technology research | What Is A Media Lab?

August 22, 2017

An Interview with Caroline Bassett and Sally-Jane Norman at the Sussex Humanities Lab

Interview by Niki Tulk

11/2017

“We plan to maintain our breadth across performance/music media arts, history, everyday life and mediated life, critical theory—but/and we also want to push our critical edge. So much work in DH hasn’t been critical in orientation, and we do many of us, in different ways, come out of that tradition. So we’re intending to keep asking questions about gender, power and digital technology, automated epistemologies—and their supposedly ‘neutrality’, and to integrate those into our more material work more deeply.” – Caroline Bassett and Sally-Jane Norman on the future goals of the Sussex Humanities Lab, UK

NT: What is your lab called and where is it?

We are the Sussex Humanities Lab (SHL), based at the University of Sussex, in the Downs outside the City of Brighton, UK. We are a research centre/programme and we span a series of Schools of Study—with a strong base in media and film (School of Media, Film and Music), and in HAHP (History, Art History and Philosophy) also in Education schools and in informatics and engineering (E&I) (computer scientists). ‘We’ are (i) the programme (SHL), (ii) the named and supported members of the team—academics at all levels, technical support people, project manager, admin (iii) we have a physical ‘lab’ space – we call this the ‘Digital Humanities Lab’, It is at the heart of our work, although its not always where we do things…

NT: What sorts of projects and activities form the core of your work? Is there a specific temporal or technological focus for your lab?

We are initially funded for four years—so this means our tempo needs to be pretty rapid. We are tasked with providing enough evidence of some form of sustainability at the end of that time, to become a permanent research centre within the University—in some shape or other. We don’t necessarily think we should simply seek to ‘do the same again’, at the end of our project time. We have a bunch of official KPIs (performance indicators) and the plan we bid for the funds with also sets out a series of targets (for engagement, impact—look up the UK meaning of that term…, and for grant capture). Those are rather official though. I would expand all that to say that we want to:
*Generate new forms of thinking and new forms of research—both in the humanities in general (where digital transformation produces new possibilities and opens new perspectives) and in relation to the computational as the subject of inquiry. That’s the big goal really. To do that we need to:
Intervene into the fields that together constitute digital humanities (lower case), by which we mean both traditional DH areas and also cultural, media, digital media, code studies, areas which have been exploring digital transformation in different ways for an equally long time. We think DH can become broader, more diverse, more multi-mediated—and that it needs to become more critical. We recognize the tension between critical theories of DH that can just produce abstraction, and the need to engage materially with new possibilities and new methodologies arising through big data, various forms of automation, and other new computational technologies. We think it can be productive—and that it’s fine if it sometimes produce antagonism. Actually in our lab we argue all the time. We are superb at arguing … including about our name: we deliberately adopted the “Sussex Humanities Lab”—rather than “Digital Humanities Lab”—name, precisely to demarcate ourselves from technical servicing- oriented DH bodies that have spread over the past couple of decades. The frequent mobilisation of big digital infrastructure funds as a rationale for developing (otherwise poorly supported) humanities research has resulted in a lot of projects where the (funded) tail wags the (confused) dog. We did not want to be identifiable with these countless, very similar organisations that have jumped onto the DH/ “cyberinfrastructure” bandwagon (e-science in the UK), simply to
develop new kinds of insufficiently conceptualised and critiqued demonstrations of technical prowess and gimmicky computational affordances doomed to swift obsolescence. We want the dog to wag its own tail – happily and excitedly, and in ways that can energise and contagiously enthuse others.
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November 2, 2016

An Interview with Lily Diaz and Philip Dean at Media Lab Helsinki

An interview with Lily Diaz-Kommonen and Philip Dean of the Media Lab Helsinki in Aalto.

Can you tell us about the background and emergence of the Media Lab Helsinki?

Lily Diaz: The Media Lab Helsinki came into being in 1994. It was formed by merging the existing resources of the Computer-aided photography lab led by Philip Dean and the IMI (Image Media Institute), an experimental unit created in 1992 to investigate high-end 3D animation and 3D computer-aided design (and provide master’s-level education in those areas). Because there was a need to create an academic unit that would concentrate on the potential of digital technologies to transform media and create new markets for new media content, a discussion ensued (involving the Ministry and other key players in the Finnish education scene) as to where to host such an environment. At the time there seemed to be a desire to focus on the education of new media content developers as well as to further develop collaborative applied research with Finnish industry. These orientations might have played a role in the decision about where to locate the unit, so that it was eventually placed at the University of Art and Design Helsinki (Taideteollinen korkeakoulu).

Originally the Media Lab project received three years additional funding from the ministry. This institution – that in 2010 became the School of Arts, Design and Architecture at Aalto University – has deep roots in the history of Finnish design, from having been the descendant of the School of Craft and Arts, initially based in the venerable Ateneum building during the late 19th Century.

The Lab opened its doors in 1994 and was a key partner is hosting the 4th International Society of Electronic Arts (ISEA) Conference. The Conference itself was a highlight, featuring the best and latest [research and innovations from] the international electronic arts/media culture scene.

The initial team at the Media Lab Helsinki [was] comprised [of] Philip Dean, Kari-Hans Kommonen, Isto Männistö and, later, Minna Tarkka.

Having [just] started the master’s studies program in the previous year, the Lab did not have a post-graduate program of studies when I arrived as a doctoral student and researcher in 1995. Post-graduate studies were done independently with tutoring by professors in the departments of Design and of Art Education where postgraduate programs and communities of researchers already had existed since the late 1980s.

Art and design research is certainly not a new endeavour. What is new is the growing trend by which artists and designers have become involved in research activities as part of their practice, cultivating and acquiring a voice as researchers and with an understanding of their role as creators of primary sources.

August 28, 2016

An Interview with Professor Claudia Mareis and Dr Jamie Allen from the Critical Media Lab, Basel

The lab is a space where things are unready, unfinished, at risk and without known utility. The common root of ‘lab’ and ‘labour’ is also helpful in that it evokes an active, physical space with bodies in it doing things (which can be a rare thing in the hallowed but empty halls of academia).

An interview with Professor Claudia Mareis and Dr Jamie Allen from the Critical Media Lab in Basel.

“We need places, laboratories, fundamental labs to discuss the terminology, the conceptual schemes, the pedagogies, and the value systems. We need to work on this. This is what the humanities should be doing. Fundamental research like they are doing in the labs.” — Rosi Braidotti

How do you characterise the Critical Media Lab’s work and mission statement; what are the defining characteristics of what you do?

The Critical Media Lab is a place, a physical location and discursive locale, where we attempt to strike a balance between research, writing and reflection that critically examines our contemporary and historical practices of media, design, art and technology, while allowing space and physical resources for these practices themselves. Simply put, production, in the sense of actually producing something that is not a research paper, book or essay format reflection on some other practice (as writing, after all, is also a practice) should not necessitate either tacit or explicit support of the means, techniques or technologies of that production. Making media doesn’t mean you are ‘for’ more media in the world, and having knowledge of the institutional, organisational, social and political effects of media, technology and design making should allow for more, not less, reflexive practice in these areas. McLuhan once quipped regarding his own status as a reluctant hero of media studies how talking about something does not mean you are in favour of it.^[1] Making, doing and practicing media, art and design, although productive, need not be productivist in the sense of exacerbating the logics of mass-media, corporate or ahistorical techno-capitalism.

Tag / technology research