Sometimes things align, but mostly, really, it’s because they are already connected. Such is the case with the showing of Zoe Leonard’s compelling new body of work, “In the Wake,” currently showing at Hauser & Wirth and the cotemporaneous screening of The Watermelon Woman at the Museum of Modern Art: both in New York City, as am I, today.

Zoe Leonard: Positano, 1946 (detail), 2016.

Zoe Leonard: Positano, 1946 (detail), 2016.

“In the Wake,” Leonard’s compendium of three related works (sculptural and photographic) reflecting on the photo in/as/against the archive stretches the work she did on a linked set of questions over twenty years ago while making the Fae Richards Archive with myself (as co-producer and actor), Cheryl Dunye (as co-director) and a rowdy, talented, committed group of dykes, artists, and intellectuals from NYC and Philadelphia. That archive now sits and shows, in part, in the film I produced (with Barry Swimar), The Watermelon Woman (Cheryl Dunye, 1996), which is currently enjoying its twentieth year re-release of a beautifully remastered print. As a complementary part of its return, Cheryl Dunye, Marc Smolowitz and I have energized what we call WMW 3.0 art shows where curators of younger generations revisit the film, its photo archives and production ephemera, and mount art shows joining that work with new objects by contemporary artists who are engaging, with today’s urgency and concerns, with the central issues of The Watermelon Woman: the relations between photography and film, archives, memory, self- and community-expression, history, power, and legacy, particularly as experienced by lesbians, queers, people of color and women.

A Subtle Likeness features work by four contemporary artists—Ayanah Moor, Paul Mpagi Sepuya, Anna Martine Whitehead, and Kandis Williams—whose diverse artistic practices resonate with the film’s themes.

A Subtle Likeness features work by four contemporary artists—Ayanah Moor, Paul Mpagi Sepuya, Anna Martine Whitehead, and Kandis Williams—whose diverse artistic practices resonate with the film’s themes.

Installation at Black/Feminist/Lesbian/Queer/Trans* Cultural Production, curated by Melonie Gree, Melorra Green and Dorothy Santos

Installation at Black/Feminist/Lesbian/Queer/Trans* Cultural Production, curated by Melonie Green, Melorra Green and Dorothy Santos.

Traveling the world (again) with the film, living in close proximity with its (fake) archive, discussing it with new audiences and our team of WMW 3.0 curators (Erin Christovale, Vivian Crocket, Melonie Green, Melorra Green, Natasha Johnson and Dorothy Santos), and at a recent symposium at SF State, organized by Darius Bost and others, Black/Feminist/Lesbian/Queer/Trans* Cultural Production: A Symposium Honoring the 20th Anniversary of Cheryl Dunye’s The Watermelon Woman, I find myself in eerie alliance, or perhaps simply ongoing connection or even conversation (from afar), with Zoe’s discussion of her own current work about the past as “the opposite of archiving.”

Ephemera from the making of the Fae Richards Archive currently displayed at the One National Gay and Lesbian Archives as part of the show, "Memoirs of a Watermelon Woman," curated by Erin Christovale

Ephemera from the making of the Fae Richards Archive currently displayed at the One National Gay and Lesbian Archives, LA, as part of the show, “Memoirs of a Watermelon Woman,” curated by Erin Christovale.

Since I was in NY, while she was at the opening in LA, Cheryl took and shared with me cellphone photos of the now familial objects (from the fake archive in which my friends and I were first seen, twenty years ago) displayed at a Subtle Likeness and Memoirs of a Watermelon Woman (still showing at the One Archives). In NY, “In the Wake” finds Zoe Leonard also photographing photographs of her family’s partial, haunting, inconclusive archive of post-Holocaust snapshots, in the process turning them, as well, into luminous, reiterative, more-than-precious keys to history’s and family’s unfathomable and always unfindable truths.

Zoe Leonard, Misia, postwar (detail), 2016.

Zoe Leonard, Misia, postwar (detail), 2016.

The opposite of archiving for so many reasons and in so many ways, Leonard distorts the record with her highly visible photographic processes, multiplies away the value of the archive’s precious objects by replicating them and then showing them again and again, albeit differently, and transforms lowly family snapshots into high art through her refined aesthetic sensibility and masterful developing techniques, beautiful framing and exacting display, and placement in room after room of the toniest of townhouses on the Upper East Side.

Cheryl and Alex dancing. By Michael Light, The Watermelon Woman at the Berlin International FIlm Festival 1996, 1997

Cheryl and Alex dancing. By Michael Light, The Watermelon Woman at the Berlin International Film Festival 1996, 1997. At “Memoirs of a Watermelon Woman,” One Archive.

The opposite of archiving for so many reasons. For, ordinary life can be and is made into art, not artifacts, sometimes by loving communities in the living of it, and sometimes by later communities in the lasting of it.

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More fake ephemera from Fae’s life (by Zoe Leonard) and real artifacts of my own. Now in the One Archive curated by Erin Christovale.

Archive’s opposite because the Fae Richards Archive was a carefully, lovingly researched and rendered fake, made by many, because we believed in the telling of the story of someone (Fae Richards, the Watermelon Woman) who must have been true but couldn’t benefit in her time from today’s most obvious, irresistible right and activity: living a life available to the photographic record and its lasting home in an archive.

Zoe Leonard, Total Picture Control (I), 2016

Zoe Leonard, Total Picture Control (I), 2016

The opposite of archiving because, thankfully, real people, our lived lives and luscious loves, our full-tilt embrace of experience in community and history and art, will never be fully available to any archive’s or the internet’s quest for total picture control. Rather, we enter ourselves into history and its many archives here again, and as Zoe does and has done before, by celebrating the photograph’s partial, artistic, personal hold on people, truth, and life.

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In this, my third blog post of the summer about what to make of and do with the radical evidentiary images by ordinary people that can sometimes go viral and thus contribute to activism against documented injustice (and also do other things), I will speak briefly about New Documents, a powerful and important show that I saw at the Bronx Documentary Center.

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While it continues to be my belief that “hoping footage goes viral” can only be one item in a much longer list of hopes, and their associated activities, when our goals are making changes to brutal, sanctioned, ongoing systemic conditions that produce and allow for atrocities and violence that might be documented by ordinary citizens and victims, what I will focus on here is how the show itself enacts some of these necessary next steps by rendering itself as a physical manifestation of what is also needed after documentation, after the sharing of said document (virally or otherwise), that is if change is the goal (and not virality in and of itself).

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New Documents is an impressive piece of activist curation that moves from 1904 to the present day, judiciously choosing about fifteen pieces of photo, video, and film, each an inspiring example of what we now call citizen journalism (citizen-made images from Aushwitz to Dealey Plaza, from Vietnam to Tompkins Square Park, Tunisia, Libya, the Pepper Spraying cop, and then finally, St. Paul, Minnesota.) The show is daring, brutal, and unsparing. It asks us to look carefully at images, like the most recent in the show, those shot by Diamond Reynolds of the Philando Castile murder, that in an earlier post in this series I said I was not yet ready to see (please do read a dialogue I am having with Kimberley Fain about our choice to look). First made in photographs and later in film and video, each document in this spare show is seen on a tiny screen, cut into a wall, and placed on one side of the gallery. This arrangement serves as a timeline, a set of windows, and as a procedure for close concentration and attention.

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Wall text below each document allows the activist orientation and analysis of the curators to be clear. If an atrocity is witnessed and documented, and if this documentation is seen, results will occur. Often very big ones.

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The role of documenting and in this way testifying to atrocity is a critical and certain one. Without this courageous artistic political act there is little evidence from which activists can establish the truth of their experience and move forward to fight for reckoning, justice and change. However, there is nothing like a one-to-one causality between documenting atrocity and making change in the conditions that cause and support state and other systemic violence and oppression against citizens. This shooting/result equation is not exact, immediate, or even really quantifiable for any number of reasons that tend to reflect the same systematic cruelty that supported the original violence including but not limited to who controls images, and their interpretation, circulation, availability, ownership, and the punishments associated to acts of witness and activism.

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My previous writing and thinking about witness video that is hosted and made viral on YouTube and other social networks, in particular about one of the first celebrated examples of viral witness video, the image of Neda Agha-Soltan being killed at a protest in Iran in 2009 (also shown in the New Documents show), cautioned that there are many systems that surround viral videos and function to complicate any easy or obvious or necessary move from virality to change. While video can and must testify to abuse and is integral to campaigns for justice, it is also necessary for activists to consider how any particular video is seen, used, supported and shared within complex contexts that can either undermine, challenge, or support the maintenance of the systematic cruelty that is documented. I’d like to name some of the systems and conditions that surround viral video again here:

  • the platform itself, i.e. YouTube or other corporate social media sites that hold, own and share (citizen-made) video
  • the ads and comments and other visible windows or screens that frame it on the site and/or on your screen
  • the interpretations of those who give words to the image, be they citizen or mainstream journalists, day to day social media users or the corporations that pose as users
  • the governments and other institutions that monitor, censor, support and/or punish image-makers
  • the regimes of viewing that organize how we watch short, fast, spreadable images; that is to say mostly as interchangeable, consumable, expendable, fast bits of entertainment or stimuli, what I have elsewhere called “video slogans
  • the fragile and/or inaccessible technologies that shoot, share, and save images
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A cracked and dislodged mobile phone in the New Documents show testifies to the fragility of the technologies that capture, hold and share viral video, and to the many ways that activists, denied full access to infrastructural support, must make do even so

And it is just here, looking at the cracked phone on display, where my praise of New Documents really begins. This room, in its place, the Bronx, NYC, with more surrounding wall text (on the other walls, see below), and the volunteer who believes in the Bronx, and photography, and the power of its people, is one such radical place for the watching, thinking about, and making use of witness images. This place is a context from which these images accrue deeper meaning and greater value, written as they are, not into a callous, corporate internet, or a ready-steady flow of social media, but rather, a well-thought-out history, analysis, community and purpose, a place where small screen evidence by ordinary people can meet more ordinary people who care enough to get there, learn more, and engage.

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In the Bronx Documentary Center I spent fifteen or more minutes (after viewing and photographing the show) speaking to the activist, artist, scholar, volunteer pictured below (I have lost the green pad where I wrote down your name, please email me at work if you see this and I will name you!)

IMG_2191We spoke about her radical education in Women’s Studies at UCLA, and her return to the Bronx to do her activist work within her community. We talked about the value of a radical art space within this burrough. How activists, artists, students, and passers-by use this space. We discussed some of my critiques of virality, and she told me about hard decisions the curators had made around this and other issues to mount this timely, necessary, and controversial show.

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Our time together, in this space, not any, with its analyses and histories and commitments loud and clear, not intruded upon by any corporation, or stream of shares or responses, made these New Documents newly visible to me and resulted in many things that I have attempted to quantify here. In my previous post, Tiny Screens/Power Scenes, I concluded:

I would suggest that a powerful way to view viral livefeed video of black death, and other images of violence, might be not on our small private screens but as if each viral video was art, as if it mattered that much, as if it deserved that level of privilege: to be viewed in groups, on large screens, from beginning, middle to end, and with context. That is to be seen within the rich world it records, and with the background, discussion, and analysis that artists and viewers can and do use media to initiate.

How lucky I am then, to see, learn from and engage with a more powerful way to view viral video of black death and other historical atrocities. And how lucky we all are that we have access to the internet, so that I can share this place, The Bronx Documentary Center (in such partial ways, I know), with others who can not get to NYC and can learn from and engage together even so.

 

 

I recently received an unexpected but timely invitation (from editor Catherine Halley) to write an article for JSTOR Daily.  Her email request arrived when indeed I had something pressing I wanted to say. I was not sure I could say it, or that the time was right, or what the ramifications of my writing it would be, but I did very much want to think critically (and in public) about why I wasn’t watching the viral live feed videos of black death that began circulating and multiplying last week.

With Halley’s close help, and that of many friends and colleagues, that article was published today: How Do I (Not) Look: Live Feed Video and Viral Black Death. My writing, and thinking, occurred in conversation, actual and in my head, with a great many friends and scholars who I’d like to point to here, in no particular order and most likely forgetting some, less for reasons of intellectual property and more to name that my/our understanding of momentous social, technological, personal mayhem and change occurs in communities of care and practice and thought: Natalie Bookchin, Gabrielle Foreman, Robert Reid-Pharr, Cheryl Dunye, Kemi Ilenanmi, Alisa Lebow, Jenny Terry, Roopali Mukherjee, Marta Zarzycka, Jen Malkowski, Lisa Cartwright, Marita Sturken, Nick Mirzoeff, Patty Zimmermann, Sam Gregory,  Deirdre Boyle, Safiya Noble, LaCharles Ward, Ellen Scott, bell hooks, Paola Bacchetta, Tina Campt,  Inderpal Grewal,  Caren Kaplan, Minoo Moallem, Susan Sontag, Henry Jenkins, Sherri Williams, Jodi Dean, Michael Gillespie, Stephen Winter, Theodore Kerr and Diamond Reynolds.

I write in honor of Reynold’s work and in the name of our shared witnessing of the death of Philando Castile and so many others.

I am sure my friends and colleagues above will not agree with all of my thoughts on this volatile and horrible matter, nor would I want them to, but I do hope they will understand how critical their voices (and long term work on issues of violence, visibility, video and racial injustice) have been for me during this time.

I recently performed the third iteration of my experimental, affective scholarly talk cum “event” at Console-ing Passions 2015: “Ev-ent-anglement 3: Dublin.” The project has a nearly-completed year-long shelf-life as it and I travel the globe while transforming on the Internet (the sustaining relations between my physical bodily mobility through space and my grounded Internet presence, based as it is on assumptions that at last people can stay put, is one of the contradictions at the heart of this project: I need to be multiply physically placed-based to learn about digital place and community; the longer we have the Internet the more we travel physically because we know so many more people and place seems suddenly as available to us as products). Opening in Utrecht in August 2014, the Ev-ent-anglement went next to Dehli and Dublin. In August 2015 it will surface one final time in Montreal as part of a small symposium, “Affective Encounters.” A live collaborative art-event with Laila Shereen Sakr in Los Angeles at PAM in September will conclude the run. The Ev-ent-anglement changes and grows as does my thinking about feminist Internet culture because of the interactions, objects and collaborators it brings into its fold from the places it and I go. In Dublin Orphan Black and Kara Keeling tangled in (with other objects).

Kara Keeling, one member of my panel on "New Materialsim" at Console-ing Passions 2015, Dublin

Kara Keeling, one member of my panel on “New Materialism” at Console-ing Passions 2015, Dublin

No longer exactly where it started (it has had two websites and three discreet performances to date), this process- and interaction-rich project morphs yet continues as something akin to this: a living experiment that demonstrates in the doing the affordances of contemporary corporate (feminist) Internet culture and its potential alternatives. The ev-ent-anglement (perhaps poorly) enacts a feminist collective critical digital practice thereby telling us more about the corporate Internet and digital feminism.

Tara McPherson, Kara Keeling, and Alex Juhasz. The panelists at C-P 2015.

Tara McPherson, Kara Keeling, and Alex Juhasz. The panelists at C-P 2015.

Let me explain. I built the ev-ent-anglement to consider how we might do better with the uncountable fragments of ourselves that we willingly, massively and generatively give to the man with every tweet, click, and photo. I cobbled together a theoretical armature suited to scaffold my unique intellectual and practical pursuit: how to cut and paste our fragments together making use of feminist principles towards anti-corporate ends. Collaboration, blended live and digital space, co-production of time/space/knowledge (events), the linked value of the situated and the mobile, the entangled nature of things, people, and ideas, a hunger for experiences and communities outside the corporate, an openness to complex and radical political and theoretical critique, a commitment to learning in the doing: these are some of the many feminist and activist principles underlying the project. From them, I concocted a strange place-based practice and performance (an event) where I presented the ideas of the project—montage, new materialism, affect theory, critical Internet studies, feminist and queer theory—while simultaneously asking the audience in the room (and always also online) to entangle fragments of themselves onto the event’s online record thereby marking and saving their part within the event while growing and changing its form within the ev-ent-anglement.

Some of the audience in Dublin.

Some of the audience in Dublin.

Because I performed the event at academic conferences (and because the ev-ent-anglement also reaches my online community), its participants are feminist activists, academics and artists interested in gender and queer studies, documentary, feminist media and their linked disciplines and foci. Because I performed the event in Utrecht, Dehli, and Dublin (and always online) fragments of these places, and their people and objects, entangle in. Because I showed certain images and quoted certain theorists, the ev-ent-anglement holds generative fragments concerned with the complex ideas and images of editing, cutting, bleeding, events, and entanglements. Because my community interacted, the project grew to include their linked interests: the Arab spring, disability studies, Trinh T. Minh-ha, AIDS, black queer representation and much more. Because VJ_Um_Amel first donated some fragments online, then got more invested, and ultimately began to collaborate with me, she led the production of a new website to hold the ever-morphing collection of ev-ent-anglements fragments. The new site has structuring principles related to ideas of shared-ownership, community, multi-authorship, fragmentation, bodies and their affects, collectivity, and feminism that reflect the larger project.

Entangled in Utrecht by Alanna Thain

Entangled in Utrecht by Alanna Thain

As of now, the second website cells.ev-ent-anglement.com, looks and even acts a lot like a hybrid (cut/paste+bleed) of two (feminist?) Internet stalwarts, Facebook and Pinterest (thanks to Natalie Bookchin for this comparison, and to the presenters on the Pinterest panel at Console-ing Passions): it automatically generates a seam-filled mosaic produced first from an author, and then from some algorithms that arrange her community’s fragments that have been crowd-sourced, willfully gifted, carefully curated, and linked. And yet …

Here’s where the differences bleed in, allowing us to see and perhaps name the current shape of Internet feminism and its many many discontents:

  • Pinterest, Facebook (and other social media platforms) are corporate spaces that are free to use at great cost to users’ privacy and autonomy; I pay for ev-ent-anglement with surprisingly limited personal and institutional resources.
  • Corporate spaces market in and mobilize corporate goods and user-generated content (often itself about corporate goods) arranged and calibrated with some very careful measure; while there is almost no outside to the market economy, a rather significant portion of the fragments on the ev-ent-anglement are not (fully) entangled with corporate culture.
  • Facebook, Pinterest (and other social media platforms) only work if things and people are bought and sold to each other; ev-ent-anglement buys and sells nothing other than platform space, the infrastructures on which it runs, and its users’ time and expertise (mostly given “for free,” as is so much on the Internet).
  • Facebook, Pinterest (and other social media platforms) are fun and easy to use; ev-ent-anglement is intense, difficult, and convoluted in comparison. Interestingly, off-the-shelf platforms bake in more and more ease-of-use but the corporations are always simplicity-steps ahead. The role of ease can not be overstated (see my work on slogans on YouTube).
  • YouTube, Vine, Snapchat and their ilk produce a sense of community organized around the self; ev-ent-anglement organizes its community primarily through my invitation (and then that of others) to a dispersed but highly limited group of people linked by ideas, commitments, and proximity.
  • Corporate spaces are built and prosper within the growth and scale logics of neo-liberalism: things are best when they get larger and hold unimaginable quantities of data; the ev-ent-anglement treasures and relies upon the close-knit, intimate, specialist interests and commitments of its tiny community and limited data pool. There is depth and connection in the focused, but corporate spaces have other kinds of magnetism.
  • Users’ compulsion to engage and stay within Facebook, Instagram, Twitter and the like is high, a result of many of the features listed above: their ease of use, abundance of content, sense of community, and refined admixture of corporate and user-generated content; very few people want to engage with the ev-ent-anglement in any sustained way (or at all) mostly because it retains my signature (even as it expands), and because it is complicated and demanding of time and intellectual attention. Also, “scholars” have a hesitation to make publicly (although not on Facebook!)
  • The collections of fragments that are any individual’s Facebook or YouTube feed are at once satisfyingly tailored around the self, while also being fleeting, abundant, diverse and easy; the ev-ent-anglement is co-authored and multiply-focused; it is time and space bound.
  • Twitter, Facebook and the like are founded upon flow, speed, quantity, and brevity; much of the ev-ent-anglement sticks, taking time and space to enjoy its complexity and depth.
  • Scholars and users of corporate Internet culture perform the obligatory work of jamming “feminist” intention, activity, community, and values into spaces and practices organized primarily towards neoliberal, hegemonic and sometimes even anti-feminist aims; the ev-ent-anglement, like other “alternative,” “counter-cultural,” or anti-hegemonic spaces asks its scholars and users to name and refine the feminist values and practices that feed us and structure the space; we often disagree, which is useful when done respectfully. Of course, no space is pure, so our movement between and among and within them informs all we might know and do.

The ev-ent-anglement is produced in relation to, conversation with, and defiance against corporate ownership and neoliberal aims within the Internet and every other place we go. It values feminist complexity, community, and collaboration outside the logic of capital, when possible. It tells us that the corporate Internet is expensive, commodity-driven, fun, easy, self-centered, addictive yet feeding, and malleable within these constraints. This tells me something I’ve known for quite awhile: the corporate Internet is the place we are, it is not the place we want or need, we can do better.

… I’m trying to steer clear of rabbit holes these days in order to get a book done, but this [ev-ent-anglement] seems different somehow. Like the time spent reading, learning, listening will be rewarded differently. But it also feels all the more dangerous for that.

I’m the opposite of pasted right now – not incorporated, tied down, fixed. Instead I feel unmoored — and where I feel fixity it’s more like a bottle about to be entangled in a mess of sea vegetable… –Jacque Wernimont, commenting on “How To

I spoke in a room in Dehli and asked people to #cut/paste+bleed with me there and also online. Jacque pasted in from Arizona. But no one in the room, in real-time,  tweeted, or posted, or tagged me an Instagram as I had requested. There were few rewards. Or maybe there were only weird ones. Or it was too dangerous.

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The audience at Visible Evidence, Dehli for the panel “Affective Encounters: tools of interruption for activist media practices”

Maybe it was because of lousy internet connectivity or because I softened my procedure mid-act and didn’t require it as I had in Utrecht, there and then producing a playful affect for some but also one where others thought I was too demanding. But maybe it’s because the act itself was uninteresting to (or too fast for?) the Dehli audience.

“If we linger in that cut, that music, that spatio-temporal organization, we might commit an action.” Fred Moten, In the Break –tweet from “me,” @eve_ent_angle

It’s hard to linger (read, learn, listen), what with so much information to consume and also produce (“in order to get a book done,” in order to wrap up this experiment).

The rest of this post (do linger dear reader) is on the ev-ent-anglement. I’d love you to entangle there!

I was recently interviewed by Julia Fernandez for the Library of Congress’ blog: The Signal. It was a pretty cool platform in which to be able to talk abut my problems with YouTube as an “archive” and otherwise. The interview begins like this:

Julia: In the intro to your online video-book “Learning From YouTube” you say “YouTube is the Problem, and YouTube is the solution.” Can you expand on that a bit for us?

Alex: I mean “problem” in two ways. The first is more neutral: YouTube is my project’s problematic, its subject or concern. But I also mean it more critically as well: YouTube’s problems are multiple–as are its advantages–but our culture has focused much more uncritically on how it chooses to sell itself: as a democratic space for user-made production and interaction. The “video-book” understands this as a problem because it’s not exactly true. I discuss how YouTube isn’t democratic in the least; how censorship dominates its logic (as does distraction, the popular and capital).

YouTube is also a problem in relation to the name and goals of the course that the publication was built around (my undergraduate Media Studies course also called “Learning from YouTube” held about, and also on, the site over three semesters, starting in 2007). As far as pedagogy in the digital age is concerned, the course suggests there’s a problem if we do all or most or even a great deal of our learning on corporate-owned platforms that we have been given for free, and this for many reasons that my students and I elaborate, but only one of which I will mention here as it will be most near and dear to your readers’ hearts: it needs a good archivist and a reasonable archiving system if it’s to be of any real use for learners, teachers or scholars. Oh, and also some system to evaluate content.

YouTube is the solution because I hunkered down there, with my students, and used the site to both answer the problem, and name the problems I have enumerated briefly above.

It continues here.

#Ev-ent-anglement #1 will occur here on August 26-August 30.

This #ev-ent-anglement is an experiment (in beta; quite Frankenstinian, really) in a digital and embodied collective, feminist, media praxis: a feminist project of making, sharing, using, and learning in embodied digital spaces. You are invited to participate by #Cutting/Pasting+Bleeding from digital fragments of yourself as you deem relevant to the larger entanglement: your feelings, knowledge, commitments, and questions.

Together we will author an intra-active collection of digital objects (comments/writing, tweets, photos, urls) in conversation with Alexandra Juhasz’s talk (To Perform a Theory of Feminist Digital Praxis) and associated Power Point, and also with each others entangled fragments.

A “How To” script for your participation is provided. It is requested that you participate, at a minimum, twice, during the time of the #ev-ent-anglement:

  • Use #eventanglement on Twitter and Instagram
  • Write as you wish in the comment boxes (not just “comments,” please)

The talk and power point will be presented live, to be synchronously and communally entangled with, on August 27, from 9-10:45 (CEST), to a group of approximately 50 graduate students and faculty in Gender and Media Studies at the University of Utrecht who are attending the Noise European Summer School in Women’s Studies from Multicultural and Interdisciplinary Perspectives. The focus for 2014 is “Political Aesthetics and Feminist Theory: Media, Art and Affect.” You can join the synchronous group on the #ev-ent-anglement, of course, or contribute asynchronously over the four days that it is live on the Internet.

The talk and #ev-ent-anglement are in conversation with imperatives raised in three assigned readings for the seminar:

  • About “cutting well,” as directed by Sarah Kember and Joanna Zylinska in Life After New Media (Cambridge, MA: The MIT Press, 2012): Chapter 1 “Mediation and the Vitality of Media” and chapter 3 “Cut! The Imperative of Photographic Mediation.” They also ask: “Can we think of a way of ‘doing media studies’ that is not just a form of ‘media analysis’ and that is simultaneously critical and creative?” Life After New Media – Chs. 1+3.0135c.arc
  • About Robyn Weigman’s call to “Do Justice With Objects” particularly in Women’s and other disciplines of “Identity” Studies: Object Lessons (Durham, NC: Duke University Press, 2012), 1-90 (this is too long to embed here, email me for PDF)
  • About my own practices of montage, or cutting, in histories and theories of feminist, queer and AIDS activist media. Alexandra Juhasz “Video Remains, Nostalgia, Technology and Queer Archive Activism,” GLQ 12.2 (2006): 319-328. Video Remains, GLQ

Certainly, reading these essays would allow you to be better prepared to create or find quality fragments to contribute to the #ev-ent-anglement. My performative précis introduces the ideas of the talk in brief, as well.

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