viz.

(Image Credit: Techanbob)

Typing, for me, has long been tied up with game playing. Before keyboards were tools for productive labor they were complex controllers for beating monkeys in vine races to bananas and outrunning pirates to the buried treasure. When I first encountered computers in the early 90s my parents, and later the public school I attended, took care to teach me how to type. I was told stories about aging businessmen that floundered when forced to type their own memos and warned about the impending importance of touch typing. So, in what seems to be a fairly common experience, I spent afternoons at home and computer sessions in school playing lots of Mavis Beacon. This ongoing utilitarian interaction with games, though, wasn't an early form of gamification.  

(Image Credit: Michael Nagle, Getty Images via In Focus)

During the past week Occupy Wall Street has gained increasing media attention. The movement, initially called for by the group Adbusters, began in earnest on September 17th when protesters first began to occupy Zuccotti Park. This initial act seems to have largely been met with bemused ambivalence, and while there was originally a single demand articulated by Adbusters in their July call to action—that “Barack Obama ordain a Presidential Commission tasked with ending the influence money has over our representatives in Washington”  (Adbusters) –things were quite murky by the time the occupation took shape. Much of the media attention that the movement has gained, especially during this surge in participation, has focused on the apparent lack of concrete demands set forth by OWS. This confusion is misplaced. While the list of hopeful outcomes is amorphous a clear sense of oppositional branding has been developed   from the wealth of signs and images created through the movement. OWS demands that we put a hold on our love affair with notions of prosperity that put us in a double bind. 

(Image Credit: Harry Ransom Center and J. Paul Getty Museum)

The first photograph is hard to see. Though, really, that shouldn't have come as a surprise. The Harry Ransom Center makes it exceedingly clear on their website that not only will the image be difficult to make out, but that each viewer will in some sense be reperforming its discovery. Their instructions for viewing the photo include a short epigraph by Helmut Gernsheim, a photohistorian that rediscovered the piece in 1952. Of his first viewing of the photograph he writes "No image was to be seen. Then I increased the angle—and suddenly the entire courtyard scene unfolded itself in front of my eyes. The ladies were speechless. Was I practicing black magic on them?" 

(Image Credit: Ad Age, MBA Online, Magid Generational Strategies)

This cutesy inforgraphic from Ad Age and MBA Online presents the reader with a breakdown of media use by type, time and generation. The initial study was performed by Magid Generational Strategies. At first blush this seems to present a thorough overview of how different populations consume media, but on closer examination there are some signifigant issues. These issues aside, and in some cases because of these issues, this long image (I've broken it into several pieces for readability's sake. See the full image here) raises a number of questions about not which types of media we consume but how our methods of media consumption are changing to the degree that this infographic doesn't quite make sense. 

(Image Credit: We Shall Never Forget 9/11)

It didn’t take long for a media storm to emerge around Really Big Coloring Books new title We Shall Never Forget 9/11: The Kids' Book of Freedom. It was quickly and roundly criticized for its heavy-handed portrayal of Muslims. In the face of these criticisms Wayne Bell, the publisher at Really Big Coloring Books, has steadfastly argued that the book only shows the truth of what happened. It’s fairly clear though that the book slips easily into the popular narrative of freedom-hating-Muslims attacking freedom-loving-Americans because they hate our freedom. We Shall Never Forget isn’t an especially smart piece of propaganda, though. The play between the large amount of text and the inconsistent images make it hard to pin down how, exactly, its message is delivered.

Image Credit: Jay Janner AMERICAN-STATESMAN

Since this past Sunday the local wildfires have been a dominant force in the Texas media. Over 1,000 homes and 35,000 acres were destroyed in the Bastrop area alone, and while the Bastrop fire has been contained there are more and more reports of fires springing up north of Houston and throughout East Texas.  It would be a mistake, though, to consider this rash of wildfires an isolated event. As the months long drought has continued wildfires have been nervously anticipated alongside cracked foundations and the flooding a serious rain could bring. The images that surround this disaster carry with them that sense of inevitability. The standard series of disaster photos, though, cast confusion around the event—by forcing the fires into a basic linear narrative we are given the impression that things have settled down even as dozens of blazes continue to advance.