The Trouble with Page 99: Michael Scroggins takes the test

As I navigate to page 99, trouble arises. Adobe Acrobat assures me that I am on page 99 out of 329, but the number at the bottom of the page is 85. How many page 99’s can my dissertation contain? Two, it seems: one circumscribed by Acrobat’s digital scheme that assigns equal value to each page, and another circumscribed by Columbia’s traditional scheme that assigns value only to certain pages. Whose numbering scheme counts here?

My dissertation draws on two years of fieldwork in Silicon Valley Do‑It‑Yourself biology (DIYbio) laboratory. The DIYbio movement’s self‑announced goal is replacing the hierarchy of academic science with the egalitarian work of “citizen scientists.” The first page 99 contains a summary of Chapter Two, which discusses safety measures within synthetic biology, starting with the 1976 Asilomar Conference on Recombinant DNA. The second page 99 is bisected by a section heading titled “What Kind of Scientists?” which describes the sentimental education of DIYbiologists in 2010. In the interval between 1976 and 2010 the table was set for the disruption of traditional laboratory expertise by a new form of expertise emerging from DIYbio laboratories. My dissertation describes the formation of this new expertise.

The new expertise took form materially and symbolically. A new design language regulated interactions between laboratory members and the public. The logic of human resources governed interactions among laboratory members and supplanted the laboratory apprenticeship. New literary and material technologies for witnessing experiments were instituted by a class of entrepreneurial experimenters. Publicity and hype replaced findings. Experimental safety, the concern of the 1976 Asilomar conference, came to be underwritten by the FBI’s WMD directorate and enforced through surveillance. As we navigate the contemporary scientific landscape, the trouble with page 99 reasserts itself in a new key: whose expertise counts, and when?

 

Michael Scroggins. “‘This is a New Thing in the World”: Design and Discontent in the Making of a “Garage” Lab.  ” Ph.d. dissertation, Columbia University, 2016.

El Khachab’s Technology, Labor, and Mediation in the Egyptian Film Industry

My thesis is not about the link between cinema and car mechanics in Egypt, but this is what I discuss on page 99. There is still a sense in which this link touches on a core intellectual contribution that I hoped to make. The thesis examines how workers in the Egyptian film industry cope with the unforeseeable future of film production. I argue that this future is not entirely unforeseeable, as it is made to seem by interlocutors and scholars alike, but that it is managed through a hierarchical division of labor, an attention to the socio-technical process of film production, and a constant use of technological devices. In other words, when filmmakers confront such an unforeseeable problem as imagining “the film” while writing it, their responses never come out of nothing: they rely on existing hierarchies, techniques, and technologies to manage the issue.

This has little to do with car mechanics, or so it seems. Cinema carries strong expectations regarding what there is to study about it, and one imagines a cinema anthropologist to hang out with stars and directors to study their works, worldviews, and creative impulses. What I have done instead is to document the contributions of “unknown soldiers” in the film industry: set builders and production assistants, cameramen and sound engineers, grips and gaffers; workers who have more in common with craftsmen than the creative types we imagine peopling the industry. The vital insight is that each worker has a different stake in the film’s future: what it means to imagine the film is very different to a director as opposed to a gripping technician. By giving equal consideration to the director’s and the technician’s projects, however, I have tried to complicate expectations about what there is to study in “cinema”.

What remains to be studied is the historical link between cinema and other industrial crafts, for example, car repairs. The history of Egyptian cinema – and arguably, the history of cinema tout court – is predominantly written as though cinema was a series of “artworks”, without recognizing how cinema workers exist in a wider socio-technical world. It would be astonishing if the strong similarities between Egyptian craftsmen in the film industry and in the car repairs industry were a mere historical accident. Yet this comparison is seldom raised, because both activities are seldom put in the same sentence together. The comparison matters nevertheless because it breaks the stereotypical bounds between “creative” and “technical” activities, and it lets us think about what Egyptian cinema can say about Egyptian society more broadly.

Chihab El Khachab. “Technology, Labor, and Mediation in the Egyptian Film Industry.” DPhil dissertation, University of Oxford, 2017.

Lynnette Arnold’s Communicative Care Across Borders

My dissertation, “Communicative Care Across Borders: Language, Materiality, and Affect in Transnational Family Life,” explores the role of everyday communication in the lives of multigenerational transnational families living stretched between El Salvador and the United States, revealing how technologically mediated language both produces and contests the political-economic marginalization of geographically mobile populations. These families rely on regular cell-phone calls as a primary form of kin work in the face of long-term physical separation caused by restrictive immigration policies (Di Leonardo 1987), and the dissertation provides a close analysis of these cross-border conversations, informed by insights developed through multi-sited ethnographic engagement.

Page 99 is located in the middle of my methods chapter, and discusses the relationships that made this intimate investigation possible, describing how 15 years of connection had resulted in my adoption into several transnational families, signaling close affective ties despite the insurmountable gulf between our political-economic positions. As such, although page 99 is methodological, it draws attention to the primary theoretical contribution of the dissertation, the concept of communicative care.

Building on feminist approaches to care, I develop this term to highlight how mundane conversations attend to both material and affective concerns, nurturing the relational ties upon which cross-border families depend. The dissertation analyzes long-distance greetings, collaborative reminiscences, and negotiations of economic decisions, elucidating how each practice works to reproduce material connections between migrants and their relatives back home, while also providing forms of affective engagement that maintain kin ties.

In sustaining transnational family life, communicative care practices constitute a creative response to the failures of state care, but one that also reinforces the domestication and privatization of caring responsibilities. Thus, while communicative care is a means of pursuing well-being at the margins of neoliberalism, these strategies simultaneously produce forms of personhood and relationship that conform to neoliberal models. The analysis presented in the dissertation demonstrates the crucial importance of paying close attention to technologically mediated talk for understanding how the tensions of neoliberal mobility are both produced and managed.

Lynnette Arnold, “Communicative Care Across Borders: Language, Materiality, and Affect in Transnational Family Life,” Phd diss, University of California, Santa Barbara, 2016.

Bibliography

Di Leonardo, Micaela. “The Female World of Cards and Holidays: Women, Families, and the Work of Kinship.” Signs: Journal of Women in Culture and Society 12, no. 3 (1987): 440–453.