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What Is A Media Lab?

situated practices in media studies

Tag / feminist

Reimagining Scale, Scope and Situatedness in Humanities Infrastructure: An Interview with Patrik Svensson

Interview by Lori Emerson

For more than a decade, Patrik Svensson has been relentlessly documenting, imagining and, now, reimagining the physical and conceptual meeting places that bring together the digital and the humanities. Svensson’s work has been at the center not only of my own work to situate the lab I run, the Media Archaeology Lab (MAL), in and around the digital/humanities as well as my attempts to better attune the spatial design and infrastructure of the MAL so it becomes more welcoming to diverse approaches to research and creative practice; but it has also been at the center of the turn in digital humanities toward expanding its sense of itself as a field – an expansion that beginning to include an infrastructural sensibility along with an attention to issues previously aligned more with media studies (for example, new materialist studies) or cultural studies (for example, the politics of gender, race, and intersectionality). In the interview below, conducted over email throughout the summer and fall of 2017, you’ll find Svensson bring all the aforementioned issues together as he discusses his role as Director of HUMlab at Umeå University in Sweden from 2001 to 2014 (an astonishingly long tenure considering the relatively short life span of humanities labs in general). While he was director, HUMlab became known as one of the most elaborate, productive, and likely one of the most well funded humanities labs in North America and Europe; by the end of his tenure, it included ten faculty from across the university, fifteen staff, 1100 square meters (or roughly 11800 square feet) of lab space on two separate campuses, more than ten externally funded research projects, involvement in numerous educational efforts on and off campus, roughly twenty-five scholarly publications per year, and a network of international collaborators spanning the globe (mostly Europe and the Anglo-American world). Svensson also revisits the series of four essays he published in Digital Humanities Quarterly from 2009 to 2012 which consistently used HUMlab as a case study to, as he put it, “broadly [explore] the digital humanities in terms of its discursive shift from humanities computing to digital humanities, the evolving disciplinary landscape, associated epistemic commitments and primary modes of engagement, underlying cyberinfrastructure, visions and hopes invested, and possible future directions” (Svensson 2012). And, finally, he reflects on how his thinking on digital/humanities/infrastructure has changed and perhaps even become more expansive or sensitive to diverse participants and diverse modes of participation since he has lived in New York City and now Los Angeles.

This is one of three extended interviews my co-authors, Darren Wershler and Jussi Parikka, and I will feature in our project that is both website (whatisamedialab.com) and book (THE LAB BOOK: Situated Studies in Media Studies, University of Minnesota Press). Our book is both a long history of the arts/humanities media lab as well as an analysis of how anything – from a podcast, a reading group or an idea to even a line of men’s grooming products – is now a lab; it is also a meditation on what is or could be a uniquely humanities lab. As such, to be clear, this interview is more than just about the trajectory of Svensson as a thinker, writer and administrator; it is about documenting a particularly successful and influential moment in the recent history of humanities infrastructure en route to creating what we hope will be an important contribution to the design of humanities infrastructure in and for the future.

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An Interview with Erandy Vergara of Studio XX in Montreal, QC

Interview by Maya Livio

6/4/2017

Photo credit for images above: Studio XX, Electronic arts for families, 2016. This project receives financial support from the Ministry of Culture and Communications and the City of Montreal as part of the Agreement on the cultural development of Montreal. Photo: Stéphanie Lagueux.

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In this interview, Maya Livio, PhD Candidate at University of Colorado Boulder and Curator of MediaLive and the Media Archaeology Lab speaks with Erandy Vergara, Program Coordinator of Studio XX in Montreal, Canada. The interview was conducted via Skype on April 6, 2017, and edited for clarity.

Maya Livio: Thanks again for speaking with me, Erandy. Tell me about Studio XX, its mission, and how it came to be.

Erandy Vergara: The studio was created twenty years ago, its anniversary was last April 2016, by four women artists working in academia and in art and technology. Their idea was to create a space where they could learn how to use different media and also share what they knew. So the idea came from sharing knowledge, sharing space, sharing technologies, and sharing the resources they had—you know, at the time not everyone had a computer. So the basis was this idea of a lab. They didn’t have a gallery in mind, it was more about creating a space where things could happen, where projects could be developed. They started at a public library which let them hide away, and they brought their own computers and gave workshops to the community which could be as basic as how to navigate the internet.

ML: Wow.

EV: This is how it started and eventually the project started taking shape. It was always a feminist organization because they believed there wasn’t enough space for women to raise their hand and say “I want to know how to use this, I don’t want to feel stupid, I want to know.” It was clear to them that if women did not have a foot in cyberspace from the beginning, the gaps that were already very present in society in general and in art in particular were only going to get larger. This is how it started.

So it’s a feminist art and technology space. Eventually—you know, in Canada we have organizations which are called artist-run centres—so eventually they got funding to create an artist-run centre with the mission to support women artists in the development and production of art and technology. It all started as a lab—as having computers that people could play with, and eventually they got a gallery space. And, you know, as technology has changed the lab has changed. The equipment and the practices have always been changing based on new technologies and their new uses.

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