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Documente Cultură
GRANDMA’S BISCUITS
Around the time my wife Katie and I moved to Richmond, Virginia in 1997, I began working on
a documentary film project about the Benson Sing, an annual Southern gospel singing in
convention in my hometown of Benson, NC that began in 1921. This project grew out of my
longtime interests in oral history, music, film, performance, and community. Visits home to work
on the project gave me additional opportunities to visit my family. On one such visit, at Sunday
dinner at Grandma Peedin’s house, I casually asked Grandma, “Do you remember the first time
you made biscuits?” (Growing up, we went to Grandma’s house almost every Sunday after
church, driving 30 minutes up I-95 from Benson to Micro, North Carolina, to visit and eat a huge
Sunday dinner with two or three meat dishes, all kind of vegetables harvested from her garden,
sweet tea, a couple of desserts and biscuits, always hot, homemade biscuits. From Sunday to
Sunday, year to year, no matter what was on the table, the one constant was her biscuits.) A
natural storyteller, Grandma smiled big and launched into a wonderful story of when she was 11
years old, the oldest of nine siblings, and told by her father, a farmer, that she would have to
learn how to make the biscuits because her mother was pregnant and soon wouldn’t be able to
make them. After she finished I immediately asked her if I could come back one weekend to film
her making biscuits and make an audio recording of her story. I was inspired and motivated on
many levels – Grandma was a great storyteller and I wanted to capture and preserve something
of her essence, her sparkle; I wanted to learn how to make Grandma’s biscuits because Mom had
not learned how, and I didn’t want this important family food to be lost when she died; I was just
beginning to make short films and this seemed perfect for a film; and, most importantly, I wanted
AN ALTERNATIVE COURSE
Fast forward to today. Even before this class, early in my thoughts of applying for admission into
VCU’s Media, Art and Text (MATX) PhD program, this film and the possibilities to use it as a
launching pad to take me into new creative and intellectual territories loomed large. Since
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Breaking Bread:
Striving for True Exchange at the New Media Table
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Final Paper/Project for MATX 601-Fall 2009
James Parrish
making the film I’ve thought about the experience often and how I might use it to further my
However, before enrolling in this class I was thinking about a project that would
thought I would develop a one-man show, mixing live performance with film, sound, and
projected photographs to create a multimedia experience. The question I thought I was interested
in was: How does the way a story is mediated affect how it is received? In this one-man show I
wanted mix various media (like a DJ would mix music for a dance party) to create a multimedia
experience. I wanted to see how this might be different from just showing the film. I was
primarily interested in how to bring the immediacy and intimacy of this kind of personal
storytelling into a multimedia context. My film, captures Grandma telling a story and yet we
experience it at a distance. I thought the way to transcend the limitations of media (film, audio,
images) was by putting it in a performance context, placing me front and center in the traditional
role of storyteller but one who would use a variety of media to tell “my” story.
Taking this course has put me on another tack: to put “Grandma’s Biscuits” in a New Media
context and use the film (and other similar works) to catalyze and facilitate a creative dialog with
others. This dialog would primarily exist in the sharing of texts specifically produced in response
to those on the website/blog/portal (or at the least, the sharing of previously-made texts that were
selected and posted as a response to the work on the site). This new direction was seeded by
several readings. First, Roland Barthes’ essay, “From Work to Text” offered me this to ruminate
on:
“… the Text is a methodological field. The opposition may recall (without at all reproducing
term for term) Lacan's distinction between ‘reality’ and ‘the real’: the one is displayed, the
other demonstrated; likewise, the work can be seen (in bookshops, in catalogues, in exam
syllabuses), the text is a process of demonstration, speaks according to certain rules (or
against certain rules); the work can be held in the hand, the text is held in language, only
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Striving for True Exchange at the New Media Table
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Final Paper/Project for MATX 601-Fall 2009
James Parrish
exists in the movement of a discourse (or rather, it is Text for the very reason that it knows
itself as text); the Text is not the decomposition of the work, it is the work that is the imaginary
tail of the Text; or again, the Text is experienced only in an activity of production. It
follows that the Text cannot stop (for example on a library shelf); its constitutive movement is
that of cutting across (in particular, it can cut across the work, several works).”
My hope is to develop a project that will link people and their individual acts of creativity in a
way that helps create a metatext (or at least, by directly grouping and linking them via this
interactive portal, make it easier to find/follow our Text) – Text in the sense of “the movement of
movement is that of cutting across (in particular, it can cut across … several works).” Also in
“The Text … decants the work (the work permitting) from its consumption and gathers it up as
play, activity, production, practice. This means that the Text requires that one try to abolish (or at
the very least diminish) the distance between writing and reading …” Introducing the concept of
‘playing’ with the text, Barthes goes on to say: “The history of music (as a practice, not as an ‘art’)
does indeed parallel that of the Text fairly closely: there was a period when practicing amateurs
were numerous … and ‘playing’ and ‘listening’ formed a scarcely differentiated activity …”
This resonates deeply with another value of mine – to live the ideal of the amateur as illustrated
by Barthes in the passage above. Amateur comes from the Latin word amator, meaning lover.
Dictionary.com defines amateur as “1. a person who engages in a study, sport or other activity
for pleasure rather than for financial benefit or professional reasons.” However, most people
today associate the word amateur with this definition: “3. a person inexperienced or unskilled in
a particular activity.” This gives it a negative versus positive connotation. I myself have for a
long time been an amateur (in the best, positive definition of the word) filmmaker, musician, and
performer and through my work establishing Flicker and the Richmond Moving Image Co-op, I
have labored to promote and encourage amateur filmmaking. This is central to the concept of my
website or portal to promote media making around the oral tradition. I primarily want to
encourage and engage the “lovers” – artists and everyday people (especially those who would
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Striving for True Exchange at the New Media Table
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Final Paper/Project for MATX 601-Fall 2009
James Parrish
not consider themselves to be artists or creative) who are passionate about life and art, people
and their stories – to make versus consume media to send and receive – for the love of it. I am
reminded of a Jonas Mekas quote from his Anti-100 Years of Cinema Manifesto:
I want to celebrate the small forms of cinema, the lyrical form, the poem, the watercolor, etude,
sketch, portrait, arabesque, and bagatelle, and little 8mm songs. In the times when everybody
wants to succeed and sell, I want to celebrate those who embrace social and daily failure to
pursue the invisible, the personal things that bring no money and no bread and make no
contemporary history, art history or any other history. I am for art which we do for each other, as
I got a lot of inspiration from Jonas Mekas and his manifesto in the early days of my work
establishing the Richmond Flicker, a bi-monthly showcase of short Super 8 and 16mm films
made by area filmmakers, and I have been an avid promoter and defender of this kind of art
made for friends (Flicker led to me co-founding the nonprofit Richmond Moving Image Co-op).
Part of me wonders if the kind of intimacy, community and dialog that we achieved through
Flicker can be replicated in the new media environment. Gathering together for a common,
shared experience – whether to cook and eat a meal or to watch and celebrate locally-made films
– is such a vital, tribal affair with a strong connection to oral culture and tradition. However, new
media has the ability to connect people based on shared ideas and interests regardless of where
they live. There is an inherent tension here that I’m interested in exploring. Can new media be
used to (re)connect to the values represented in the oral tradition? Regardless, I’m not the only
person thinking about this. In my search for a moving article I’d read years ago, written by
National Alliance for Media Art + Culture (NAMAC) co-president Helen DeMichiel and entitled
“Towards a Slow Media Practice” (NAMAC: A Closer Look: Media Arts 2001), which made the
connection between the Slow Food Movement and the media arts field, I came across an update
of sorts, written by Wendy Levy of the Bay Area Video Coalition (BAVC) in 2006 as a feed on
In our new “digital ecology,” it seems we are all producers. Our capacity to create and feed
information, content, images, and identities from and to one another is now an experience and
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Striving for True Exchange at the New Media Table
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Final Paper/Project for MATX 601-Fall 2009
James Parrish
extension of the body so ubiquitous that not to do it can leave you feeling hungry and alone. A
blank screen is like an empty stomach: no feeds (RSS), no tubes (YOU), no culture. … In the vast
media garden, the big guys (Google, YouTube, Current, Yahoo) have been very concerned with
the modes of distribution, controlling and monetizing the feeds. There is little doubt that soon their
collective energy will turn to the modes of production; they will start being concerned about the
food. … The slow foodists may have been on to something. Check this out: on their website [Slow
Food International] they say, ‘We consider ourselves co-producers, not consumers, because by
being informed about how our food is produced, and actively supporting those who produce it, we
become a part of and a partner in the production process.’ It’s a revolution. Or a mission statement
for a very cool media arts center. All I know? I am hungry for the stories, and even hungrier for
“New ways of telling” is a good way to put it. It also brings to mind an independent study course
Communication Studies) at The University of North Carolina at Chapel Hill. Dr. Della Pollock,
who was at the time a fairly new assistant professor, had decided to develop a performance based
on Like a Family: The Making of Making of a Southern Cotton Mill World, a seminal oral history
developed by UNC history professors involved with UNC’s Southern Oral History Program. She
recruited 10 undergraduate students and two graduate students to help develop the script and
performance. In her essay, “Telling the Told: Performing Like a Family” (Oral History Review
“I wanted a performance that by its particular virtue of being art, paradoxically enabled historical
discourse. This aim was informed by my ongoing interest in the theory and practice of the German
dramatist, Bertolt Brecht.” One of the most powerful rehearsal exercises Dr. Pollock used was an
exercise in narrative exchange. We were each partnered with another student performer and asked
to tell our life stories. Then, we reassembled as a group and each of us took a turn telling our
partner’s life story. Feeling a sense of obligation to get it right, we all engaged in active listening
in a way we’d never done before. We were all transformed by the exercise. … “But what was
most interesting were the partners’ responses to hearing and seeing their story slip from their
grasp. … In each instance, what made them initially anxious was the sense that, having been once
told, their stories were no longer theirs. What later gave them pleasure was a sense that, having
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Striving for True Exchange at the New Media Table
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Final Paper/Project for MATX 601-Fall 2009
James Parrish
been twice told, each story took a life of its own. It was dialogized and publicized. It left off the
This experience also gave us the confidence that we could tell the mill workers stories with great
care and respect (until that point we truly weren’t sure that we had the right to do this project).
“Within about three weeks, the performers agreed that silence was a no more adequate response to
the stories they had heard than was mere appropriation. In order to realize their role as listeners,
they began to feel they had to participate as fully accountable partners in the dialogic re-creation
Participating in this course was the single most valuable learning experience during my entire
undergraduate career. Reading Dr. Pollock’s essay back in 1990 (not long after I graduated)
provided me with deeper understanding of what she had hoped to achieve and gave me some
theory and language (even though I didn’t understand it all at the time) to help explain my
experience as a participant. In light of this powerful experience of “retelling the told” – the
stories of textile workers, who made their meager wages weaving fabric – it’s not surprising that
I was struck by the textile, texture, weaving, fabric metaphors used by Barthes and others as they
described the dialogic possibilities of Text and hypertext/hypermedia. This is when a light went
off in my head and I began to “play” with the idea of a project that would explore “telling the
told” through new media versus some kind of real-time, multimedia performance (though I
haven’t entirely ruled that out). I’m still have some reservations about using new media for this
project given that I’ve seen firsthand how retelling people’s stories can be structured to
encourage real, substantive dialog with audiences (who are socialized to receive, not send),
moving them to tell new stories, adding to the fabric of the Text. However, I found useful
language and encouragement in what Michel de Certeau (quoted in Dr. Pollock’s essay) writes:
situations,’ verbal productions in which the interlacing of speaking positions weaves an oral fabric
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Striving for True Exchange at the New Media Table
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Final Paper/Project for MATX 601-Fall 2009
James Parrish
provisional and collective effect of competence in the art of manipulating ‘commonplaces’ and the
Blogs, social networking sites, photo and video sharing sites (YouTube, Flickr) and wikis are the
new “commonplaces” in which we are becoming conversational. One aim of my project is to see
if I can use these commonplaces to encourage the production and exchange of media as a way to
The final theories that I want to highlight as instructive and/or critical of my project are
Enzensberger’s “Constituents of a Theory of the Media” and Baudrillard’s “Requiem for the
Media.” According to by The New Media Reader editors, Noah Wardrip-Fruin and Nick
Montfort, Enzensberger and Baudrillard share the view that the situation, i.e. genuine reciprocity,
will not get any better by simply making everyone a producer (versus consumer) of media.
Baudrillard believes that the problem lies not in who transmits but in our very underlying model
of communication. The “transmitter-message-receiver” model does not allow a place for the
ambiguity of true exchange; it “excludes, from its inception, the reciprocity and antagonism of
interlocutors, and the ambivalence of their exchange.” Baudrillard articulates my skepticism and
fears pretty clearly; my experience to date with social networking and blogs certainly doesn’t
disprove his claims that these forms of communication don’t really allow a place for “true
principle of reversibility of circuits … a mass newspaper, written and distributed by its readers, a
video network of politically active groups” offer hope on which to build my project. Also, many
of his ideas, which were voiced in 1970, seem to predict wikis (Wikipedia) and the Independent
Media Center’s use of the Internet to organize and provide counter-information about the
protests against the World Trade Organization in Seattle, WA in 1999. In the case of the latter,
“new media were used to support the alternative organization of a social movement (more of a
network than a hierarchy) and to provide a different model of media consumption … delivered
on the Web” versus the cable and broadcast networks. In the sidebar of the introduction to
Baudrillard’s “Requiem for the Media,” Wardrip-Fruin and Montfort say that neither
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Striving for True Exchange at the New Media Table
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Final Paper/Project for MATX 601-Fall 2009
James Parrish
Enzensberger nor Baudrillard give concrete ideas of “how to stimulate the more interactive
communication they envision.” However, the NMR editors do suggest that there is a more
inspiring model of performance developed by Augusto Boal’s Theatre of the Oppressed. They
say the question now being investigated is whether Boal’s techniques for overcoming the
spectator/actor divide can be used in new media contexts, perhaps creating a media that may
overcome Baudrillard’s encoder/decoder divide. I enjoyed learning about Boal and his work and
putting it on a continuum and in context with Brecht, whose work influenced my mentor, Dr.
Della Pollock. I became even more intrigued by her response to my enthusiastic email asking her
“Yes, I know Boal well! Your summary is great. His work has taken on a life of its own in the
States, esp. as his later work adjusts the conditions of oppression he describes in Theatre of the
Oppressed (which builds on Freire's Pedagogy of the Oppressed) for a “postmodern” culture in
which the oppressor may be what he calls “the cop in the head”: the internalized conditions of
hierarchy, surveillance, and self-recrimination. It sounds like you may have read some of the more
theoretical portions of *T0* and might appreciate the discussion of practical approaches in the
So, while I haven’t had the time to dig deep, the message is loud and clear to me to spend some
additional time with Boal (and perhaps Baudrillard and Enzensberger) and seek out other works
that apply Boal’s ideas in a new media context. I don’t yet have a true sense of what’s been done
or being done in this line of inquiry but I’ve already identified a few places to begin (on the
Breaking Bread site I’ve compiled a starter list of Inspiration and Resources – organizations,
projects and collectives that are putting some of these theories into practice). My intention is to
use this paper and blog as a starting point to develop a project with vision and values woven with
sound theories and a creative methodology stitched together from the best practices of successful
Breaking Bread: A Prototype for a True Exchange at the New Media Table
As part of my preliminary work on this project, I’ve put together a sketch of what the Breaking
Bread portal might look like. I used a free Blogger account to create the site, but I’m pretty sure
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Striving for True Exchange at the New Media Table
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Final Paper/Project for MATX 601-Fall 2009
James Parrish
that most blogging software (like Blogger) does not allow anyone other than authorized
administrators to add media content, like photos, audio and video. For example, after someone
watches my “Grandma’s Biscuits” film, he or she can post a comment, but can’t post another
video, picture or audio file in a creative response. So, I’m going to look into other new media
tools like WordPress, Jing, Joomla, Drupal and other open source content management systems.
Ultimately, what I need is a tool that makes it easy for others to load their creative responses
(photos, audio, video, documents, etc.) in a variety of ways (linking from their YouTube and
The bottom line is this: I’ve only scratched the surface of what I think could be a very
rich and rewarding project. Regardless of its success or failure (I’m not sure how I would define
either at this point), there’s one thing of which I’m absolutely certain – I, and whomever else
chooses to “play” with me will be fed something wholesome and fulfilling, like a wonderfully
slow-cooked meal, and we will have the sustenance we need to continue our exploration of the
art in life.
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Striving for True Exchange at the New Media Table
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Final Paper/Project for MATX 601-Fall 2009
James Parrish
Note on Bibliography: I have created hyperlinks for all works cited or referenced. As a result –
and because I ran out of time and wanted to focus the remaining time and attention on my oral
presentation – I have chosen to forego the creation of a traditional bibliography. Because I intend
to continue this work, I intend to come back and add a bibliography at a later date.
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