November 22, 2013
The new issue of Jump Cut (55, Fall 2013) is hot off the presses, and as always, it is bursting with great scholarly work on any number of issues near and dear to my heart: labor, third cinema, new queer cinema (by my compatriot, Roxanne Samer), feminist porn (by the delightful, Erica Rand), independent and experimental media (with an essay on Amateur Media by the always-on-the-money Patricia Zimmerman), and a statement on “The War on/in Higher Education” by the journal’s luminary editors (that thoughtfully addresses MOOCs, and other issues, a theme I will attend to in my upcoming post on my recent participation at the MWHEC meetings on this very topic.)
And that’s just my tip of the iceberg; there’s thirty or more essays to find and enjoy there!
Of course, while you’re checking it out, I do hope you’ll also spend some time with the special section I co-authored with Marty Fink, David Oscar Harvey and Bishnu Gosh on contemporary HIV/AIDS Activist Media. Our shared effort looks to links and disturbances across time, generation, place, region, and activist representational practices and media over the lengthy and always changing history of AIDS activist media. My piece, “Acts of Signification Survival,” focuses on both the spate of recent documentaries by my peers about AIDS activism’s past, and what their online life tells us more generally about activist media within digital culture. I write: “it is my belief that digital media brings in new concerns and different cycles. For one, in regards to the documentaries under consideration, the digital allows for what might seem an over-abundance of digital discourse and debate about what also can be perceived as a torrent of images and discourse that have as their subject our past fights for visibility. This produces a particularly clumsy incongruity: these many instances of visibility (the docs and their digital discussion) sit precariously near the constant specter of a diminishment of perceptibility.”
September 30, 2013
I am honored to have taken on the leadership of Pitzer College’s Munroe Center for Social Inquiry for the next four years. Each year, I choose a theme, and then get to engage in public programming, as well as a related advanced seminar each Spring (led by distinguished guests). This year, the theme is Technology, and there is an amazing slate of speakers for 2014.
For the Fall, I planned two events. One will occur in November, more on that later, but the first, and my inaugural event was a visit and lecture by Lisa Nakamura, professor in the departments of American Cultures and Screen Arts and Cultures at the University of Michigan, Ann Arbor.
My friend, and fellow FemTechNetter, gave a provocative set of addresses at the college where she performed media archeologies on both ubiquitous and extraordinary sites of the everyday or “normal racism” that has been “written into the Internet.” She argues that this racism is not exceptional but rather is structural, inevitable, and environmental showing us the constant if varied places online where “socio-technical racism” (and sexism and homophobia) are written into the norms, architecture, and ethics of the Internet: its shameful “racist technicity.” She argues that all that we shutter off as “noise” when we search for information, or add our comments to important conversations, or try to play games is itself the signal of the Internet. In her Atherton Lecture, recorded below, she looks to long and repeating histories of racist iconography—rooted in excess, confusion, arousal, fear, and control—to think about how “the culture of racism is itself memetic.” I hope you’ll take a long look.
September 29, 2013
No way out, I’m afraid. Blog my thoughts about, Room 237, the obsessive, fun, cringe-inducing (at least for cineastes like me), self-reflexive film about films and their critics (fans? bloggers?) and thereby I’m caught in the very same maze too (and caught there with you, dear reader, writer, blogger, critic, professor?)
So much synchronicity you might say (as would all of the intrepid interviewees in Room 237) given that I was just this very morning talking to my daughter (while I was streaming the film … hmmm), who’s so fired up by her High School English class and English teacher. Although they’re stuck on sonnets, it’s no matter the form, she explains, if your teacher opens you up to formalism. “Did you learn that in college, too, Mommy?” Learn it in college! I teach it to this day: that the formal choices and structures of the artist are there to be read, and interpreted, and thought about and discussed, and even written about by an artist’s devoted, lively readers! “Sure it’s fun to read for plot,” I said to her, “but when your thought processes also get to work through, chew on, revel in the clever devices and lush symbols that hold that story itself, the pleasures multiply.” She agreed. What’s cool about my job, I then explained, is that I get paid to do that: read myself, live myself, be myself, in relation to great works by amazing artists that speak to me (that I speak to). Then I read what others say about that great artist. And even better yet, “I go to a classroom and speak about all this with smart kids, just a little older than you.” (You are getting the symbolism? mother/daughter … almost like twins, or palimsests … like in The Shining, or Room 237 where we actually get to watch what happens when you layer The Shining forward and backward upon itself as a visual reckoning of its conjectured formal mirrorings, repeatings, forward-and-backwarding motifs).
My dear friends, P. David Ebersole and Todd Hughes are Executive Producers of Room 237 (Rodney Ascher), and also play their own twinned parts in this tight, intense project that opens creepy, wonderful doors that should allow not just for ruminations on Kubrick—his intentions, his genius, his symbols—but for all of us (writing about movies on the Internet) to reflect upon our own creepy, wonderful critical projects about others’ art, thereby begging the same scary kinds of mirroring questions grappled with in and through Room 237, questions about when something good becomes its evil reverse: artist/critic, fan/art work, mother/house, obsessive-compulsive/close-reader, father/horror, conspiracy theorist/professor, lover/killer. 237‘s team, who themselves lovingly find and know every film reference (and more!) to perfectly illustrate their obsessed subjects’ visions of Kubrick are only different, I suppose, because, well, they made their own successful movie about and from it.
At the DML Open Learning Conference yesterday (synchronicity? conspiracy? fun-house mirror? you tell me!), I was talking with a gaggle of Internet scholars about how to transform the seas of fan culture online (be it remixing, shipping, fanfic) into that very same doorway—the gateway drug to blogging, art-making, criticism, professordum, and yes, sometimes redrum. Is there a difference in kind between my musings about a film or filmmaker (here, or in a book, or a classroom) and that of my daughter and her friends about Homestuck or Supernatural? Or is this only marked by degrees, pedigree, audience, form, format or training? And what are the conditions that reign some of us back: keeping us from devolving into conspiracy theorists or stalkers, our obsession producing an inward maze where at the end all we see are our own creepy visions?
One of the film’s interviewees marks how Kubrick always gives some of his characters the skills to backtrack out of the ever-tightening loop; how he marks special doors that allow for escape out of his tightly-made forms (and the very “formalism” that draws us all into that shared reader/writer, child/maze project that is so deeply compelling). I, too, think that ultimately our forms (that we look at or speak through) are of less importance than are these exits (and to theorize, make, and practice exiting is perhaps even harder than to write the paths deep into the maze). The exit project maps the ways out to spaces for community, builds pathways to conversation and growing understanding, and takes time for these interactions (in class, online, via art) leading to the making of new forms of creativity that allow for other steps forward (while always looking back, to history, to art work, to each other), so as to together understand that the original form must be linked to and left by ourselves as sametime critics and producers of a culture that can sustain us.
March 15, 2013
February 22, 2013
Natalie’s film is an inspiring mix of digital storytelling and artistic vision. Hope to see New Yorkers there!
February 17, 2013
Visual AIDS: What will be the benefits of Queer Archive Activism? (Specifically I am hoping you can comment on the benefits for those who made video and film art in early response to HIV/AIDS, and those who are recontexualizing it now. And of course, generally what are the benefits.)
The benefits to our nostalgic return are threefold:
1) it fosters our own public and interactive remembering, “healing” (although this is not something I am seeking, personally: I don’t really want to heal, I’d rather stay angry or at least contemplative), and interaction.
Read the rest of the second part of this two-part interview on Visual AIDS.
November 28, 2012
Please do pass the word, as reported on Palms Springs Life:
“Although the day is titled, A Day With(out) Art, the opposite will be true Saturday (Dec. 1) at the Palm Springs Art Museum.
The museum will present a series of art forms to coincide with the World Health Organization’s World AIDS Day, which began in 1989. Admission is free.
Robert Atkins, co-founder of Visual AIDS, which created A Day With(out) Art 24 years ago as a day to use art to raise awareness and honors those who have died of AIDS, will lecture on In Mourning and In Rage as part of the day’s theme: – In Memoriam: Loss, Identity and History in the Age of AIDS.
There will also be a screening of the film, Video Remains, a documentary by filmmaker Alexandra Juhasz to honor her best friend in his final days, and a panel discussion about memory and loss.”
The schedule of events is here.
Alex and Michael, at Rudy’s Barbershop, Silverlake, still from Video Remains.