Tactical Humanities Lab

A hybrid space for technical production and humanistic inquiry.

Month: February 2019

Is the Modernization and Increasing Popularity of Rave Culture Having Negative Effects on the Quality of Dance Music?

February 28, 2019 /

Some people are just different, and there’s nothing wrong with that, but sometimes it’s hard to be different in our society. People bottle up their emotions, their weirdness, what makes them unique. They hold it inside waiting for the night that they can let it all out. The night where people just like them gather in an undisclosed location and go crazy for a couple of hours. The music is loud, people are dancing, and the DJ is killing it. To them it’s not just a concert, it’s not just somewhere you can go and dance. No, it’s more than that. It’s a community. It’s a form of self expression. It’s an experience unlike any other. It is a rave.

Since the early 90’s, in cities around the globe, ravers have gathered in abandoned warehouses and underground clubs. The music may have changed over the years, but the community didn’t. As electronic music became easier to produce and consume, the scene just kept growing. The beats became harder, the genres expanded, and the attendance at once underground events skyrocketed.

With the increase in popularity, the word “rave” started to lose meaning. It went from being a community to just being a concert for a growing trend known as EDM. Electronic Dance Music is a decent overarching description for the type of music played at raves, but the music being attached to this tag is far from something a real raver would consider to be dance music. With artists like Marshmello hitting top 40 with EDM tracks, is rave music losing its individuality? Is it losing its meaning? Are songs now just manufactured to “go hard” and make people dance, or are there still strong emotions coming through in modern music? Is rave music inherently obscure, or is popularity only bringing more success to the rave scene? Will rave music end up other once popular genres like rock and roll, blues, and hip hop? Will I be listening to EDM on the radio when I’m 50?

I’m going to find out the answers to questions like these and more. I’m going to be sampling groups of ravers who listen to different types of rave music and even interview some big name DJs to see what their take on the situation is. I mainly am focusing on the New York City rave scene since there will be many differences in different cities. After drawing some conclusions from my data, I’m going to be designing and prototyping a game that will address the concerns of the community. I want to experiment with games that can be played at raves and games that can function as online spaces to hold raves.

I had previously done research in emotion in electronic music coming from a production standpoint. I produced a series of experimental pieces, learned how to sing, and practiced professional level mixing and mastering to try to make my own production have more emotion. I hope I can show off all the practice I’ve being doing as well as the research I’m doing now to create a meaningful experience for ravers in the NYC community.

Jon Castro is an undergraduate GSAS and CS dual major. His research questions how different people interact with music and how modern pop music differs from years prior.

Check out Jon’s Twitter here & his SoundCloud below!

Announcing “Bales of Amber”: A video game on ecosystem education, individual impact, & whales – Jennifer Bourke

February 22, 2019 /

Julia was an office worker in The City until the day her daughter died. Then she became part of the Animal Factorization Initiative, and now she lives within a whale.

Bales of Amber is an educational, surrealist, post-apocalyptic, speculative fiction game about a disastrous whaling industry. In this game, the player explores human interaction with themselves, others, and with the environment they live in. The player begins by waking up and setting off to do their chores. These chores include things such as spreading Ambergris and collecting phytoplankton from the teeth of their assigned whale. Each day they will do more chores, find more puzzles, and meet new friends to find out what truly is going on.

Bales of Amber focuses heavily on issues of environmental health, issues of capitalist production, and worldwide disaster as a result. This project teaches the players about what whales do for the ecosystem and what the everyday person can do to stop their decline. By collecting and spreading whale feces across the ocean, the player learns that whales are one of the biggest stimulators of the nitrogen cycle. When talking to their neighbor, they play a battleship-esque game with them, and that teaches them about the fact that 15% of whales die every year due to ameteur boating accidents.

I aim to finish a working prototype by the end of April so I can pursue grants and/or Kickstarter funds, and I recently completed an early-production video trailer for the project:

Jennifer Bourke is a third-year GSAS/EArts student with a passion for environmental education and hugging cats. She believes that every serious situation requires a touch of humor, and that Trader Joe’s brand Everything But The Bagel Spice is the most important invention of the century. In addition, she wishes she could have pet lobsters in her bathtub, but her roommates will not hear of it.

Project Introduction: Meditations on Memory – Emma Goldman

February 22, 2019 /

The idea of digital versus analog recollection is a driving force. When I began this project, I didn’t fully know what I was expecting of it, or myself, in the process. I wanted to build something immersive and nostalgic and home-y, but struggled with the initial direction. There was no real storyboard for this, it built itself as I was rediscovering my past and overlaying it with that of others. Meditations on Memory (the working title for this piece), came from a place of something unknown and desired. I knew I wanted to open a dialogue about the way we remember things, and how these memories can become universal in different ways. Humans, in many ways tend towards the egotistical (not necessarily in a negative context, but simply that of seeing themselves everywhere), projecting ourselves into the images/memories of others, in places we feel most comfortable.

The physical representation of this project has been one of the primary focuses in the current stages of planning, as the digital is in flux and grows/changes as I do. The original presentation was in a room with three projected screens on varying surfaces. The first was a flat, plaster wall, the second a brick, textured wall, and the third a sheet hung across the room. Of this presentation, the sheet I thought was the most interesting and effective in portraying the feelings I had imagined. It gave the narrative a base in a home-like environment and opened new ways of viewing I hadn’t even considered in production. The most interesting thing about the sheet was the addition of dynamic viewing that it opened to the audience. The sheet allowed for viewing on both sides, allowing for the play of shadows to become a new part of the story. This was particularly important given the original vision of this piece involved the shadows of the observers a lot more than the first showing allowed. The use of shadow was meant to literally project the viewers into the video, physically placing the individuals into the piece so that they might see themselves more literally. This technique is something I hope to utilize more in the future of the piece.

Other considerations I have been making in the evolution of this project is the way the environment effects the way it’s viewed overall. The hope is that Meditations…can be a moveable piece, curating individualized experiences per location so as to best fit the given environments.  However, there has to be some sort of consistency throughout the pieces that will eventually make up this unit so finding the right setting is the current focus. An idea I’ve begun dabbling with for this is that of the living, or bedrooms in houses. Taking things like curtains, and altered furniture to create a more home-like atmosphere. I think of it in the mindset that so many stories are told and written in those rooms, that having that environment recreated, even indirectly, might make the viewing experience more digestible.

 Another main factor I’ve been taking into consideration in the development of this project is the attention span of the viewers. The initial version was a whopping 6 minutes and 30 seconds, all of which were incredibly fast paced, and (I think) lacking in a lot of ways. While the imagery was nice, many of the clips felt rushed and left the observers either confused or wanting more (not in the best way). I think that slowing many of the clips down, and breaking them into smaller vignettes that can later be pieced together (also in response to the given venues) is something that has worked greatly to the evolution of the piece. This breakdown has also allowed me to piece together stronger stories over the varied screening surfaces (no longer necessarily limited to just three) because of the way shorter pieces of narrative can be carried out over a longer time utilizing a lot more stillness [i.e. if there are three screens and each has a similar image at different points in a story, two of the screens can be still while one progresses towards the next until all three have played].

I’m really excited to continue working on this project and to see how physical production might change the way it can be observed as a whole. I’m also looking forward to sharing the experience here, so keep an eye out for what’s to come!

If you’re interested in seeing the original video that accompanied this installation, feel free to view it here, just know a whole lot is changing!

Also! If you want to read/look at the stuff I’m lookin at (for this project) rn, here are some links/titles:

Emma Goldman is a Junior at Rensselaer Polytechnic Institute pursuing a dual degree in Philosophy & Communication and Media. Over the past year they have begun a dive into media production, primarily focused on allowing for more accessible communication in technical areas. They also have a black cat named Cagney who they love very much.

Exploring the Consumption of Genetics: Society, Identity, & Misconceptions – Hined Rafeh & Hazelle Lerum

February 21, 2019 /

The direct-to-consumer (DTC) DNA test market has exploded in recent years as gene sequencing has become cheaper, and demand for ancestry-based genomic testing & medical health testing has increased as consumers have become (arguably) increasingly gene-literate. However, the policy surrounding these products has a long and winding history, as well as conditions surrounding the sharing and use of DNA data for research and commercial means.

Politicizing DNA, the Tactical Humanities Lab project led by Hined Rafeh, will explore the nuances of DTC genetic test regulation and its categorization as a medical device. It will also explore the recent FDA-approval of popular test company, 23andMe, in its endeavors to distribute tests that can identify pathogenic alleles with the intent of identifying genetic disease risk–think BRCA2, the widely recognized gene that is responsible for some forms of breast cancer.

Major questions guiding this research include: What regulatory standards exist for DTC genetic tests, and how do these standards change the way genetic results are represented? How does the gene become a tool to categorize ethnicity, disease and other identities? How is genetic health risk defined by government agencies and medical institutions, and how are these definitions communicated to the public?

Additionally, this project will explore the data paths that DNA follows after you spit: where does your biological information go, and who gets to use it? What pathways exist for revoking consent, and who can be harmed by the sharing of genetic information?

Politicizing DNA seeks to empirically explore the language around direct-to-consumer genetic test policy, including politically-salient terms such as “genetic risk” and “medical device.” This will be accomplished by policy analysis, website analysis, and analysis of the actual materials that are shipped with a genetic test. We intend to accomplish this by focusing on several of the biggest DTC genetic test companies, such as 23andMe, Ancestry.com, and FamilyTreeDNA.

Previous research under the Politicizing DNA project included an analysis of race as presented by DTC genetic test companies. The findings, spearheaded by undergraduate researchers Paloma Alonso and Hannah Lightner, uncovered ill-defined terminology and unfeasible promises of ancestry on these companies’ websites. For example, instead of using race, the three genetic companies used the terms “ethnic groups and tribes,” “populations,” and “ethnic populations.” Very few companies addressed the reality of the social construction of race, instead presenting a biologically essential view of race and genetics.

Going forward, Hazelle Lerum and Hined Rafeh will continue this research with a bigger focus on the policy and regulation of DTC genetic tests themselves and the data gathered by DTC genetic companies. This research will trouble the uncertainties surrounding popular conceptions of DNA and what it means for us as a society, and identify the groups that are most vulnerable to the use and abuse of corporatized genetic health testing.

Hined Rafeh is a HASS fellow and PhD student in the RPI STS program, and her research explores genetic testing, technoidentities and critical scientific engagement.

Hazelle Lerum is an undergraduate student pursuing a B.S. in Science, Technology, & Society. Her research explores the politics of direct-to-consumer DNA tests, the dangers of toxic sex toy materials, and the intersection of art and environmental justice in citizen science. She is a founding editor of the self-publishing collective Pale Mountain Press, and enjoys writing in her free time.

Introducing the Tactical Humanities Lab of 2019

February 20, 2019 /

The Tactical Humanities Lab (THL) at Rensselaer is our effort to epistemically and institutionally produce DH and DH labs as within the boundaries of STS. The word “tactical” has for us a double meaning. First, it is a recognition of the deployment of the term already in DH, used somewhat flippantly as a way to “get things done” (Kirschenbaum 2012) in the contemporary university. While we certainly do not support the managerialization of higher education, we believe that “tactical” in this sense can be more than just a way of “accepting [our] parasitic relationship to the host” of academic administration (Raley 2014). Tactical-as-instrumental can also a way of making humanities and social science research knowable to administrative systems, funding systems, and broader cultural narratives of academic research. In this way, “tactical” DH operates as a intra-institutional translational platform (Malazita, 2018a), in similar ways that translational medicine practices have been constructed as ways of empathetically bridging biomedical research and diagnostic practices with patients and the public (Wang 2012).

Second, we use “tactical” in de Certeau’s form, as the practice of small-scale, everyday resistances to larger systems of power (de Certeau 1980). Part of this commitment is disciplinary; STS scholars tend to construct the field as strongly oriented with social justice and normative approaches to scientific, technological, and knowledge practices. Another part is our location in an engineering-centered institute, where laboratory practices and technoscientific innovation are the major knowable genres for framing social and political change.

The THL takes a bottom-up approach to DH laboratory practices. Rather than having one or two longer-term projects administered through the lab director, graduate and undergraduate students propose semester-long projects to the lab, and are free to work individually or in groups. Though several projects continue for multiple semesters, every semester-length segment is structured via a particular development and dissemination plan. The lab assumes no prior expertise in technical work or critical inquiry; students and faculty share readings, run discussions and workshops, and skillshare throughout the semester. The topics of these workshops and reading groups vary depending on the projects pursued in a given semester. The lab has no formal funding model or physical space–students and student projects are funded through a combination of scrapped-together internal and external sources, including bits and pieces of grants from the National Endowment for the Humanities, Rensselaer-based internal “accelerator” funds, faculty startup funds, Independent Study credits, and preexisting institutional research infrastructures available for supporting undergraduates. Our physical lab presence manifests through distributed temporary spaces, generally either in a conference room outside of Malazita’s office, or throughout various electronics, fabrication, and computer labs on a campus designed for STEM students.

The above probably sounds familiar to many DH laboratory practitioners–especially the contingent funding, space shifting, and sweat equity involved in holding a physically situated research practice together. Building momentum towards continuous operation is also complicated by the term-to-term, student-driven nature of the lab’s research foci. The structure of the lab leads to the production of a wide variety of epistemic subjects and objects. The students and faculty represent multiple disciplines, including STS, Arts, Computer Science, Computer Engineering, Sustainability Studies, and Game Design. The project topics range across critical technical education, data visualization, reverse-engineering and hacking hardware, web-based media production, game production, bioart, installation design, and furniture design. While the array of projects and disciplines can sometimes lead to a feeling of disjointedness at the beginning of the semester, all projects are united by two lab “requirements:” the projects must be oriented toward a social or political goal, and the research teams should be interested in making their object “knowable” by DH and STS audiences.

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