Sunday, September 23, 2012

Would you like some tech with that?


“In making certain things easier for people, technology has actually demotivated people from using their brains. We have all these devices that keep us connected, and yet we're more disconnected than ever before. Why is that?”
- Emilio Estevez

It is a scene all too familiar with the masses of restaurant staff throughout the country nowadays, or at least one very common in metropolitan areas. It can be a group of young teenagers, an older couple enjoying a relaxing meal, or a family with small children. But no matter the age demographic, generation gap or social function at hand (drinks with friends, family meal, etc)., many of these food-seekers have one thing in common: they can’t step away from their technology. As in, they spend their whole meal checking their phones, playing with their tablets, or (in the case of the families with little kids) watching movies. Yes, I personally see this countless times every single shift I work at a particular family-friendly, “premium casual” restaurant in the middle of Los Angeles: parents who set up their tablet or phone in front of their kid and have them watch a movie or television or play a game instead of interacting with the family unit.

I was immediately reminded of this specific spectacle in Chapter V: “The Social-Structural Transformation of the Public Sphere” in Jürgen Habermas’s The Structural Transformation of the Public Sphere: An Inquiry into a Category of Bourgeois Society. For such a lengthy title, older publication date (1962) and complex examination of the historical and social ramifications of the “public sphere”, Habermas’s analyses are nevertheless thoroughly applicable to contemporary outlooks on societal dynamics. By referencing H. Schelsky’s observation that the power of the family on an individual’s social development and connection to the public sphere lost much of its influence from “the elimination… of all aspects not directly relevant to task performance,” Habermas saw that “individual family members are now socialized by extrafamilial authorities, by society directly” (156). Habermas does not seem to address this directly, but it is more than likely he was primarily focused on the socialization of upper to middle class, white males, since throughout much of history, the disenfranchisement of women and minorities coupled with the poor education levels of the lower class made it so that those operating in the public sphere constituted only a small part within the larger community. As such, Habermas noted that with the rise of the public sphere and the middle-class’s participation within in, more and more individuals (read: educated white men) began to construct their identities as reflections of society or their intellectual peers and sought outlets of social interaction separate from their families by engaging in discussions in public spaces. The result was that “privatized individuals… [formed] a public [that] reflected critically and in public on what they had read, thus contributing to the process of enlightenment (Habermas 51). However, with  the shift towards capitalism and the “disengagement from the functional complex of social labor in general,” Habermas saw that the family “increasingly lost also the functions of upbringing and education, protection, care and guidance” (Habermas 154-55).

I can recognize the loss in family “functions” each time I see a child sitting at a table with his or her parents staring at a cell phone or tablet screen, interacting more with the technology than with their family unit. To this effect, the child is “socialized” by technology, making their interactions and understanding of how this particular technology can be incorporated into their lives paramount to their relationship with their parents or social group. It is that loss of connection, of basic interaction between members of a family that have me, at the rather young age of twenty-five, feel nostalgic for the time before technology was so prevalent. That is not to say that I myself do not rely on technology – I am, after all, relying a computer, an internet connection and an internal spell-checker to do a great deal of the work for this blog posting. Moreover, I will acknowledge here that for some parents, this is probably the best way to keep their kid focused on something so they do not end up running around the restaurant screaming their heads off – and for the children who do end up doing just that, I always wonder if giving them a computer screen would calm them down. However, it does not seem that we, as a society, are making a cautious enough consideration to how this will – note how I do not say might – impact the upcoming generations’ abilities to perform, interact and participate in what Habermas deems the “rational-critical debate” central to the public sphere. 

On the other hand, Habermas does offer up a sort of support to the idea that outside influences – namely, technology – can bring people together in the realm of the public. He quotes William H. Whyte who says  that “doing things with other people… even watching television together… helps make one more of a real person” (158). I would have to disagree slightly with Whyte in this aspect, as I do not see physical or communal activities such as playing sports or watching television the same as our culture’s dependence on individualized, hand-held devices. I do not think checking my email, responding to text messages or surfing the web on my phone results in the same sort of group dynamic that would come from, say, watching a movie with my friends. Even in the darkened, quiet theatre, there is a sense of the private (i.e. me solely focused on the screen in front of me), but then afterwards, there always seems to be the social factor: debating the movie, talking about particular scenes, discussing our interpretations, etc. I rarely find myself involving other people in the various functions of my phone (email, texts, etc.), and even then, I do not think showing someone a photo on my phone or a text from someone else elicits the same “rational-critical” debate that might follow a movie viewing.

In the end, I must admit that I do have reservations about how the generations raised entirely in the “technologic” or “networked” age will operated in regards to social dynamics, and how they will connect with (or disconnect from) the public sphere, that is, if there is still anything resembling Habermas’s idea at all. My fear is that technology is pushing individual users more readily and with faster and faster connectivity into the realm of the private, one that seems to incorporate the rhetoric of the public sphere (i.e. phones and devices that allow you to “connect” instantly with others; instantaneous search results; dynamic social networking) without any of the positive results. Indeed, sometimes it seems to me that even with our multiple devices that promise connections and encourage conversation, we are actually moving towards a diminished sense of a “rational-critical debate”, as it may come one day when the majority of those who would participate readily in the public sphere do not know or understand how to make personal, face-to-face connections with those around them.



Photo: PCWorld.com


One last thing to think about: Eva, a Los Angeles restaurant (sadly, not the one I work at), will apparently give diners a 5% discount if they give up their phones and devices before being seated. According to owner Mark Gold, about half of diners have done so, and the goal in doing this is to

“create that environment of home, and we want people to connect again. It’s about two people sitting together and just connecting, without the distraction of a phone, and we’re trying to create an ambiance where you come in and really enjoy the experience and the food and the company.” (Hsu 1)

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Habermas, Jürgen. The Structural Transformation of the Public Sphere: An Inquiry into a Category of Bourgeois Society. Cambridge: The MIT Press, 1991. Print.

Hsu, Tiffany. “L.A. restaurant pays customers to put away their phones.” The Los Angeles Times. latimes.com. 15 August 2012. Web. 23 September 2012.

A quick remediation of an earlier discussion on remediation.


“All ideas are secondhand, consciously and unconsciously drawn from a million outside sources. We are constantly littering our literature with disconnected sentences borrowed from books at some unremembered time and now imagined to be our own.”
- Mark Twain

“I remixed a remix; it was back to normal.”
- Mitch Hedberg

Kirby Ferguson’s video on “remixing” presents an easily-understandable visual representation of Bolter & Grusin’s idea of “remediation” on contemporary culture. His documentary series includes videos on musical remixes as well as copywrite and legal issues, but I found this particular video to be most telling of contemporary culture and mass media. Like Ferguson says, “transforming the old into the new is Hollywood’s greatest talent.” 



Furthermore, while Ferguson makes a quick mention and visual comparison of the “remixed master thesis” of all remediations – Tarantino’s Kill Bill – there is another video online that does the same thing, a video I first saw about a year ago. However, in a perhaps predictable outcome, “Everything is a Remix: Kill Bill” is NOT made by Ferguson (like I originally presumed given the similarities between the videos, but rather by a Rob G. Wilson who is merely associated with Ferguson’s documentary.

 
It’s sort of weird in itself, the idea that Wilson’s video is a sort of remediation (or remix) of Ferguson’s piece about remediation (remixing). It makes me think of a mobius strip, in which remediations of remediations follow along the twists and turns of our cultural pathway.


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Note: I have posted here the YouTube uploads of the Kirby and Wilson videos for accessibility, but used Vimeo for research.

Ferguson, Kirby. “Everything is a Remix Part 2. Vimeo. Viemo.com, 2011. Web. 23 September 2012. <http://vimeo.com/19447662>

Wilson, Rob G. “Everything is a Remix: Kill Bill.” Vimeo. Viemo.com, 2011. Web. 23 September 2012. <http://vimeo.com/19469447>

Zucker-Scharff. "Remixed: the derivative nature of creativity and our failure to recognize it." Hacktext.com. 8 March 2012. Web. 20 September 2012. <http://hacktext.com/2012/03/remixed-the-derivative-nature-of-creativity-and-our-failure-to-recognize-it-1747/>

Sunday, September 9, 2012

A game, a site and a movie walk into a blog: A "New Media" analysis



 "Our culture conceives of each medium or constellation of media as it responds to, redeploys, competes with, and reforms other media... No medium, it seems, can now function independently and establish its own separate and purified space of cultural meaning.”
- Jay David Bolter and Richard Grusin

For my posting last week, I set out to examine a practice of my own (sharing a photo of my cat) in the terms of Bolter and Grusin’s concept of remediation. I thought this might help me better understand the ideas of immediacy and hypermediacy, as well as giving the theory a practical, “hands-on” aspect. However, as I should have figured, part of our in-class discussion this week was seeking to examine three popular types of contemporary media – a video game, a social networking site and a movie – using the same terms, which worked to broaden my appreciation of how these concepts can be applied to all media.

Mostafa and I choose to discuss Star Wars: The Old Republic, Tumblr/Pinterest and Silent House


Star Wars: The Old Republic (SWTOR)
Released in the winter of 2011, SWTOR is a massively multi-player online role-playing game (MMORPG), which means it operates by providing an extensive online world in which real players level, quest and interact with one another through the means of avatars. Set thousands of years before the “Original Trilogy” of movies, it nevertheless takes influence from and expands on the immense and singular universe that is Star Wars.



Because SWTOR has many of the same basic functions and characteristics that many other macrocosmic MMORPGs have – such as Blizzard’s World of Warcraft (WoW) and, to some extent, Guild Wars – the remediation of any MMORPG can be argued to have come about by adapting traditional, single-player computer games, sci-fi and fantasy novels, board games (as many MMORPGs use gameplay mechanisms from Dungeons and Dragons), and film.

Bolton and Grusin note that “graphic, role-playing computer games” often “seek the real, sometimes through transparency and sometimes through hypermediacy” (94). For the most part, it seems that the experience of playing is extremely hypermediated. The game’s standard interface (that is, without any add-ons) contain buttons on toolbars for a wide range of utilities, including attacking abilities, passive abilities, a chat log, health and magic/ammo bars, mounts for travel, a map, coordinates for a precise location, a clock, party members’ portraits and health bars, etc., etc. Additionally, the social aspects of the game are potentially disruptive, as the mere presence of the chat log (showing area-wide alerts and private messages between particular players or groups) often is enough to remind the player that they are interacting with real people, rather than with Jedis or aliens, as the fictional counterparts probably would not cyber-bully, troll, quote song lyrics, or making Chuck Norris jokes. Furthermore, it can become problematic to the gameplay experience if the player is not using a computer that is built to handle the games’ depth and details, and so it is often the case that lower quality computers cause low resolutions, poor graphic qualities, and bothersome instances of lag and low frame-rates, which can be enough to make a player become so frustrated that they log off. I would argue that these elements are especially important in considering the possibility of immediacy in the game, for if something is enough to make the user turn off the game, it probably does not lend itself well to creating an interactive or concentrated experience. 



While the hypermediacy is easy enough to spot in such games as SWTOR, there are some aspects of immediacy that take some time to uncover and examine. One surface element that is easy to spot is the incredible use of detailed cut-scenes that look shot-for-shot out of an action movie. These filmic moments of the game probably are not enough to make the experience completely immediate, but there is the sense that the player is following along with a narrative, much like they would do if they were reading a book or watching a film. But MMORPGs like SWTOR build upon the narratives by adding the dimension of a fully-realized, profound level of interactivity that pushes the player into shaping the world itself. The various classes that players can choose in SWTOR all have individual storylines unique to their class packed of impactful decisions – decisions that can go as far as to alter the course of gameplay. Because the game resides in the Star Wars universe, there is, of course, a light side and a dark side. Each player is confronted with decisions that affect their light side/dark side standing, which means that each player chooses for themselves if they are going to be “good” or “bad”, or perhaps something in the middle. This technically means a player could play a “bad” Jedi or “good” Sith – character types that might be out of place with what players would normally assume them to be. For a generation raised on the mythic aspects of the movies and the great battle between good and bad, light and dark, this level of freedom within the game allows each individual to decide their character’s personality, habits, fighting style – and morality. This aspect of SWTOR is a great example of what Bolton and Grusin sees as games that attempt “to move from hypermediacy to immediacy” (99). By forcing players to get involved and giving them choices that affect their characters’ “lives”, it makes the reader central to the narrative. Furthermore, the simple nature of the ever-expanding game means that it is technically “unbeatable” and thus takes on an element of constant growth and expansion that means the game will never truly “end”. Many MMOs operate in this way, releasing updates, new characters or classes, and extended gameplay in order to keep players invested and involved in the brand, and it seems likely that SWTOR will follow in this direction.



Tumblr/Pinterest
While it seems that most of our classmates choose to analyze prominent social networking sites like Facebook and Twitter, we wanted to look at something that had more of a personal relevance to us, as well as examine a site that people may not readily describe as “social networking”. In this frame of mind, in class we discussed Tumblr, a blogging platform that “lets [users] effortlessly share anything… text, photos, quotes, links, music, and videos” (Tumblr 1). While I am familiar enough with how Tumblr operates, I do not use the platform myself. Instead, I have an account with Pinterest, which is described as a “virtual pinboard… [allowing users to] organize and share all the beautiful things you find on the web” (Pinterest 1). However, the descriptions from each platform’s main website seem to suggest the same thing – they provide a space for users to collect instances of various media (sites, film, photographs, etc.), share those interests and network with others. It seems that the main difference between the two is how the collected media is presented – Tumblr has a top-to-bottom approach, showcasing one medium after another in a subsequent order in blog-like entries, while Pinterest organizes the various pieces in Boards, which adds an aspect of organization and categorization.

My homepage on Pinterest.

Rosie's A Nice Little Tumblr Tumblr.

In general, both of these sites work by collecting other forms of media and collapsing their dimensionality into the form of an easy-to-navigate online space. For example, a user can post or pin a photograph of a sculpture at a museum, a link to the museum’s website and a film clip interviewing the artist all within seconds of one another and all with a flat dimensionality on a web page. This experience is almost entirely hypermediated since it is nearly impossible to ignore the features of the website in general, such as the side-bar to scroll down, the mouse cursor, the layout of the sites themselves, etc. Additionally, because the media (the photograph, the movie clip, etc.) often take the form of visual hyperlinks in that they provide the user with direct access to the source material (another website, a news article, even another Tumblr/Pinterest user’s account), the whole experience moves beyond the simple act of scrolling through various snapshots of media to a more interactive, hyperlinked action. A small hint of immediacy could be argued that much like the Facebook Wall feed or a Twitter feed, posts or pins are updated in real-time, providing a good indication of where users’ interest lie and what sort of media is actively trending.




Silent House
I will first admit that I myself have never seen the film in question, although I knew enough about its basic plotline and structure to discuss it here (Mostafa has seen it). Silent House is a 2011 horror-thriller film staring Elizabeth Olsen. I clearly remember the marketing for the film when it came out, showcasing not only the shrieking actress and heart-pounding moments of suspense, but also the fact that the movie is eighty-eight minutes long and shot to look like it is one continuous shot. This style is not completely unique or new to this specific film as there are some films that have done this film style already – Hitchcock’s Rope comes most immediately to mind – but we wanted to look at an example that more of our classmates might be readily familiar with.


Silent House seems to step out of the standard “Hollywood” style of film and into something that more closely resembles a documentary or home-shot movie. This remediation brings a great sense of immediacy to the film. The seamlessness of having one continuous shot from the point of view of the main character creates a semblance of real life, as if what was happening on the screen was happening in real time. There are no cut-away shots, no transitions. Therefore, as the camera moves through the action following the character’s movement, it can seem to the viewer that they are there with her, following right behind or alongside her, seeing what she sees. In effect, this is a stylistic or filmic representation of what we might consider a first-person narration style, which limits what a viewer can see or know. In turn, this film style works to invoke a sense of fear in the viewer, as they are forced to move along with the action as it happens on the screen without much “down-time” or pauses.

This is the trailer for the original film, released in 2010; they also made a point of hyping the “real time, real life” aspect of the continuous shot:



Furthermore, in both films’ trailers, it is clear that the camera style and ambiance also contribute to the heighten sense of fear and immediacy. The “shaky” style of the camera work suggest that there is somebody there, holding a small camera, running along side the characters instead of being operated on a crane. The lighting is “realistic” in that instead of being shot with a traditional three-point lighting system, the only light seems to come from “real-world objects” such as a flashlight, lantern, outside moonlight, etc. (expertvillage 1). Additionally, the view might note that in both trailers, the sound effects of a Polaroid camera taking a photo and printing it out provide another hint of immediacy by suggesting that the film is capturing what is happening “now”. In fact, other than the obvious nature of it being a horror film with its reliance on certain tropes, we found that there was more about the film that made it immediate, rather than hypermediated.



In conclusion, by examining the three different types of media by breaking down our analysis into the component parts of how they operated under the concepts of remediation, it seems that each of our examples were constituted of aspects that made them both immediate and hypermediated. I would argue that this is because each of the three categories (video game, social networking, movie) were arguably very “new” media; that is, on the whole, they are more recent developments in media as opposed to paintings or photographs. In this vein, I found it telling that the vast majority of my classmates’ examples were all very recent developments, say, within the past few decades. It appears that the bulk of mainstream, “new media” are much more complex and multi-dimensional that simple, linear-perspective paintings or photographs have, which results in there being more facets to discuss and analyze. 


 
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Bolter, Jay David and Richard Grusin. Remediation: Understanding New Media. Cambridge: The MIT Press, 2000. Print.

Ellekaay. Pinterest. Web. 9 September 2012. <http://pinterest.com/ellekaay/>

expertvillage. “Video Production Basics: How to Use Three-Point Lighting.” YouTube.com. 29 October 2009. expertvillage. Web. 9 September 2012. <http://www.youtube.com/watch?v=Gkfv78919ek>

“Pinsanity!” YouTube.com. 9 May 2012. Comediva. Web. 9 September 2012. <http://www.youtube.com/watch?v=Z7m9BdeP0cc>

Pinterest. Web. 9 September 2012.

Rosie. A Nice Little Tumblr. Web. 9 September 2012. <http://anicelittle.tumblr.com/>

Silent House. Dir. Chris Kentis and Laura Lau. Perf. Elizabeth Olsen, Adam Trese, Eric Sheffer Stevens. LD Entertainment, 2011. Film.

“Silent House – Official Trailer HD (20120).” YouTube.com. 6 March 2012. megatrailer. Web. 9 September 2012. <http://www.youtube.com/watch?v=k2v6MJgM7cA&feature=related>

“The Silent House (Teaser trailer HD English).” YouTube.com. 25 January 2010. Tokiofilms. Web. 9 September 2012. <http://www.youtube.com/watch?v=VM2uf2AF_6Y>

“Star Wars: The Old Republic – ‘Hope’ Cinematic Trailer.” YouTube.com. 15 June 2010. EA. Web. 9 September 2012. <http://www.youtube.com/watch?v=1ToztqqDcaY>

Star Wars: The Old Republic. Redwood City: Electronic Arts, 2011.

“SWTOR Gameplay Tips: Light Side vs Dark Side – Alignment Choices and Consequences.” YouTube.com. 5 January 2012. Draeden5. Web. 9 September 2012. <http://www.youtube.com/watch?v=cslgcMP59pY>

Tumblr. Tumblr, Inc., 2007. Web. 9 September 2012.


Tuesday, September 4, 2012

im in ur class, hypermediating ur classroom experience


"The work of art today seems to offer 'an aspect of reality which cannot be freed from mediation or remediation'..."
- Walter Benjamin

Having finished Jay David Bolter and Richard Grusin’s Remediation: Understanding New Media, my first reaction is to admit that I never realized just how much of my life is concerned with or centered around media, or at least how much media impacts the decisions I make on a daily basis. I have always been well aware of how much television I watch (too much), how many hours I spend online (too many), what sort of advertising is being shoved down my throat (no, really, please remind me that my laundry come out as dazzlingly, sparklingly clean as you promise it will). Considering how many devices or outlets are in the direct vicinity of me right now – four computers, a cell phone, a television, a variety of gaming consoles, a stack of textbooks, a digital camera – it seems unlikely that I could ever completely forget how much of my daily life is made up of expressions via the various mediums.

In that vein, I decided to trace my (mediated) steps in order to closely examine just what I do when I decide to post something online.

This is my cat Maneki. It might be a little difficult to tell, but in the photo she is sitting on the notes that I took for the first day of class for this course. I had brought them out to review when she decided that this particular spot was where she wanted to sit. To me, her facial expression almost seems to say, “What? Did you need these?” It’s a simple enough explanation for the presence of a photograph on this blog, and yet I had to take multiple steps through several points of media in order to get it to this point:

First, I had the thought that Maneki sitting on my notes might make a great photo, which turned into me grabbing my iPhone 4s and opening up the camera application. After the photo was taken and I decided to upload it here, I scrolled through to the second page of my phone’s menu to the sub-folder marked “Photography”. I opened up the Instagram application, uploaded the photo from the phone’s internal photo album and sized it according to the specifications of the app. Next, I added the “Rise” filter in order to enhance the light quality of the photo (which was taken at night in the low-lighting from my desk’s lamp). The filtered-photo instantly uploads itself to my Instagram account, and also saves a copy to my phone. Next, I connected my phone to my IMB Thinkpad x60 and copied the photo to my CSUN-logoed flash drive. I opened Firefox Mozilla (which automatically loads the Google homepage), hit the bookmarked button for Blogger, logged in, and created a new post. I uploaded the photo, placed it alongside the text for this post that I had already typed up and edited through Microsoft Word, and saved the posting. Throughout this whole procedure, I had Pandora (internet radio) playing (although I pony up the $3.99 a month to have my account be ad-free).

This extensive process immediately resonates with Bolter and Grusin’s argument that the “twin preoccupations of contemporary media [are] the transparent presentation of the real and the enjoyment of the opacity of media themselves” (21). The photo is a presentation of the real because this event actually occurred on September 1st 2012 at 12:24 AM in the living room of my apartment in West Hollywood, California. I did not stage the photo (that is to say, I didn’t place my cat there – like most cats, it is simply in her nature to get in my way whenever it’s most inconvenient for me, which often results in her sitting on things that I need to use). Thus, the photograph is a piece of evidence of something that occurred serendipitously and without forethought, of something that I would argue to be “real”. On the other hand, the photo takes on the properties of a hypermediated object due to the effort I have taken in enhancing the photo, transitioning it from one device to another, adding it to my blog, etc. – all in the name of sharing it with the online community. In response to Walter Benjamin’s suggestion that “unlike a filmgoer, the viewer of a painting is absorbed into the work, as if the medium had disappeared”, I would argue that it is the process that makes photographs (themselves remediated from paintings) hypermediated, that brings forth the acknowledgment that the medium cannot be ignored or separated from the object itself (Bolter and Grusin 75). I doubt anybody familiar with photography, filtering or software programs like Photoshop would be easily fooled into believing this photograph to be a perfect representation of the “real”. Despite the idea that the “photograph was often regarded as going too far in the direction of concealing the artist by eliminating him altogether”, it seems that with the rise in software, applications and programs that promise to turn even the most amateur photographer into an artiste, digitalized photographs are now a direct product of the photographer themselves (Bolter and Grusin 25). Furthermore, I would argue that the photograph’s placement on a blog (versus, for example, an actual printed image on photo paper) creates a hypermediated experience. The viewer is constantly aware of the interchange between the text and image, as well as the side columns denoting my past entries and my profile, the considerations I have made in designing the look of the blog (my rudimentary knowledge of HTML pays off sometimes), as well as the simple presence of a cursor, scrolling sidebar and windowed browser. When William J. Mitchell describes the “windowed styled” of the Internet as “‘[emphasizing] process or performance rather than the finished art object’”, we could also take it to be applied to any aspect of digital media – including a simple photograph of an annoying feline (Bolter and Grusin 31). After all, the photograph only constitutes a small part of the whole practice of reading this blog. 


During the whole process, I was constantly aware that I was fashioning a particular piece of media (in this case, a photo) into something that would transcend simple mimesis. I don’t think I’ve ever put this much thought into such a relatively simple act, and yet it does make me reflect on how each individual choice I make involving contemporary media is itself a significant performance of a hypermediated existence. By altering the original photo, adding a colorized filter, moving it across multiple devices, uploading it to various platforms, and finally, allowing it to be viewed publicly on a blog, I have shifted it out of the realm of simple reflection of the real world and into the realm of the digital, of the shareable and of the hypermediated.


Bonus hypermediazation: I made my cat a lolcat.


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Bolter, Jay David and Richard Grusin. Remediation: Understanding New Media. Cambridge: The MIT Press, 2000. Print.