… 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!

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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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Please see my conversation with Ted Kerr, Programs Manager at Visual AIDS, recently published at Cineaste. Initially asked to discuss Dallas Buyer’s Club we felt we needed to take a lengthier look at the much broader phenomenon of retrospective looking at AIDS fueled by home movie images of the crisis, often shot by AIDS video activists like myself. In the piece we suggest that “the past, signified by the home movies of AIDS, in particular, has many cultural functions, and just as many cultural formations. We begin with Matthew McConaughey’s butt (where else!), and use it as our entry into a lengthy discussion of Dallas Buyers Club, as well as nearly a score of past and present alternative AIDS videos that also broker in activist made home-movie-like images of a crisis past—Like a Prayer (DIVA TV, 1989), Keep Your Laws Off My Body  (Catherine Saalfield, Zoe Leonard, 1990), Rock Hudson’s Home Movies (Mark Rappaport, 1992), Philadelphia (Jonathan Demme, 1993), Silverlake Life (Peter Friedman, Tom Joslin, 1993), Video Remains (Alexandra Juhasz, 2005), Sex Positive (Daryl Wein, 2008), How to Survive a Plague (2012), Heart Breaks Open (William Maria Rain, 2011), Liberaceón (Chris Vargas, 2011), Sex in an Epidemic (Jean Carlomusto, 2011), We Were Here (David Weissman, 2011), When Did you Figure Out You had AIDS (Vincent Chevalier, 2011), United in Anger (Jim Hubbard, 2012), Untitled (Jim Hodges, Carlos Marques da Cruz, Encke King, 2012), Bumming Cigarettes (Tiona McClodden, 2012), he said (Irwin Swirnoff, 2013), and the poster campaign Your Nostalgia is Killing Me (Vincent Chevalier with Ian Bradley-Perrin, 2013). With Philomena (Stephen Frears, 2013), we return our conversation to more conventional fare before concluding our thoughts upon so many home video returns.”

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 “Your Nostalgia Is Killing Me” (2013), a poster designed for posterVIRUS by Vincent Chevalier and Ian Bradley-Perrin

Enjoying a much-deserved drink with highly-Twitterate Jesse Daniels after a few days of talk, workshops, and video dialogues in Ann Arbor about Feminist Digital Pedagogy, we were discussing the changing culture of blogging, and other social media forms in relation to our own ever-changing digital metronomes. Which is a fancy way to say here what I said there: “I always used to blog about conferences, but now it feels like it takes T.o..o….l…o…n….g…t..o..b..l..o..g..; the work is t…o…o…h…a…r..d. What’s the deal with this quickening?”

Digital_ScreenNow, I won’t go into the long and short of that conversation held with several other bigwigs of the digerati—Andre Brock, Carrie Rentschler, Laura Wexler—but only begin there (and not at the panel) for two reasons (which were, in fact, big ideas covered at the panel):

  • work in critical, feminist digital studies is about theorizing and practicing our own experience in real time with others (this was one of Rentschler’s points at the Michigan workshop: our feminist digital pedagogy is occurring wherever we meet, online and off, and not just, or perhaps hardly ever, in the classroom) so as to be activist and present and critical together (she mentioned discussion and actions about “Rape Culture” online, and nowhere near “academic feminism,” as one kind of place for professors to look; meanwhile, Laura Wexler reminded us that much of what we need to know, we’ve already done, which is to say the process is also archival and cyclical; see Maria Cotera’s amazing DH project, “Chicana Por Mi Raza: Uncovering the Hidden History of Chicana Feminism (1965-1985), also discussed at the workshop)
  • because, of course, we have long known we had to perform our feminist praxis in sites in and out of the academy, in multiple formats and to different audiences. And now we might all agree that a new part of our feminist digital pedagogy is also to divvy up the temporal spectrum, and each take some responsibility to hold down the short or medium and even, yes, long form, making sure we are present in the immediate, gratifying flows of Twitter as well as guaranteeing that we are lying safe for the long run on paper in a library.

Crank (or should I say crunk) it back a day, and move the (my) body to Rutgers, and similar conversations were happening, under the same title, only in a different room, and to a similar but unique crowd (online and off: see Adeline Koh’s Storify version).

Feminist Digital PedagogiesNow, you might ask, why two conferences, two cities, three days? What is this telling us about this metronome and its unique piano-home? A conference, as you all know, is a kind of medium speed but fully-placed venture: long talks, all day in one room, some need for a coffee and pee break, but the sustaining, necessary gratification of f2f: we must be present to each other … sometimes.

As was true just a year or two ago, when the fembot collective and the femtechnet one found ourselves forming in distinct places, for varied (feminist, digital) ends, but at the same time, and then worked together to divvy up some of that HUGE map-of-affective-labor, this current synchronicity marks a pulse we can all be nourished and energized by across our differences. Rutgers and Michigan held these sister conferences because they want to up their digital games. That’s because over just the past few years a large enough number of us have organized in a lot of places, temporalities, and forms, so as to create visibility, community, and output, so as to make it crystal clear what was always true: that there’s a new and old game in many time-frames and in a world of places; miss it to your own loss.

My Visual Research Methods course has ended, and as ever, my grad students in a range of programs at CGU have done inspiring and inventive work to wrap up this class which pushes traditional Humanities grad students to roll up their sleeves, work with their hands, imagine new audiences and formats, and think about academic labor and standards using new rubrics.

This year, our assigned readings—in Nick Mirzoeff’s Visual Culture Reader, the Debates in the Digital Humanities Reader, and two books about the ongoing and ever-widening Center for Digital Storytelling’s project—linked as they were to an ever more frightening and quickly shifting job market for graduate students, seemed to have helped push this batch of students to do some remarkably innovative digital scholarship, for their final work, thinking about the role of digital storytelling as both a subject and method for scholarly output.

I hope you’ll take a peek at these compelling projects:

  • A “nod to Lambert, but in a very deliberate style that was anti-Lambert (no voice-over, no clean or clearly announced thesis) … also an attempt to have this video be a moment of reflection, a meditation of sorts on friendship,” AIDS, place, and memory (from a PhD student in religion)
  • a digital story, made collaboratively with the maker’s high school students to create an “affective space” much like that previously “carved out through the epistle allowing women, a group previously written out of agency to write/right wrongs through new narratives in much the same way that digital storytelling empowers its creator. Telling my story, working delicately against and with the grain of rhetorical confines and the explosively complex element of my students’ personhoods demanded the kind of suturing of disparate intentions so pleasurable to read in the 18thC epistolary novels” (from a PhD student in English, also a High School English teacher)
  • A video focused upon building “community  around and for people dealing with mental illness, who are working to cope with their symptoms in the midst of the exceptional stress of grad school life. My hope is to create a digital story telling circle that will do just that.” (from a Master’s student in Cultural Studies)
  • An argument for the storytelling power of Instagram (so against the Lambert idea that the Internet produces fragments) (from a Master’s student in Cultural Studies)
  • A consideration of #ANA on YouTube and Instragram as digital stories (by a Master’s student in Cultural Studies)
  • A consideration of #Carol Corps in light of Digital Storytelling (by a Master’s Student in Cultural Studies)
  • A consideration of social media and digital storytelling through three voices of a vegan and animal lover (by a Masters student in Cultural Studies)
  • A work on and as digital storytelling about an artist and a friendship (by a PhD student in English)
  • A digital story that draws the story of YouTube drawing stories (by a PhD student in History)
  • An analysis of how the academy is embracing digital storytelling as research method (by a Master’s student in Cultural Studies)
  • A digital story using “a personal narrative of my memories of my aunt’s illness and how I experienced the confusion of coming to terms with her diagnosis as HIV positive. I believe personal narratives such as this are missing from outreach efforts that have aimed to target the Black community in order to bring awareness of the high rates within the community.” (by a Master’s student in Applied Women’s Studies)

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.”

“Everything is Coming up Undetectable” by the Visual AIDS Staff for “Undetectable,” the Visual AIDS Summer 2012 Show.

“Everything is Coming up Undetectable” by the Visual AIDS Staff for “Undetectable,” the Visual AIDS Summer 2012 Show.