anthropologist of search

Daniel M. Russell works at Google and this is how he describes what he does there: ‘I study the way people search and research. I guess that makes me an anthropologist of search.’ Back in June this year he spoke at the Investigative Reporters & Editors conference in Boston. John Tedesco, an investigative reporter for the San Antonio Express-News was there, took extensive notes, and posted them at his weblog: How to solve impossible problems: Daniel Russell’s awesome Google search techniques.

via entry at boingboing

who is arriving?

zeph’s pop culture quiz #51
Who is arriving?
Who is just arriving here?
    Simply leave a comment with your educated guess—you can ask for additional hints, too. [Leaving a comment is easy; just click the ‘Leave a comment’ at the end of the post and fill in the form. If it’s the first time you post a comment, it will be held for moderation. But I am constantly checking, and once I’ve approved a comment, your next ones won’t be held, but published immediately by the system.]

UPDATE and solution (07 December 2012):
Due to a negligence of mine ryoku solved #51 immediately by dragging the picture upon Google’s image search field. Thereby he reached Fantômas Over Paris and easily could deduce that in the screencap Princess Sonia Danidoff (Jane Faber) is arriving at the Royal Palace Hotel towards the beginning of the first chapter—‘Le Vol du Royal Palace Hotel’ [‘The Theft at the Royal Palace Hotel’]—of Louis Feuillade‘s 1913 movie serial Fantômas.’ For all about Fantômas see Fantomas Lives!

FEUILLADE, LOUIS. 1913. Fantômas I: À l’ombre de la guillotine [‘Fantômas: In the shadow of the guillotine’]. Neuilly-sur-Seine: Société des Etablissements L. Gaumont.

space by movement

My physical inbox today was graced by the presence of the newest issue (60/2012) of the ‘Berliner Blätter: Ethnographische und ethnologische Beiträge’ [Berlin leafs: Ethnographic and Anthropological Contributions], a German language anthropology journal. It bears the title: ‘Räume durch Bewegung: Ethnographische Perspektiven auf eine vernetzte Welt’ [Space by Movement: Ethnographic Perspectives upon a Networked World]. The editors of said issue, Beatrix Hoffmann and Hansjörg Dilger—who did a truly fine job—sent me the specimen, because it contains a short contribution by yours truly. Here’s the abstract, taken from the issue’s introduction:

Alexander Knorr erläutert in seinem Beitrag Möglichkiten ethnografischer Forschung unter Gemeinschaften, die sich ohne Bezug zu einem physisch-materiellen Raum ausschließlich auf der Basis virtueller Interaktionen konstituieren. Am Beispiel von game moddern, Internet-Akteuren, die sich der Modifizierung und Weiterentwicklung von Computerspielen widmen, zeigt Knorr, dass auf der Basis “Dichter Teilnahme”, d.h. der Beobachtung und Initiierung von sozialen Interaktionen und durch die interative Teilhabe daran Feldforschung auch unter solchen Gemeinschaften möglich ist, deren Mitglieder sich nie physisch begegnen. (Hoffmann & Dilger 2012: 11-12)

To my eye all articles within the issue, which is the result of a conference which took place in November 2010 in Berlin, are interesting and worthwhile, but I am especially struck by Martin Zillinger‘s contribution. Again from the introduction:

Die Erläuterung von Möglichkeiten und Grenzen ethnografischer Forschung unter den Bedingungen medial gestalteter Räume, Beziehungen und Praxen steht im Fokus des Beitrags von Martin Zillinger. Am Beispiel von in Brüssel lebenden marokkanischen Migranten und deren Kontakten zu sufi-Trance-Bruderschaften in ihrer nordafrikanischen Heimat beschreibt Zillinger die Eigenschaften medialer Räume und stellt zugleich methodische Ansätze für ihre Erforschung vor. Von zentraler Bedeutung ist dabei die Beobachtung von Praxen der Zirkulation von Dingen, Zeichen und Ideen über nationale und soziale Grenzen hinweg, welche dem Ethnologen den Blick auf mediale Austauschräume eröffnet: Mit seiner dichten Nachzeichnung der “Medienpraktiken” unterschiedlicher Akteure der Bruderschaften zeigt Zillinger, wie im Zuge ritueller Ereignisse ein transnationaler Raum aufgespannt wird, der sich aus den multidirektionalen Interaktionen zwischen den Mitgliedern der rituellen Gemeinschaft, sowie durch die Zirkulation der von ihnen mobilisierten und genutzten Zeichen, symbolischen Praktiken und Gegenstände immer wieder neu konstituiert. (Hoffmann & Dilger 2012: 11)

If that’s to your taste, then Martin’s upcoming book definitely is, too: ‘Die Trance, das Blut, die Kamera: Trance-Medien und Neue Medien im marokkanischen Sufismus’ (2013). ‘Trance, Blood, and Camera’ … that is what I call a title for an ethnography! Here’s the official abstract:

Im 21. Jahrhundert haben Migration, der Einsatz Neuer Medien und eine zunehmende Kommerzialisierung marokkanische Sufi-Gruppen und ihre Trance-Rituale verändert. Angesichts islamistischer Reformbewegungen, nationalpolitischer Ansprüche und transnationaler Verflechtungen werden Konflikte um religiöse Lebensführung an den Orten dieser Bruderschaften, ihrer Heiligen und Dämonen, neu verortet.
    Dieses Buch untersucht im Anschluss an die Studien von Vincent Crapanzano (1973, 1980), wie mit der Nutzung Neuer Medien bisherige Praktiken der Isawa und Hamadsa regeneriert und ihre Besessenheitsrituale und öffentlichen Zeremonien in neue Zusammenhänge und Lebenswelten übersetzt werden.

HOFFMANN, BEATRIX AND HANSJÖRG DILGER. 2012. Einleitung: Räume durch Bewegung. Berliner Blätter: Ethnographische und ethnologische Beiträge 60/2012: 8-13.
KNORR, ALEXANDER. 2012. Räume online. Berliner Blätter: Ethnographische und ethnologische Beiträge 60/2012: 80-88.
ZILLINGER, MARTIN. 2012. Die Medialisierung von Personen, Zeichen und Dingen bei marokkanischen Trancebruderschaften: Zur Erforschung medialer Räume entlang transnationaler Migrationswege. Berliner Blätter: Ethnographische und ethnologische Beiträge 60/2012: 68-79.
ZILLINGER, MARTIN. 2013. Die Trance, das Blut, die Kamera: Trance-Medien und Neue Medien im marokkanischen Sufismus. Bielefeld: Transcript.

the witch reboot

Last Tuesday the Wolverhampton Instrument for Teaching Computing from Harwell (WITCH) was rebooted for the first time since the 1970s. For two and a half years volunteers had restaurated the machine, which was built in 1951, at Great Britain’s National Museum of Computing at Bletchley Park.

via article at wired

who is checking?

zeph’s pop culture quiz #50
Who is checking the time?
Who is checking the time on his fob watch?
    Just leave a comment with your educated guess—you can ask for additional hints, too. [Leaving a comment is easy; just click the ‘Leave a comment’ at the end of the post and fill in the form. If it’s the first time you post a comment, it will be held for moderation. But I am constantly checking, and once I’ve approved a comment, your next ones won’t be held, but published immediately by the system.]

UPDATE and solution (21 November 2012):
Titlecard of 'The Thomas Crown Affair' (Jewison 1968)
The day will come when I again will post screencaps of movies like The Resurrection of Zachary Wheeler,’ Vexille,’ or Mr. Moto Takes a Vacation and Alexander Rabitsch won’t recognize them right away like he has done again: It indeed is Steve McQueen as Thomas Crown checking the time—Mr. Rabitsch even furnished us with the knowledge that the watch is a Patek Philippe—in The Thomas Crown Affair,’ directed by Norman Jewison (1968). To the cyberpunk aficionado Jewison of course is best known for his magnificent Rollerball (1975). ‘Thomas Crown’ has nothing to do with cyberpunk whatsoever. It is a heist movie, remarkable for its atmosphere, the chemistry between McQueen and Faye Dunaway, and maybe best remembered for the employed split-screen technique. When, as a youth, I saw ‘Thomas Crown’ for the first time (on television), I found the split-screen scenes to be irritating, unnerving, and in consequence downright boring. Today, since more than a decade well used to sitting in front of multiple screens, I somehow like it. So I was delighted to see the split-screens being used for the elaborate cut-scenes in Max Payne 3 (Rockstar Vancouver 2012). And I am amused that Microsoft’s advertising machine currently tries to convince us all that tiles are the up-to-date interactive design thing for graphical user interfaces, all the while acting like they’re selling us a Mondrian Composition at a bargain.
    ‘The Thomas Crown Affair’ was remade in 1999, starring Pierce Brosnan and Rene Russo, John McTiernan directing—no multi-dynamic image technique here. Three years later McTiernan remade yet another film by Norman Jewison, the already mentioned ‘Rollerball.’ The remake was shredded by the critics and failed at the box office.

JEWISON, NORMAN FREDERICK. 1968. The Thomas Crown affair [motion picture]. Los Angeles: United Artists.
JEWISON, NORMAN FREDERICK. 1975. Rollerball [motion picture]. Century City: United Artists.
MCTIERNAN, JOHN CAMPBELL. 1999. The Thomas Crown affair [motion picture]. Beverly Hills: Metro-Goldwyn-Mayer.
MCTIERNAN, JOHN CAMPBELL. 2002. Rollerball [motion picture]. Beverly Hills, Burbank: Metro-Goldwyn-Mayer, Touchstone Pictures, Buena Vista International.
ROCKSTAR VANCOUVER. 2012. Max Payne 3 [computer game]. New York: Rockstar Games.

deus ex movie

Detail of opening splash screen of Deus Ex: Humn Revolution
The day before yesterday CBS Films announced that Scott Derrickson, who directed e.g. The Day the Earth Stood Still (2008) [the remake, obviously], will direct a movie based on the ‘Deus Ex’ series of computer games, the latest installment, Deus Ex: Human Revolution (Eidos Montreal & Nixxes Software 2011) in particular.

EIDOS MONTREAL AND NIXXES SOFTWARE. 2011. Deus Ex: Human Revolution [computer game]. Shibuya: Square Enix.
DERRICKSON, SCOTT. 2008. The day the Earth stood still [motion picture]. Century City: 20th Century Fox.
DERRICKSON, SCOTT. 2014. Deus ex [motion picture]. Brentwood: CBS Films.
via HP at fb—tnx!

the patent problem

Steven Levy, author of Hackers: Heroes of the Computer Revolution (1984), among others, has written a comprehensive article, published at Wired, on the complex of problems comprising patents, the patent wars, and patent trolls. Along a suspenseful storyline, and by using some fine metaphors from the cold war and beyond, he makes the matter perfectly clear and understandable.

That’s traditionally been the spirit in which large companies have built their patent stockpiles, as a purely defensive measure. They were dissuaded from suing one another because they knew their target likely had patents that covered similar territory and they could be countersued quickly—the legal equivalent of mutually assured destruction. […]

That labyrinthine process, combined with the intricacies of the court system, have made trolls more powerful than ever. NPEs [nonpracticing entities—companies which neither manufacture anything nor offer any services but solely make profits from their patent portfolios the lawyers’ way] have nothing to lose. Because they don’t create anything, they can’t infringe on anyone else’s patents, no matter how overblown. That means they can’t be countersued. This isn’t mutually assured destruction; it’s asymmetric warfare.

LEVY, STEVEN. 1984. Hackers: Heroes of the computer revolution. Garden City: Anchor Press, Doubleday.
LEVY, STEVEN. 2012. The patent problem. Wired 13 November 2012. Available online.

players unleashed

Detail of the cover of 'Players Unleashed!' (Sihvonen 2011)

Players Unleashed is a thought provoking and well-argued reconstruction of the history of digital games and the role of player modifications to such artifacts. Focusing on the wide-ranging universe of mods for the best selling game The Sims, Sihvonen presents a cogent and persuasive argument for the importance of such activities, and in doing so helps us understand the vital role that players have claimed in the development and evolution of digital games. (Mia Consalvo)

SIHVONEN, TANJA. 2011. Players unleashed! Modding The Sims and the culture of gaming. Amsterdam: Amsterdam University Press.