tag:techtv.mit.edu,:Array/292368660 2008-06-16 14:32:41 -0400 MIT CTL <p>Cath Malseed, P&amp;G - Director, Coffee Product Supply</p><p><strong><em>Crossroads 2006: Simulating Disruption to Business Recovery</em></strong></p><p>Cath Malseed was part of the team charged with getting P&amp;G's New Orleans facility back up and running after Hurricane Katrina. Malseed outlines the unprecedented challenges they faced in New Orleans and shares the planning and processes it took to get P&amp;G's New Orleans facility back in operation only three weeks after the storm. </p><p>April 11, 2006, 0:58:00 </p> 3439 tag:techtv.mit.edu,:Array/292324380 2008-03-18 15:31:26 -0400 MIT Sloan Jenny Kwan spent her "down" time in January going from the E&I Trek in California to an independent research project in China that explored clean energy entrepreneurship. She’ll be back in China in March as part of the inaugural ChinaLab and hopes to end up there for good upon graduation. For this driven New Zealander, her goal of successfully marrying her interests in energy, entrepreneurship, and China is very close to being realized. 1352 tag:techtv.mit.edu,:Array/292302480 2008-03-27 21:15:37 -0400 New Media Literacies Make it a Map 101 tag:techtv.mit.edu,:Array/292267400 2008-12-31 14:50:32 -0500 Convergence Culture Consortium What are the challenges of bringing the academy and the industry together? How do we negotiate working across these two worlds? 7155 tag:techtv.mit.edu,:Array/292239660 2008-12-31 14:55:56 -0500 Convergence Culture Consortium Media convergence has made the complex intertwining of multi-platform media properties more and more common-place, yet the creation of storyworlds that extend beyond a single text is not a recent development. With a history that includes sequels, spin-offs, and licensed products, what is the future for the media franchise? 7241 tag:techtv.mit.edu,:Array/292220320 2008-12-31 15:01:23 -0500 Convergence Culture Consortium This session, a conversation between Henry Jenkins, Alisa Perren (Georgia State University) and Alex McDowell (Production Designer, "Watchmen"), will explore the creative and industrial challenges of translating comics for the screen. 6180 tag:techtv.mit.edu,:Array/292179340 2008-12-31 15:08:22 -0500 Convergence Culture Consortium Moving lives online, creating conversations across geography, connecting with consumers - how is social media defining the current entertainment landscape? As people not only put more content online, but conduct more of their daily lives in networked spaces and via social networking sites, how are social media influencing how we think of audiences? What are the implications for privacy, content management, and identity construction of social media? How have they impacted notions of civic engagement? 6641 tag:techtv.mit.edu,:Array/292160380 2008-12-31 15:16:20 -0500 Convergence Culture Consortium Audiences seem to present a constantly moving target. Migratory, skilled at avoiding advertising, and increasingly looking like producers, working out who the audience is and what they are doing is an evolving challenge. How do we create better relationships with audiences who look less like "consumers"? In a media landscape that looks to increasingly value broad distribution over concentrating attention, how do we uncover audiences and connect them with content? What does an "engaged" audience look like, and how do you know when you've got one? What do you do once you've found one? 6736 tag:techtv.mit.edu,:Array/292141460 2008-12-31 15:20:31 -0500 Convergence Culture Consortium Henry Jenkins in conversation with Yochai Benkler - Harvard Law School, author, "The Wealth of Networks: How Social Production Transforms Markets and Freedom." 3886 tag:techtv.mit.edu,:Array/292093440 2008-12-31 15:33:11 -0500 Convergence Culture Consortium Where does value come from in the evolving media landscape? Does it lie in the properties themselves, or in what people do with these properties? Do creative companies create value or does value creation also occur on the consumption side, as audiences discover hidden potential in existing properties, make their own emotional and creative contributions to the mix, and spread the brand to new, previously unsolicited markets? With the rapid emergence of user-created content, can we consider audiences participants in the creation of the value media properties hold? How do we account for the non-monetary value of media properties? How should gains from media value be distributed through the networks of creatives who collaborate in production? 7237