Media

Alternate Steves: The Lost Empire

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(This column is posted at www.StevenSavage.com, Steve’s Tumblr, and Pillowfort.  Find out more at my newsletter, and all my social media at my linktr.ee)

I continue my series imagining different cultural, technical, and economic trends using myself as a lens. We’ve met a Steve who was in on the work-from-home craze of the early 90s, a Steve that watched Ohio’s high-speed rail boom of a similar era. Now let’s meet a very divergent Steve, in a world where big media empires crumbled – for the most part.

TRANSCRIPT FROM SAN JOSE STATE UNIVERSITY RADIO: Professor Steven Savage on “TeachMeet”

Hello everyone out there! It’s your favorite lecturer on media history and the law, and by favorite I of course mean the only one. And that’s even my entire job!

So let’s get to my big announcement, one that’ll appeal to all twelve of you that took my “Media Turning Points” two-hundred level course. Can all you dozen please tell your friends?

My friend Serdar Yegulalp – yes, the guy you see in Rolling Stone – is coming to campus to speak on his new book “The Empire Of Media.” It’s his latest novel, a noir-deco tale of an alternate history where five giant corporations control world media. There’s murder, mayhem, skulduggery, and rich people doing awful things to each other. Now as much as we enjoy a good alternate history that involves annoying people killing each other, there’s even more!

You may ask why you haven’t heard of this novel yet. Well, that’s because it got released on the East Coast by Penguin. It hasn’t made it’s way here yet because, well, we all know how that works. But it also lets me speak with him on my next book – because we wrote ours together. Plus I get to ride his coattails.

Yes, some of you heard because I can’t shut up, but my next non-fiction book (with less murder) is coming out via Omnipress. It’s “The Lost Empire of Culture” and it’s going to explore how we got here in the world of media, communications, and ownership. Not interesting you say? More rich people being horrible? Well stay tuned.

Serdar and I wrote our books together because one thing that people forget – besides you specific twelve students, thanks again – is that we nearly had a world where only a few oversized corporations owned most of the media. Yes, you may have heard it, but he asks what happens if that was real, and I explore how we dodged not so much a bullet but an atomic bomb.

Imagine Disney as a dominant economic and cultural force, instead of a cautionary tale and favorite political target of politicians before you were born. Not many people remember the Berne Convention walkout of 1993. Or perhaps you’d like to get back to skullduggery as I dissect how several media companies, while pretending to cooperate, ended up backstabbing each other.

As you’ve heard me say, we dodged a world where ownership of works was basically eternal and creativity at best optional.

Imagine a world without your regional publisher. Imagine a world where Kinko’s isn’t sued over a price-fixing scandal for books! Imagine Diamond being worse than they were! Yes, I’ll even go into the famous Paper Scandal of 2015 for anyone who cares about it – which honestly isn’t me, I just like to be complete.

Serdar will cover what could have happened in a world of megacorporations putting out cartoons. I’ll cover why Publishers and Copyhouses got so big and why lawyers got into fistfights in Sweden. Hopefully it also means our books sell on both coasts.

See you there! Look for details soon! And for everyone attending my “Zines in action class” tomorrow, please bring your homework!

This was a fun one. I didn’t want to spell out the world too much, but more explore it from someone’s point of view. What’s media like when big media powerhouses wore down and in some ways destroyed themselves? What’s it like when publishers and distributors gain much more power but are also regional?

Steven Savage

Dada And Empty Media

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(This column is posted at www.StevenSavage.com, Steve’s Tumblr, and Pillowfort.  Find out more at my newsletter, and all my social media at my linktr.ee)

Though i don’t discuss it as much here, I have an interest in the art movement of Surrealism and its origins. Surrealism is fascinating in its many manifestations, it intersects with politics and culture movements, and the many personalities and people are compelling. As I continue to learn about it, I keep finding new lessons, one of which I want to share here.

Surrealism’s origins are rooted in Dada, an art movement that appeared post World War I that was mistrustful of the supposed age of reason and the horrors of the time. Dada appeared to be art, in form of paintings or performances and such, but was intentionally nonsensical. Today it may seem amusing, but at the time people found it infuriating – imagine giving a speech made of nonsense words and angry folk rioting.

Dada laid the groundwork for Surrealism, something else I may discuss, but what fascinated me most about Dada beyond that was that it used the framework of existing media and filled it with nonsense. What an idea that the container of art can be abstracted from any meaningful content! Perhaps its easy to understand people angered by Dada, confronted with a play or a song or a painting that had the form of work but was filled with nothing

You can remove the art from art but still have a form we associate with art.

That idea has sat with me for some time since I had it, but I hadn’t done much with it – as my interests were in Surrealism and how the artistic framework was a vehicle for unconscious, almost spiritual expression. But lately I thought about Dada using a framework of art filled with nonsense and internet content and what we learn from it.

It’s hard to find anyone who won’t complain about nonsense, slop, propaganda, and low-effort content on the internet. I certainly do as any of my regular readers knows, and to my gratitude, tolerate. I’m sure you’re also used to encountering and complaining of such things.

We wonder how people can take such things seriously. How they can fall for propaganda or low-info listicles and the like? Well that’s because, beyond our vulnerabilities or ability to enjoy trash, it comes in the form of information. Internet dross has the shape of information or art or spiritual insight even if it’s filled with B.S.

No different than how Dada took the form of art and blew people’s minds by delivering rampant nonsense.

Think about how easily technology lets us have the form of something useful. It’s easy to spin up a website or a book or a video, pour anything into premade patterns, even go to technology or freelancers to pour something into whatever information container we chose. We have the tools to make nothing look like something, to make form so good we easily mistake it for solid value.

And, sometimes, it rubs us the wrong way. We know it looks like information but it’s not. Maybe it’s easier to understand people enraged over Dada, tricked by form. We’re in the Uncanny Valley of Communication just like they were.

This is why the history of art and media matter and why I treasure these rabbit holes I go down. The past has many lessons for the present. Come to think of it, maybe if we pay more attention to the past we’ll have a better present . . . one with not just form but form delivering real meaning and valuable information.

Steven Savage

Where Are All The Superheroes?

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(This column is posted at www.StevenSavage.com, Steve’s Tumblr, and Pillowfort.  Find out more at my newsletter, and all my social media at my linktr.ee)

I’m always thinking about technology, culture, and organization, because it’s kind of my job. Pop culture falls under that purview because it tells us a lot about how we think – or what we don’t think about. Let’s take a break from my recent deep dives into something fun.

Let’s talk Superheroes.

I love superhero stories as they’re a kind of metagenre. Where else can an alien, a detective, and a half-goddess team up to fight a megalomaniacal billionaire? Superhero stories are a chance to tell tales where characters and genres collide. Despite the oversaturation in our media, I feel we haven’t really learned what we can do with superhero stories (which may be a separate column).

But one common element to superhero stories is transformation via trauma. A bad trip down an alley may inspire an orphan to become a caped avenger. An inventor’s efforts to deal with heart damage inspires an armored suit to fight evil. Lots of people get exposed to radiation and chemicals and magic and get powers. Mutants pop up in an evolving humanity, and an entire short-lived DC comics story dealt with humans put through a horrific obstacle courses so the few survivors would activate metahuman potential. https://en.wikipedia.org/wiki/Blasters_(comics)

Trauma is a big part of superhero stories. Only, if that’s the case in a superhero setting, and said setting is a lot like ours, I’d expect a lot more superheroes.

Only one bereaved child decided to go on a crime-fighting crusade in a world of super-technology and succeeded?

How many traumatic deaths, how many wars and executions, would result in the deceased making deals with supernatural entities, or returning and spirits of vengeance, or whatever?

Shouldn’t there be a lot of inventors out there crafting all sorts of wild stuff that’s superhero-worthy? Wouldn’t startups be kind of a nightmare as every fifth person is secretly making a battlesuit instead of whatever useless product they’re working on.

With all the radiation, microplastics, and weird chemicals in our environment shouldn’t we have legions of mutants and superhumans? For that matter how many drugs (legal or illegal) might trigger superpowers? You go to the doctor, get a prescription, and discover that your cholesterol drug gives you super strength.

And that’s not dealing with aliens and supernatural creatures. But they’d probably notice the planet with so many costumed weirdos running around.

Most superhero tales have so much dense continuity, so many ideas slapped together, that the worlds they’re set in should be awash in superhumans. They’re just not because hey, then they’re not that distinct in a setting where they’re supposed to be distinct. Though My Hero Academia sort of goes there.

This issue of trauma, power, and transformation is something I think superhero stories can explore more. When power is accessible, or when the events that can lead one to develop it or seek it are common, what happens to the world? If you’re going to slam so many genres together, how long until there’s nothing recognizable in the world you’ve created?

Though, sadly, we probably won’t explore this as much for awhile. Superhero stuff seems a bit tapped out thanks to endless Marvel movies. But maybe at some point we’ll ask about power, causality, and what keeps a setting of superhumans from being overloaded – or perhaps asking what happens as it is . . .

Steven Savage