Here is a roundup of my contributions to PopMatters so far this year:
I’ve started a podcast, “Placing culture,” which focuses on cultural geography, and particularly on conversations with individuals doing work at the intersections of geography, the arts, sciences, and humanities. You can follow the podcast via tumblr, Twitter and SoundCloud. The first episode, with Stephen Daniels and Lucy Veale of the University of Nottingham School of Geography, is embedded below.
Here are my recent publications on PopMatters since my last update:
In Worlds in Panels:
- From October, a critical examination of Warren Ellis’ and Jason Howard’s Trees (Image).
- From November, a reflection on GeekGirlCon 2014.
- And from this month, a look at how digital comics has affected my relationship to print.
In October, I also had a feature on narrative themes in Buffy, Angel and Grimm.
In my most recent column for PopMatters, I look at what downloads of comics from your comiXology library means for the future of DRM:
When I buy a print copy of a comic, there are a number of things I can do with that copy beyond simply reading it myself. I can, as noted, loan it to someone else. I can give it away or even sell it. I may not have to buy the comic in the first place; in many cases I could check the book out from the library to do my reading. With print there’s a clear distinction between owning a copy of a work and owning the work itself. I can do what I want with an individual copy that I come to possess by legal means, but what I can’t do is start making copies of my own for sale or to give away; that right adheres to the owner of the underlying work.
At the end of last month, my newest column posted at PopMatters. I take a critical look at what comics mean for building fictional worlds. I focus on three series, Shutter, Saga and The Private Eye:
As in Shutter the narrative context in these books is being built out and filled in through the art more than through dialogue and exposition. The masks in The Private Eye aren’t just cool and fun to look at; they are material to the story, signifying Vaughan and Martin’s speculation on the value of privacy for the future. Difference is at the core of the story in Saga. Every new way of visually distinguishing characters devised by Vaughan and Staples is a reminder of this theme.
My latest “Worlds in Panels” posted earlier this month. I reflect on what reads like a radical narrative break between Marvel comics and the Marvel Cinematic Universe (MCU):
At this point in the Marvel Cinematic Universe (the MCU), which includes TV and film, S.H.I.E.L.D. has been formally disbanded and many of its agents have been forced underground (sometimes literally) and Maria Hill has taken a a job with Tony Stark. Until opening up Uncanny X-Men, it had not occurred to me that these events also represented the first major disjuncture between the comics and the company’s growing film and television franchise.
Over the weekend, I deleted the Foursquare app from my phone. I joined the service in 2011 and used it pretty consistently up until Saturday when I quit the app. It was actually my last check-in, to the Corvallis Farmers Market, that prompted me to give up.
My geographer’s curiosity prompted me to try the service. I wanted to experience this way of relating to place (and, in fact, became aware of Foursquare by seeing check-ins from other geographers in my Twitter feed). I was also interested in the potential of the app for discovering new places, particularly when visiting new cities.
Over time, what kept me using Foursquare was habit, sharing with Anne-Marie when one of us would be traveling, and the game aspects of the app.
When I first started with the service, I didn’t really give the gaming function much thought, but as a base of users in Corvallis and the mid-Willamette Valley began to develop, I found myself getting caught up in competitions for mayorships of my most frequently visited places. That was, as it turned out, kind of fun. The Corvallis Farmers Market was one of the locations where I competed for mayor, and the lack of mayoral updates for that place is what made me decide to let go of this habit.
Of course, starting a few months ago when Foursquare announced “Swarm”, competition for mayorships ended. The folks at Foursquare have reconfigured mayorships and badges for the new app. I haven’t adopted Swarm for a number of reasons, but the main one is that the new app, and the way that mayorships work, looks effective for larger urban areas where you will have a critical mass of both general participants and friends using the app in your immediate vicinity. Mayorships are allocated within circles of friends instead of from the entire user base. On Foursquare, most of the other people I traded mayorships with weren’t “friends”; we were all just local participants on the service. Swarm does not appear as it if offers much fun or incentive for people like me who live in a smaller city and where other users are going to be dispersed and probably not “friends”, in whatever sense.
I don’t fully understand the thinking behind splitting the service into a Yelp-like app, still called Foursquare, and the more social, Swarm, or why the functionality of the latter is so geared for users in larger metropolitan areas, but maybe I am a case in point for these changes.
Even before the gaming parts of Foursquare were shut down, I had reduced my use. I had stopped regularly cross-posting my check-ins on Twitter, and based on my Twitter timeline, I clearly was not alone in that. I was gradually making less of a point about checking in and right before I quit, had reduced my use of the service to a few places where I regularly had comments or photos to share. In some cases, I stopped doing even that (turns out that shooting pictures of dinosaurs trying to drink your beer at Laughing Planet will, in fact, stop being fun past a certain point).
I don’t know how many other people are also quitting Foursquare and taking a pass on Swarm, and I am sure that the new app will attract its own user base independent of original Foursquare adopters, but I think that it’s notable that the service is being reconfigured in a way that loses value for most of us who live outside of a small number of major metropolitan areas, and is likely now mostly appealing for (some) young adults (honestly, I don’t think even when I was a twenty-something living in Portland that I would have been too thrilled by the locational tracking aspects of Swarm).
At the end, this episode is a small reminder that our digital networks are neither spaceless nor placeless.