to some people, a contradiction… The one concern I have is that people just kind of infer the worst every time…this is some, you know, radical lefty with Occupy, or then some business school robot. And there’s definitely–hopefully–some room in between. I don’t know if it’s easy to see that with just the information that’s out there.

AN: What is it about your values that motivated you to do both of those things? What’s the overlap?

PG: I don’t know. The one thing that I did learn from filmmaking, maybe even the Werner Herzog seminar, is that the essence of drama is…the main actors are involved in a story that they’re kind of unaware of and that’s what’s interesting to the audience. You’re seeing them play out something but they’re not fully conscious of it, and I think that’s the way it is with everyone’s life. You’re driven by certain things but you’re not fully aware of those things…So I would say it’s hard to have an answer to that, but I’m sure there’s some reasons. But that’s more for other people to interpret I guess.

AN: But not on the internet.

PG: Well, I’m just worried. On the internet it makes it really easy to just superficially tag people but what I’m talking about is sort of sustained look at someone’s life and trying to infer a kind of grander theme to it all that takes a little more time and reflection. I don’t know if we get that. There’s definitely a mythical quality to everyone that I’m not sure you get on the internet.

So I made this video, a little taste of what it would be like if Werner Herzog turned his formidable focusing powers to interpreting Phil Gara’s publicly available internet life:

http://www.youtube.com/watch?v=8xkRFXLDdmE&feature=youtu.be

Meet Pau Pernghwa Kung and Welcome Social Machines

Meet Pau Pernghwa Kung

Meet Pau Pernghwa Kung

It is hard to interview a self-defined “not very active user of social media”. But as I see it, that’s a good quality. It does mean that you’re not going to fill my Facebook wall with videos of cute kittens, which is a blessing in these times. Yep, I said exactly those words to Pau. And he laughed.

Pau Pernghwa Kung is a first year graduate student at Deb Roy’s Laboratory for Social Machines, as you can read here. He is working on “mixing machine learning, network analysis, and journalism in ways that make news sing.” Continue reading

Missing from the search results: Motivation, shades of grey

 

GG

Giovana Girardi did not set out to become an environmental reporter. I only know this because I asked her.

 

A chance assignment investigating the suicides of dozens of Brazilian agricultural workers sent Girardi down a path of writing about science and environmental issues for many years and, this year, brought her to study at MIT.

 

In 2002 while working in one of her first journalism jobs, Girardi spent two months digging into the deaths of workers who toiled in some of Brazil’s strawberry and tobacco fields, pouring over the potential links between depression and the pesticides they used on crops. After her story was published in the science magazine Galileu, more Brazilian media piled onto the topic and government officials eventually tightened their guidelines for the handling of the pesticides in question.

 

For Girardi, that story was the start of a career path in investigating and explaining science, and most recently the science of climate change, to the Brazilian public. Today, she covers environmental issues for one of Brazil’s largest newspapers, O Estado de S. Paulo, and is spending this year digging into science as a Knight Science Journalism fellow at MIT.

 

I learned about her first big journalistic investigation and her motivations for science reporting by talking with her. I would not have discovered the subtleties and provocations online, certainly not with my limited ability to navigate anything in Portuguese and the limitations of Google translate.

 

First, to clear up the Internet’s confusion: This Giovana Girardi is not the buxom blonde Brazilian fingernail artist with a collection of viral youtube videos and wildly decorated nails. Though that Giovana Girardi does seem to have some scientific interest, appearing in one photo supporting polio research, this one is much more serious and grounded in explaining complex issues.

 

A few more facts I would not have discerned from simply digging and translating on the web: Girardi grew up in partly in Sao Paolo, then spent her teenage years in a much smaller city, moving back to back to the metropolis for journalism school. Her mother and sister are both teachers, her father a bank manager. She expected to become an education reporter, and she was for a time, starting out covering schools for her first job. Her work at Galileu and that initial big investigation into pesticides refocused her on science writing, which in turn led her to several more positions and prestige in editing and writing for different publications in Brazil.

 

Her resume is probably traceable online given the time and language skills, but the motivations behind her moves and career choices would be much less so.

 

If I didn’t know her I probably wouldn’t have figured out that she and her husband have been together for 18 years, but only married last year before coming to the US. They had a church wedding. And I might not know that he was also a journalist, a writer covering politics and craft beer.

 

It would have taken a very long time to discern without question that she’s 38. I simply asked her.

 

Given that Girardi speaks and writes fluent English, I’d have no reason to guess this is her first time living abroad. And without having spoken with her in person, I wouldn’t have noticed the tiny gold locket she wears – a gift from her sister containing photos of her family to remind her of home while she’s far away.

 

I do know from the Internet that while here at MIT, she has written about robots for this class and taken other classes on climate science and politics. And she herself has perhaps the best description of what she’s hoping to accomplish this year.

 

In a profile for MIT’s website, she wrote about her work, “I used to think that stories about climate change could have a strong impact on the public and in politics, because this is, at least for me, the most important subject of our era. We all will be affected on some level by climate change. But I am afraid that we journalists have been losing relevance in this area. I don’t know why that is, but I have the impression that either people are getting tired of hearing the same catastrophic news over and over, or they (specially American and South American readers) just don’t feel personally threatened. Either way, I think we need new strategies to communicate the importance of this dramatic issue. One big step in that direction is to understand the science and the politics of climate change better. That is one of my goals here.”

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Michael’s digital identity or virtual reality

I did what I think many of us did when starting this assignment.

I started opening tabs and tabs and tabs when I mistakenly clicked on the “Images link” on top of my window and discovered various shots of Michael. I wonder, would I know Michael if I saw pictures of him or read what other told about him. Does the web encapture who we are through quotes and snapshots of our lives or is it just a nice story book.

This pictures was taken a few years ago in Nashville, Tennessee where Michael went for a concert with his good friend Jessie. He had won two tickets to go see and hear Yo-Yo Ma play with the Nashville Symphony Orchestra. Other than the fact that Yoyoma “played like he had a demon inside him and that he was releasing it through the tip of his bow”, this picture is also used as the face of Michael on numerous websites such as LinkedIn and Twitter.

Michael first encountered Twitter through a high school class on media in the 21st century. After exploring this new form of media, he could not figure out a meaningful way to use it until a few months ago when he discovered the importance of Twitter in the media world. Twitter happens to be a great tool for surfacing information on subjects that Michael likes and follows but also for networking purposes. He discovered that Twitter acts a bit like a “social currency” amongst journalists. Following someone or being followed are not traded lightly in an industry where validation of peers seems important.

Look at that smile! This one was taken during Michael’s senior high school year as part of all the pictures taken for the YearBook and other internal school publications. This picture is actually the journalist face of Michael. It was primarily used as profile picture for the New-York Time blog. Michael wrote articles for the New York Times between March and June 2010. He was among 6 students who were selected to write about their college admission process in the NYT blog.

Michael journalistic interest did not start at the New York Times. He was Co-opinion and then Co-editor of his high school newspaper. He really enjoys writing and despite not being ready to commit to journalism, he knew that he was not done with it either. His take on this experience at the New York Times: “crazy”, “bizarre” and “fascinating”. He was impressed that so many people were invested in his story, and yet that the journalist’s work creates a “layer of abstraction” that put some distance from the reality of the people in the pieces and ease to write about anyone.

This third one is a treacherous one: the picture was edited and used in a very different context than the actual one in which the picture was taken. Let’s talk about the picture first. This was taken in sophomore year at Vanderbilt when Michael was “Vuceptor” Vuceptors are the older students dedicated to helping new students and their parents settled so they don’t have to lift a thing.

The trick here is that the picture was trimmed and Michael was put in the for front. Instead of seeing the load of other students helping and the queue of cars with parents eager to get their offspring settled in, the picture was edited and linked to a piece on the Vanderbilt blog talking about the One who chose Vanderbilt over Yale a few years ago and its evolution at Vanderbilt. Michael knows this is mainly because “Vanderbilt was excited I had picked them over Yale” but this piece, following the story the NYT started on him, was really “disconnected from the reality” and deciding for “college gets too many people stressed”. The one thing Michael wants us to remember from this picture is that “he was happy to be at Vanderbilt”.

Lastly I asked Michael about this picture. He remembered most of the context. This is an extract of a Vanderbilt TV coverage of an annual concert organized in Nashville for students. This particular concert was in 2012, Archives Nights were playing. Michael remembers a “great concert” and the 4 members of the band “were good”. He confessed that he had tried to organize a similar event to promote the band and it ended up being “a terrible event that he had tried to plan”.

After all of this, I asked Michael if this glimpse of what could be found on him on the internet was a good representation of who he was. He paused for a while and admitted that it was “incomplete”. The public content is mostly “polished and professional”, more of a “candid shot” and that none of the pictures or the articles attached were “capturing the true sense of everyday”. For him, his Facebook profile would give a better representation of who he is but even a privileged access on his social media profile would still not do the trick.

Most pictures present have been posted by friends rather than himself. An interesting thought crossed my mind. The absence of pictures of Michael was perhaps more representative of him than what you could actually find. After sharing this thought with him he concluded: “In a lot of sense I’m boring. I don’t put myself in position where people would take picture and I would be embarrassed in they posted them online”. This struck me. First, it would mean that not ending on Facebook in some weird half-naked outfit is boring. Second and more importantly, you obviously don’t end up writing for the New York Times or studying at MIT by being boring. Maybe there is more to it than meet the eye and the digital world is far from being mature to represent lives and share experiences.

 

Asking war questions with images: Vladimir´s balkan story

MITinterviewPortadaCampVladimir Radomirovic (Belgrade, 1973) is editor-in-chief of Pistaljka or “whistleblower”, an online outlet that he founded with his wife Dragana in 2010 to denounce corruption in Serbia.

Vladimir, a Nieman fellow at Harvard, was impacted as a person, and shaped as a journalist, by his experience of the war in the former Yugoslavia in the 90´s. He grew up living the disintegration of his country, the NATO bombing of his hometown and the stigma associated with a nation that has always been blamed in the West for causing the conflict, and its worst abuses.

I was curious to know more about Vladimir´s experience on those days, and how it influenced the journalist he is now. But instead of asking him directly, I decided to present to him images of what took place two decades earlier and have him react to them. The pictures are the questions. This is how he responded:  Continue reading

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