Digital Humanities, the Power of Media, and Meaningful Content Creation
June 14, 2018
Much of today’s information, news, and knowledge is communicated through various forms of digital media. Whether it be through websites, social media, television, or other digital mediums, the growing influence of media is unquestionable— and with this influential platform comes the opportunity to create content that effectively addresses critical issues. In this research paper, I will explore how theoretical Digital Humanities and Media Studies ideas contribute to and inform meaningful digital content creation. Specifically, I will use my experience working with UCLA’s Sustainable LA Grand Challenge to exemplify how media and sustainability can be merged in informative and valuable ways. This paper will examine the different parts that make up a responsible, effective, and engaging media narrative that calls attention to environmental issues and research. Crafting visual media incorporates various Digital Humanities and media concepts, such as subjective data, the influence of how information is presented and shared, accountability in the field, and the need for interdisciplinary approaches to today’s issues. When creating videos for Sustainable LA Grand Challenge research, I apply many of these concepts and methods, and will use my Video and Multimedia internship work as examples of such related theories.
A video spotlight on a student, Sean, and his research
One of the core concepts of Digital Humanities is that data is subjective. Data and research, though often viewed as factual and objective, are actually quite malleable in their collection, organization, and presentation. There is no such thing as neutral data, because each event, narrative, and history, is defined by what the narrator deems to be significant enough to present (White, 1981). Therefore, since there is no way to comprehensively capture every aspect of a moment, and all people and narrators have various biases, by extension, all data, research, and narratives are subjective as well. This root concept of Digital Humanities directly relates to media, and my video work with Sustainable LA. Though media can be an extremely informative outlet, it is also important to acknowledge and understand its subjectivity, and how decisions made during the creation of media content are influential. I have thought about this theory often as I go about my editing process. In my internship role, the way that I shape a video narrative reflects my own biases and thoughts on what I deem is “significant”. Editing a video and cutting certain clips out is essentially deciding what the audience will and will not see. The way that I choose to frame, cut, edit, include or exclude specific video clips is subjective, and those decisions influence each viewer’s perception of the research being shared. For example, in many of the videos that I have produced this year, I incorporate a light-hearted, quirky introduction and bright music, and as a way to humanize the speaker and bring an overall brighter tone to the video. In Sean’s video (see video above), after a few rough cuts and suggestions from Asma Mahdi, my supervisor and Sustainable LA’s Communications Manager, the focus became less on the specifics of his research project, and more on his experience in the program and his own sustainability practices. Sometimes videos about research can seem stuffy and formal, and we strove to bring a different feeling to this series. Making certain edits and changes served to make the video more dynamic, intriguing, and relational. However, some audiences may have found the tone to be too casual or easygoing for research. The interpretation differs and depends on each viewer. We will continue to explore these concepts of information presentation further, as we move on to discuss its meaning and effect on audience understanding.
A video spotlight on a student, Anita, and her research.
A second Digital Humanities concept that informs media and content creation is how the sharing and presentation of information impacts how it is received. In “Ecological Entanglements of Digital Humanities”, Linley expresses this specific theory: that “media are not mere tools but function rather both within and as environments, and thereby shape human perception and cognition, forms of discourse, and patterns of social behavior” (Linley, 2016). Different forms and renditions of media content will have various results in how the audience receives the information. Some environmental works emphasize how the world is running out of time to address climate change, some underline how it is the right thing to do, and others stress that being eco-friendly is a way to build a positive legacy for future generations (Markowitz et al, 2016). All of these approaches address the same issue of sustainability, but in different ways that elicit different reactions and interpretations from an audience. In addition, various forms of environmental communications provide frameworks with which the public uses to analyze issues. For instance, climate change can be reframed as a health issue, giving it distinct social and political implications that some may prioritize more (Hansen, 2011).
Beyond a work’s medium and topic of concern, there are also psychological methods that can be utilized to facilitate “meaningful and active learning”, as discussed in “Effective Educational Videos”. Techniques such as signaling, segmenting, and matching modality exercise cognitive load, promote viewer engagement, and increase the likeliness of retaining the presented information (Brame, 2015). Overall, there are many various ways in which media’s form, approach, and practice influence how “we— as individuals, cultures and societies— view, perceive, value and relate to our environment” (Hansen, 2011). By extension, this influence also brings about a necessary discussion of the need for accountability and responsibility in these fields. Creators and communicators must keep themselves and be kept accountable to produce meaningful, honest, and comprehensive media, as they shape the interpretation of information. Throughout the year, my work with Sustainable LA has considered and incorporated these Digital Humanities and Media Studies ideas. The videos I edited were primarily for social media platforms, and tailored to be short, cheerful, straightforward, aesthetically-pleasing, and entertaining yet informative. This social media format is the most relevant to students, who are the target audience. As exemplified in Anita’s video (see video above), the psychology techniques mentioned earlier were also used to increase viewer engagement: signaling uses text to highlight important information, segmenting with question cards manages the flow of information, and matching modality with the use of map and voice overlays stimulates both audio and visual channels. I worked and understood my responsibility in creating informative videos as well as an effective platform that shared Sustainable LA’s vision and research.
A video spotlight on a student, Shannon, and her research
A video spotlight on researcher Gonzalo Cortes and his work
Finally, a multidisciplinary approach, a central part of Digital Humanities work, is also needed to address today’s global issues. In “Two Cultures”, Snow writes about the separation of science and humanities, and that “closing the gap between our cultures is a necessity in the most abstract intellectual sense, as well as in the most practical” (Snow, 1959). He contends that in order to be the most effective and impactful in solving global issues, experts across disciplines as well as across the world must work together. A later paper, and response to Snow’s “Two Cultures” is “Four Cultures: new synergies for engaging society on climate change”, which furthers this concept by suggesting that four areas of study, the environmental sciences, philosophy and religion, social sciences, and creative arts, “can accomplish collaboratively what none are capable of doing alone” (Nisbet et al, 2010). Whether two or four cultures, this idea of interdisciplinary approaches plays a major role in Digital Humanities projects, which strive to blend digital technologies, media, information studies, art, and humanities in ways that foster collaboration and new, dynamic forms of research. As “Four Cultures” argues, and Sustainable LA practices, such multidisciplinary frameworks can be applied to environmental issues as well. A multifaceted approach that promotes partnerships and utilizes innovative media, technical, artistic, intellectual, and other outlets will make it possible to enact widespread change and progress towards a more sustainable society. One way I tried to incorporate this in my video production, is with a chalkboard bit (see videos above). I asked my interviewees to artistically represent and explain their research, to stimulate different ways of thinking about and communicating their findings. Besides the use of video and drawing to highlight research, the Sustainable LA program in itself is designed to be interdisciplinary. Sustainable LA funds interdisciplinary research projects, and connects faculty, researchers, scholars, and students across departments as they address climate change impacts in Los Angeles.
Sustainable LA's commitment to interdisciplinary work; source: SLAGC website
"Memes and Eco Themes", a video I produced and edited for @UCLAHousing's Facebook page
Beyond Sustainable LA, I also want to briefly discuss two other media projects I’ve worked on that draw from these Digital Humanities and media concepts as well. Through my Media Team job with UCLA Housing and Residential Life, I have worked on a short comedy video and art installation that address sustainability. The short video, “Memes and Eco Themes”, uses memes and humor to encourage students to live more sustainably in the residence halls, and is tailored for social media platforms. The second project, “Resounding”, is an art installation that I was the co-creator of. It was displayed at TEDxUCLA 2018 and UCLA Bruin Day 2018, and called attention to sustainability as well as an individual’s impact in enacting social change. The first room, entitled “The Overflow”, focused on highlighting planned obsolescence, man-made waste, and the zero waste movement. These immersive rooms aimed to combine art, the environment, and social impact issues in a compelling way that could be shared in a physical space as well as digital and social media space. Presenting environmental issues through these various comic and art mediums is just another example of how crossing disciplines and dynamic ideas can reach wider public audiences and inspire change.
Images of Resounding: "The Overflow"
Various Digital Humanities and Media Studies theories, such us non-neutral data, the influence information presentation has, responsibility in the field, and the need for multidisciplinary involvement in solving world issues tie into and inform the practice of meaningful content creation. Scholars, creators, and communicators must “understand the role played by media and communication processes in the public” sphere, as well as their role and responsibility in the formation and dissemination of such media (Hansen, 2011). By utilizing and acknowledging these concepts, those working in digital media can be held accountable and maximize social impact. These theories can also be applied to sustainability and climate change, where the use of media as a creative communication avenue will reach broader audiences and further important causes. Having dynamic ways of communicating ideas and research is critical to spreading awareness and inciting action. Such Digital Humanities and media considerations have played a critical role throughout my video production process while at Sustainable LA, and will continue to be essential to creating influential environmental media.
Works Cited
Brame, Cynthia J. “Effective Educational Videos.” Vanderbilt University, Center for Teaching,
2015, cft.vanderbilt.edu/guides-sub-pages/effective-educational-videos/.
Hansen, Anders. “Communication, Media and Environment: Towards Reconnecting Research on
the Production, Content and Social Implications of Environmental Communication.” International Communication Gazette, vol. 73, no. 1-2, 6 Jan. 2011, pp. 7–25. Sage Journals, doi.org/10.1177/1748048510386739.
Linley, Margaret. “Ecological Entanglements in Digital Humanities.” Debates in Digital
Humanities, 2016, pp. 410–437., www.jstor.org/stable/10.5749/j.ctt1cn6thb.
Markowitz, Ezra, and Lisa Zaval. “Here's the Secret to Making People Care about Climate
Change.” The Washington Post, WP Company, 4 Jan. 2016,
Nisbet, Matthew C, et al. “Four Cultures: New Synergies for Engaging Society on Climate
Change.” Frontiers in Ecology and the Environment, vol. 8, no. 6, Aug. 2010, pp. 329–331. Ecological Society of America, doi:10.1890/1540-9295-8.6.329.
Snow, C.P. The Two Cultures. Cambridge University Press, 1959.
“Sustainable LA.” Grand Challenges, UCLA, grandchallenges.ucla.edu/sustainable-la/.
White, Hayden. “The Narrativization of Real Events.” Critical Inquiry, vol. 7, no. 4, 1981, pp.
793–798., doi:10.1086/448133.