Below please find my Resolution for the panel, “Ex-Post-Facto? The Anthropology of Media and Journalism in a Post-Truth Era,” to be presented in my absence at AAA on December 1, 2017. Sadly, I can’t attend because I’ll be participating in a Day With(out) Art event in New York City.

Given that scholars and makers of documentary, visual anthropology, journalism, and autobiography have been investigating the construction, forms and circulation of reality-based truth claims in their fields of practice since the invention of these disciplines.

Given that these forms vary across time, culture, media, convention, and discipline.

Given that teachers have attempted, for as long as such claims have been made, to educate about the traditions, forms, and conditions that produce, authorize, circulate, and challenge mediated truth claims because such a “media literacy” is closely connected to citizenship, power, and knowledge.

Given that the mobilization of powerful, loose, and adapting theories and practices of mediated truth claims, under the nomenclature “fake news,” took by surprise even the most committed practitioners, scholars and educators signaled above.

Given, as Naomi Schiller and Robert Samet suggest, that “the deconstruction of claims to absolute truth have us in a kind of bind, one that has become ever more dangerous. In the current climate, anthropological approaches to media as a social practice can bear uncomfortable, even uncanny, resemblance to critiques circulating within the ‘alt-right’ in the United States.”

Let it hereby be resolved that our previous practices of “digital media literacy,” while  useful and relevant for the previous epoch, are no longer equipped for our emergent reality.

Radical digital media literacy is required in a post-truth anti-Trump era.

Given that I was just one within a vast community of scholars, media makers, teachers, and students, over time and across disciplines, who drew “on anti-essentialist theories to show the relationship between power, knowledge, and the construction of truth,” particularly in my earlier work on the productive possibilities of fake documentaries (in the 1990s), and the insidious, definitive “increasingly unproductive” dangers of the destabilization of the fake/real binary as definitive of the forms and platforms of internet culture, most definitively of videos on YouTube (in the 2000s). When our current president and the broader culture became fixated on the problem of “fake news,” especially during the first 100 days of the new administration when this felt the most rabid and destabilizing, I felt compelled and qualified to act in this time of confusion, despair, and self-criticism.

I pledged: For 100 days, aligning and twinned with the new President’s opening timeline, to blog every day about fake news and is so doing produce an online primer of digital media literacy.

Given that my painful if productive effort of informed, desperate citizenship eventually took the form of a digital tower of 100 blog posts, #100hardtruths-#fakenews, each cell holding either my efforts or those of a great many others across a range of fields also contemporaneously attempting to understand, combat, respond to, analyze, and teach about the crisis of fake news as is was unfolding.

Juhasz image

Screen-grab of the final twenty #100hardtruths.

Given that this high and vast monolith itself holds an immensity of deep efforts, inter-disciplinary knowledge, diverse resources and thoughtful tools but that, in this form, these many useful things remain hard to navigate and needing of literacy efforts in their own right so as to make them the most useful for the many people interested in this crisis.

Let it hereby be resolved that I will transform my own preliminary efforts at “an online primer of digital media literacy” to become something even more useful, responsive, thoughtful and focused on educating about, and working against, the enduring and complex crisis at hand by experimenting (with others) with new formats and practices for radical digital media literacy.

Given, as Naomi and Robert suggest that “this presents new dilemmas both for our teaching and our research. What is to be done with our constructivist analyses of truth in a post-truth era? What would it mean to reclaim objectivity, validation, and truth?”

Let me suggest five alternatives toward a radical digital media literacy in our post-truth anti-Trump era:

  1. fake news r us: we are implicated by, produce, and circulate this crisis whenever we study, teach, or try to fix it.
  2. virality is virility: a potent mix of internet-fueled falsity, masculine grandiosity, and  resulting real-world bellicosity undergirds fake news and our efforts to understand it.
  3. art answers to fake questions: departures from evidence-based, indexically-linked practices into realms of truth-telling verifiable by different logics might get us out of the he-said/he-said rabbit-hole we currently find ourselves in.
  4. our internet truths trump media lies: we must name, share and honor our own lived experiences within social media as another form of honesty in desperate times. Let’s do this first offline, together where we live, work, struggle or learn.
  5. heed the poet’s call: poetry, a time-honored word-based form of truth-telling outside the logics of indexical mediation might be one well-honed literacy practice well-suited to this crisis.

Let it hereby be resolved that I will work with poets in their local communities to adapt, transform, extend, translate and all-in-all make more usable my original “online digital media primer.” That I will experiment with others in place-based, local, embodied poetry workshops that begin with the five alternatives above and my #100hardtruths-#fakenews primer as resources toward new forms of radical digital media literacy. That in so doing we will engage together in place-based, people-made, word-bound expressions of individual’s and community’s truths about social media, fake news, and post-truth outside of the indexical, evidentiary traditions that currently bind us and the technologies that are built upon, reinforce and monetize such expression.

I hope to conduct such workshops with Art and Public Policy MA students at NYU working with the artist, Pato Hebert; members of the literary journal club at La Guardia Community College in NYC working with the writer Lisa Cohen; at Occidental College and with the Get Lit Players in LA, at the University of Sussex, working with writing students under the tutelage of Samuel Soloman, and then elsewhere until 100 poems are written as new practices of and resources toward radical digital media literacy.

Please stay tuned.

“Poem (I lived in the first century of world wars),” Muriel Rukeyser

I lived in the first century of world wars.

Most mornings I would be more or less insane,
The newspapers would arrive with their careless stories,
The news would pour out of various devices
Interrupted by attempts to sell products to the unseen.
I would call my friends on other devices;
They would be more or less mad for similar reasons.
Slowly I would get to pen and paper,
Make my poems for others unseen and unborn.
In the day I would be reminded of those men and women,
Brave, setting up signals across vast distances,
Considering a nameless way of living, of almost unimagined values.
As the lights darkened, as the lights of night brightened,
We would try to imagine them, try to find each other,
To construct peace, to make love, to reconcile
Waking with sleeping, ourselves with each other,
Ourselves with ourselves. We would try by any means
To reach the limits of ourselves, to reach beyond ourselves,
To let go the means, to wake.
I lived in the first century of these wars.
Muriel Rukeyser from The Speed of Darkness, 1968.
(gifted to the project by Barbara Browning)
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One post-election 2016 viral-wonder—the crisis of “fake news” in the wake of the 2016 presidential election—was a logical and necessary outgrowth of the web’s sordid infrastructure, prurient daily pleasures, and neoliberal political economy.

Fake things abound on the internet—as do true ones, to be sure—because its current infrastructure is based upon amoral principles that do not measure, value, or correct for  candor or integrity. Rather, popularity, volume, consumption, sales, and entertainment rule the day and the form. As I argued in my 2011 on-line video-book Learning from YouTube, while there’s nothing wrong with any of these qualities per se, they are not the best forums to sustain and promote education, and they may be even less well equipped to support news, elections, democracies, or civil societies.

Read More:

 

Truth #1 is a deceptively simple start and intentionally so. It mirrors in its construction two organizing structures and conventions of the internet and the social media it spawns: namely, 1) many paradoxes structure the place and its experiences and 2) its user-experienced minimalism hides complexity (among other things):

  • What is the “real” internet? It is hard to see and thus hard to say. Is the internet the corporate overlay where the vast majority of us play? The protocols, controls and networks that underwrite this? The governments, corporations, and tech companies that own and write it? The deep web that sits below all that?
  • What is the “fake” internet? It is hard to see and thus hard to say. Is the internet the empowering, intoxicating illusions of freedom, democracy, self-expression, and openness that have been intentionally linked to an ease of use, abundance, and play thereby hiding its darker corporate, censorious, surveilled, controlled nature?
  • Why aphorisms? Like tweets, they can pack a wallop and they move swiftly and easily in relation to the norms of contemporary internet use. I suggest that they function with more power, and usefullness (at least for movements of social change), when they are associated with, and linked to, the complexity that comes with research, writing, data, community and context (see below):

See deeper:

 

Shortly after November’s tumultuous election, I wrote an article for JStor Daily, “Four Hard Truths About Fake News.” It began with a preamble that actually had three more truths embedded and then quickly followed with four more: “the real internet is a fake, the fake news is very real, and thus Trump is indeed our rightful internet president.”

  1. Today’s internet is built on, with, and through an unruly sea of lies, deceptions, and distortions, as well as a few certainties, cables, and algorithms.
  2. This week’s viral-wonder—the crisis of “fake news” in the wake of the 2016 presidential election—is a logical and necessary outgrowth of the web’s sordid infrastructure, prurient daily pleasures, and neoliberal political economy.
  3. Today’s saccharine hand-wringing and the too-late fixes erupting from the mouthpieces for the corporate, media, and political interests responsible for this mess are as bogus as Lonelygirl15.
  4. Today’s media consumer cannot trust the internet, its news, or networks—fake or otherwise. Given the wretched state of today’s internet, skeptical, self-aware interaction with digital data is the critical foundation upon which democracy may be maintained.

Only 93 more to go to meet my vow …

I hereby pledge:

  • To disrupt the new President’s First 100 days by posting #100hardtruths-#fakenews with linked actions, analyses and organizations committed to digital media literacy.
  • In so doing, I will produce a 100 point digital primer to counter the purposeful confusion, lack of trust, and disorientation of the current administration’s relation to media, offering instead a steady, reasoned set of resources seeking clarity and justice.

Let me begin by here offering #100truths-fakenews #8: FAKE! by DOVEMAN + TOM KALIN + CRAIG PAULL, January 22, 2017, one of several video projects these activist-artists are making to counter the administration’s wile media moves.

Yes, producing 100 points by Day 100, April 29, 2017, seems a little daunting, but I will be counting on my reasoned, practiced, committed, talented colleagues, across the media spectrum, to ease the burden (just see above!). While this administration may seek to addle us with media misinformation, disruption, and lunacy, I put full trust in our clear-headed community of conscience. Please do share possible contributions—in the form of writings, links, images, or actions—to the #100truths-fakenews primer via email, comments on this blog, or on my twitter feed, where I’ll be building a paired-down version of the project @mediapraxisme. The full-version will build here over the next 70 days.

See More:

Today I begin my first class at CUNY, ITP Core 2: Interactive Technology and the University: Theory, Design, and Practice, co-taught with Luke Waltzer, Director, Teaching and Learning Center, CUNY GC. I’m thrilled!

Here’s a few bullet points that can serve as a brief and relevant introduction to my past and current interests related to this class and digital thinking, making and pedagogy:

  • My DH Story: An Invitation (May 27, 2015) is a post I wrote in a similar fashion, introducing myself to DH Summer Fellows of an Institute I ran at the Claremont Colleges for two summers. It spells out some of my thinking about DH—a sub-field of academic inquiry and practice that holds some of my work (and some of this class)—while providing a list of projects and links to most of the digital projects I have worked on over the past 10 or so years (when I moved pretty firmly from video to the internet): particularly Learning from YouTube, FemTechNet, Feminist Online Spaces, and Ev-ent-anglement.
  • Visual Research Methods 2014 (January 7, 2015) is a post I wrote to try to sum up my students’ work over six iterations of this course at the Claremont Graduate University from 2010-2015. In this methods class for graduate students in the Humanities, I supported students to think and make visually (and digitally) across five traditions: video essays, documentary, ethnographic film, academic blogging and digital storytelling. That blog post holds a lot of links if you are interested, but I’ve culled a few here, pretty randomly, to give a tiny sense of the kinds of work they made, and that I support: Facing Down the DST/DH Divide, A digital story about digital storytelling the classroom, Instagram as Digital Storytelling and Visual Culture Video Essays published in Audiovisual Thinking.
  • I am presenting this as a post on my blog as a self-referential nod to my always changing commitment(s) to writing and sharing academic work in this and other digital formats. See “Why Don’t I Blog: On Internet Cultural Production in 2016.”
  • Given the unfolding devastation of Trumpism, I will personally engage in more direct scholarly, digital activism and education in my work this spring, and with students in this class if they are so inclined. Here are four of my recent efforts in this direction: Visual Resistance, Watching/Making Race, BC Against Trump, and Four Hard Truths about Fake News.
  • I will also be engaging this spring in an inter-CUNY research project, Feminist Archive/Small Archive/Media Archive, whereby I use my own 300-strong collection of feminist, queer, anti-racist, experimental, AIDS VHS video tapes as a test case to work through best practices for storing, sharing, and teaching with similar personal/professional materially formatted archives. See this recent essay that begins to make use of this archive: Stacked on Her Office Shelves: Stewardship and AIDS Archives.

I look forward to meeting you all today, and to learning about some of your digital research interests, practices and commitments. Below, please find a video I recently made with Jean Carlomusto and Hugh Ryan for International AIDS Day With (out) Art 2016. It also thinks about video archives and represents my ongoing commitments to videomaking as another form of digital pedagogy and activism.

This is how I begin the longer piece on Jstor Daily: Let me begin with four fake truths that I hold to be self-evident. What follows is their brief elaboration and my suggestion for a shared effort to produce an informed, digitally literate citizenry.

  1. Today’s internet is built on, with, and through an unruly sea of lies, deceptions, and distortions, as well as a few certainties, cables, and algorithms.
  2. This week’s viral-wonder—the crisis of “fake news” in the wake of the 2016 presidential election—is a logical and necessary outgrowth of the web’s sordid infrastructure, prurient daily pleasures, and neoliberal political economy.
  3. Today’s saccharine hand-wringing and the too-late fixes erupting from the mouthpieces for the corporate, media, and political interests responsible for this mess are as bogus as Lonelygirl15.
  4. Today’s media consumer cannot trust the internet, its news, or networks—fake or otherwise. Given the wretched state of today’s internet, skeptical, self-aware interaction with digital data is the critical foundation upon which democracy may be maintained.

Yes the real internet is a fake, the fake news is very real, and thus Trump is indeed our rightful internet president. (see more at Jstor Daily)

I gave a “talk” at the CUNY Grad Center: one of many attempts to document, process, and share this year-plus long project, a multi-temporal, many-sited, process-rich, collaborative investigation of learning, making and living in feminist social networks, no matter how messy.

website#ev-ent-anglement considers how or if affect flows within on/offline queer/feminist spaces because I am concerned that many of our current digital practices are not yet as grounded as we deserve. It believes that we can learn from doing, and that we can do better.

Feel free to read more (and cut/paste+bleed at will) on the ev-ent-anglement.