CFP: Ada, Issue 4, Queer, Feminist Digital Media Praxis
We invite contributions to a peer-reviewed special issue that brings together artistic, theoretical, critical and empirical responses to a range of questions around mediation, technology and gender equality. In particular we are interested in exploring what the concept of praxis could offer in our thinking about the intersections of gender, digital media, and technology.
Praxis in both Marxist and in Arendtian political thought brings together theory, philosophy and political action into the realm of the everyday. Inspired from this premise, and continuing the conversations that started during the workshop Queer, feminist social media praxis at the University of Sussex in May 2013 (queerfemdigiact.wordpress.com), we focus here on the conditions for a feminist digital media praxis. Media praxis, in other words the “making and theorising of media towards stated projects of world and self-changing” (mediapraxis.org), could be a vital component of feminist and/or queer political action. We are interested in the different modes of political action for social justice, enabled by digital technologies and social media, including theory, art, activism or pedagogy. What kinds of possibilities or impossibilities do these technologies and platforms offer for interpreting and intervening in the world?
The fourth issue of Ada: A Journal of Gender, New Media and Technology seeks submissions that explore the concept of feminist, queer, digital media praxis. We welcome unpublished work from scholars of any discipline and background, including collaborative, non-traditional, or multimodal approaches that can especially benefit from the journal’s open access online status.
Topics and approaches might include, but are not limited to:
- Affect, desire and disgust
- Diffractive readings
- Digital storytelling
- Herstories, archiving and remembering
- Feminist pedagogy
- LGBTQ Youth
- New media bodies
- Imaginaries, futures and technological utopias
- Radical art practices
- Science, technology and social justice
We invite submissions for individual papers on any of the above themes or related themes. Contributions in formats other than the traditional essay are encouraged; please contact the editor to discuss specifications and/or multimodal contributions.
Find submission info on Ada
I begin my talk with this video about repurposing social media spaces, such as this one, for the specific purposes of multi-disciplinary and multi-modal teaching and learning, as well as for its scholarship by showing this video, so representing, in form, my feminist commitment to engage in self-reflexive, situated critiques of the Internet that model here the kind of culture I hope it to be, a place that enacts collaboration, connections between the classroom and the world, intentional and ethical links between and within real and virtual experiences and private and public knowledge, and a commitment to finding, teaching, and using the forms of literacy best suited for these places and practices.
I self-reflexively argue above, here, and in the talk: engaged, situated pedagogy and research in the digital humanities demand new writing and speaking forms, as well as the presentational and publishing platforms to hold them.
March 15, 2013
Please feel free to share:
Children “share” during “sharing time” at school: my mouse, mom, yo-yo trick. Academic bloggers share details about what is behind-the-scenes: my lunch, boss, anxieties. Sharing as inclusion of personal experience into public spaces where such information has been deemed inappropriate, off-limits, non-academic. Sharing at its juvenile and narcissistic best and worst. The risks are both obvious and gendered: an embarrassing myopia, a gross mis-step in propriety, a female fall into feelings. No professional wants to be treated like a child (or a woman). The risks are in vetting; the rewards come by way of expanded expression …
I continue on Media Commons
March 31, 2012
I got a notice from Google on my “Learning from YouTube” YouTube channel. Apparently I passed some metric and have enough traffic to qualify to money-up with Google. While I am quite worried that I’ve signed away more than I’ll ever know, I felt that the learning mandate of this course demands that I go for it. We’ve been talking about Google’s (and corporate and money’s reach) on YouTube in class, and we can now watch how (or if) that happens in real time.
(Guess what: my first ad was for “Mad Men.” Good choice)
I given even make money on Monetizing Learning (above!). See Details below.
March 17, 2012
“In this special issue, we zoom in on questions foregrounded by the proliferation and mainstreaming of remix video over the past decade. Not coincidentally, this summer will mark the 10th anniversary of VividCon (http://vividcon.com), a convention founded at a time when the fan vidding community was weathering the transition to digital editing and an associated influx of new devotees. It would have been difficult then to anticipate the scale of this transformation, both in the prevalence of fan music videos (which are now a YouTube staple) and in their new interchanges with a vast ecology of remix practice. As mashup video genres increasingly coexist, cross-pollinate, and collide online, emerging scholarly canons and debates on these distinct traditions can become similarly intersectional and mobile. We aim to bring diverse critical engagements to this conjuncture by fostering connections between scholars and fans across disciplines and subcultures.”
And there, I rant this and more: “I think it is necessary to look to the common practices of quotidian YouTube culture (and its fans, and its students of fans) and try to name how this culture is failing us, to learn from the failures of children and scholars (starting with my own).”
March 9, 2012
I was driving home from the opening of Natalie Bookchin‘s amazing multi channel video installation, Now he’s out in public and everyone can see with fellow “video artists” Rachel Mayeri and Anne Bray and we were commenting on how hard it must be to make something that eloquent and prescient and beautiful—the result of two years of hard thinking and feverish work—and to live with the knowledge that the only people who will ever really see it are those lucky enough to walk through the doors of Hollywood’s LACE Gallery between the dates of March 8-April 15, 2012. Just look where YouTube has taken us to …
We want to believe that (like “video art” but so much more) all of our work can and should last forever, move where it must, and be seen by all who need it. This promise—that each and every one of our words, opinions, and voices will play a part of the cultural dialogue—is also (one of) the sad stories of Bookchin’s piece: a minimalist, refined statement upon the current and changing power of place and placenessless, circulation and stagnancy, video and sculpture, and voice and agency via YouTube. Eighteen monitors seem to float, hanging elegantly as they do from cables and hooks, suspended across a large blackened and muffled gallery in a dumbfounding materilazation of circuitry, a compelling literalization of cyberspace, freeing visitors to walk into and through the multiple competing screens that usually sit so flat in front of us. While her other recent work (seen most recently at LACMA) begins to disperse one story across a sea of embodied voices—none of them her own, all of them eerily in synch, mouthing one way of being and knowing, even as each one of us retains our autonomy or not, lost as we are in a sea of undifferentiated testimony
the new project fractures and sprays these “scatter-shot online voices” across the room, forcing the viewer’s body (not the computer screen) to hold all this variation, and pain, anger, desire, and loneliness. By forcing the work to be and stay room-, place- and time-bound, known as it will be only in and through our bodies (and sometimes those bodies dancing together across the room), Bookchin reminds us that speaking into the void (and being saved by the Internet) is no replacement for the beauties of ineffable place.
February 8, 2012
My course, Learning from YouTube, advertises that all class assignments take the shape of YouTube videos or comments, hence pushing and challenging both the constraints of web 2.0′s platforms for higher learning, while at the same time, asking higher learning to take better account of the ways, places, and forms where learning occurs in 2012. I have spent some time and energy codifying the ways my students and I began to “write” academically on YouTube. And perhaps it comes as no surprise that I evaded similar thinking in relation to our work at commenting, given how paltry is this function and its related culture.
Of course, my steadfast collaborators have been thinking about commenting all along:
In class yesterday, we began to build on this part of the project, asking ourselves to codify our commenting practices as academic writing. These terms serve as our beginning:
- Meta: writing that evidences in its form its analysis of YouTube. These self-reflexive forms include:
- Rant: writing that rages
- Spam: writing that sells
- ADD: writing that jumps, moves, distracts, disconnects
- Reiterative: writing that re-cuts
- Social: writing that takes into account its public, interactive position
- Personal: writing that takes into account the experiences, position and opinions of its isolated author
- Convergence: writing that attempts to translate academic style, lingo, or analysis to the Internet
- Efficient: writing that attempts to relay information with ease
- Tweet: writing that must be short
- Live: writing that strives to be current
January 18, 2012
Yesterday I began my fourth incarnation of Learning From YouTube. Welcome class of 2012! Since I began the project in 2007, there are quite a few differences for both YouTube and my class about/on it. While I named some of those changes here when YouTube turned 5, I’ll enumerate some new changes for our fresh beginning.
- Most critically, there is now a large and worthy body of YouTube studies, both scholarly and journalistic (including my own “video-book“), that my students and I must account for. When we began, we were writing the stuff, but now we must play the role of dutiful learners. This quick consolidation of expertise runs against the common understanding of the Internet (and its studies) as a flat playing field where all users and uses are equal.
- When I began, a course about YouTube was thought to be a joke.
- Today, there are lost of college classes and other esteemed cultural institutions devoted to thinking about social networking and new media. The mainstream media, scholars, and culture at large takes YouTube pretty seriously.
- When I began the class, YouTube was already ascending but not ubiquitous.
- Everything we thought was hot on YouTube in 2007 has been forgotten.
- YouTube’s economic and architectural and design structures have made superficial changes.
- Tastemakers now watch YouTube for us, and get us through its sea of crap to the “good” stuff.
- There is more quality programming on YouTube from both corporate culture and everyday users
And the rest of the current state of YouTube will be for us to determine. Look for findings here and elsewhere as we commence our studies.