January 14, 2014
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)
November 16, 2013
As part of the larger DOCC 2013 effort, I hosted a dialogue between Professors Radhika Gajjala and Sharon Irish—two devoted members of FemTechNet—about their feminist thinking on technology and place. We livestreamed the event from my “Dialogues in Feminism and Technology” classroom at Pitzer College on November 14, 2013. A video of that live event is now available on the FemTechNet Commons.
I hope you will watch this inspiring, interesting, and invaluable conversations between two amazing feminist thinkers (as well as their lively interactions with my amazing students). Here, I hope to provide a more personal frame for your viewing, a few ideas that were raised for me in the doing of this event, in its liveness, and lived-ness; things you can’t know, unless you were there, or I write them here for you online.
- Our digital engagements take us to places and people we might never meet in person in material space and this is grand (most of the participants in the DOCC 2013, for instance). But when we do have the opportunities of funds, time, and bodily energy to meet face-to-face, new, complimentary, and deeply sustaining opportunities of the flesh arise! It is well worth the effort.
- My students have loved “meeting” all the professors and artists we have read this semester on video, through the video dialogues. They discuss how this transforms the authors of the complex and empowering texts we read into people. My students say that they come to understand, by seeing diverse feminists’ interactions online, that real people write what students learn from, and they further realize, as real people themselves, they too are authorized to author.
- And then again, to meet the thinkers in person brings ever more delights and possibilities. A different kind of sense of these scholars’ complex selves passes in a look, a smile, a nod, or even a touch. Given that the personal or affective or bodily is so deeply connected to feminist politics, theory, and practice, it is no wonder that engaging with otherwise distant “experts” has particular resonances that are of use to feminist students. Don’t get me wrong, I am aware of the possibilities for intimacy and enlightenment in purely digital encounters! I only want to add to that the particular affordances of the embodied.
- When the official Dialogue concluded, my students ended up sitting in a circle quite close to our guests (something we had never done in class before). We seemed to want to signal that we were close, collaborative, and engaged together in something we all cared about. We signalled with our bodies because we could.
- This is part of the DOCC challenge to the MOOC. The places we live in and learn in, the places where we come together as situated communities are different, with their own cultures of engagement and interaction and their own styles of and needs for learning.
- This placed difference is as vital to our learning possibilities and needs as are the ways that technology expands this reach, opening us up to new places, as particular as our own. (interestingly these same students also LOVED their class with Professor Sharon Collingwood who generously taught my students last week on Second Life: they sat in a circle there, too.)
- And that brings me to care, with which Radhika also ends the Place video dialogue. She expresses how hard care is to commodify, or off-shore (try as neoliberalism will to do so). The felt care that these travellers shared with myself and my students is part of our larger DOCC 2013 effort where we model together the many ways of feminist knowing and teaching, that always attempt to acknowledge the needs of humans in their many places, online and off.
August 19, 2013
FemTechNet nodal instructors have been working furiously all summer, and our 18 nodal courses are about to begin.
We got our press release to the press, and so far, we are being appreciated and understood (although you might take a peek at some of the comments on the Huffington Post version to see why we need to make this critical intervention into Internet culture).
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
May 28, 2013
I begin a talk with another video, making some revisions to and recursions through a similar effort six months past. “In this talk [at Cal Poly San Luis Obispo, May 29, 2013] Juhasz will discuss her efforts to model and make, along with her students and everyday Internet users, the Internet we want and deserve: a place where conversation and knowledge can be built collaboratively and complexly; a place that attends to human interaction, dignity and diversity; and a place with transparent rules of engagement and the identification of shared social and political commitments. She will conclude with an invitation to join her current effort: DOCC 2013 (Distributed Open Collaborative Course) the first feminist rethinking of the MOOC (Massive Open Online Course).”
BIG IDEAS TO CONCLUDE INTRODUCTION
1) Feminist Social Media Pedagogy brings Old School (school) Feminist values, methods, and people to the sparkly, exciting new places of social media:
- our premium on literacy and democracy and difference
- in places where individual and collective visibility and voice dominate
- Shared commitment to Collectivity over the individual; shared authoring
- Shared vocabulary: political, theoretical and artistic
- Focus on Processes like pedagogy, making things like media, and collaboration
- Focus on Structures that are self-reflexive and transparent
- Anchor activity in lived and situated positionality
- Dismantle Binaries; Honor Intersectionality
- women, people of color, queers are a given, a priority, are a priori
- Value Ordinary People over corporate power; building agency
2) Feminist Social Media Pedagogy understands that the classroom provides an excellent model for a better Internet because both teaching and social media are places where conversation and knowledge can build, in collaboration, becoming more complex, and occurring with attention to human interaction and diversity, with shared commitment and rules of engagement.
We’re all (hello, Sussex), now, everywhere here (on the Internet), aren’t we? Undoubtedly, scholars made lots of words before now, but they couldn’t show it all to you like a purge; they couldn’t cart it around, showing it again and again; it didn’t return, quite like this, to either bite you in the ass, or say it better than one ever could, even though of course, oddly, it was oneself who has said it once before.
By moving these words to video and text, never to be on paper, not to be linear, and also always available on the Internet, I establish, in form, one answer to how the affordances of both the digital and the room, the staying and the going, affect our feminist and queer possibilities. For, of course, I’ve flown to England; there’s something we want, or prefer, or need from the body, even as she also sits, and writes, and speaks, and shares so abundantly at home in the digital. Thus, I return and loop back to the leaving and the staying, the making, taking, foresaking and staking. Situated and floating, flying even, I will answer your three questions in long form (but only in person), but here first in short:
- How does imagining queer & feminist lives and futures link with social media and other digital media practices? … Badly
- How can we understand the interconnections between radical art practices and cyberfeminisms? We must leave and ever more deeply embed.
- What is the role of science and technology more widely in the ways social practices and cultural identities are shaping today?
We must engage in Techno feminism, a collaborative, goal-oriented, placed, critical self-expression online, and also in Presumptive feminism, one that always assumes that feminism counts and that feminists speak. (these are from a longer list of online feminisms from my article on the Online Feminist Cyber-closet).
I suggest that we must strive to make a concerted effort to remember something quickly becoming lost: that is, to dare to think just past the digital, to engage ever so slightly beyond representation, and to struggle to look to and reoccupy our bodies and lived spaces. So: hello Sussex! Not to fear, I will be asking you to move online soon enough …
May 11, 2013
I’ve been teaching a Graduate research methods course for several years now at CGU, Visual Research Methods. But this Spring, I have encountered some surprising findings, ones that are echoed in my undergraduate student’s work as well, where I also assign digital coursework that asks students:
- to account, reflexively, for the changing affordances of doing their school-work online
- for staying thoughtful about the Internet itself as part of their topical attention
- while also creatively expressing their findings in a multi-modal environment and vernacular
- and then, also of course, clearly expressing findings from their own original research
Now, that’s a mouthful, right? And on first pass, I certainly wouldn’t want to be a student with that as my final assignment rubric! I think all my students (this semester in Visual Research Methods, and also, at Pitzer, in Feminist Dialogues in Technology and Feminist and Queer Documentary) start the semester with fear, agitation, bemusement, uncertainty, and maybe even annoyance about the weird assignments. Understood! And yet …
Somehow, this semester, all my students didn’t just do it and do it well; they got it. And, I said to several of them after the fact, I can’t imagine that’s because they are smarter than students who have taken these classes in previous years and semesters … So what gives?
Two, interrelated things, I think:
- the tools have actually caught up with the radical teaching aims of multimodal scholar/teachers who wish to push our students to think, write, research and engage critically within and about the digital and the world
- our students’ literacy with these tools, and also within digital spaces, has already been primed
This is to say, that for the first time, this year, I’d tell my students to leave the classroom and make some little digital something (instead of say, “breaking out” into a discussion group then presenting); and they would and they could. This is something I have also been asking audiences to do for the past two years, and their competency has increased markedly in this short time as well. That’s because in 2013 people are making things all the time, and these things are already smart, self-aware, self-reflexive, multimodal, and interactive.
This semester, my students used the analytical frameworks from class, the histories of movements and ideas, and analyzed both new and old objects for new and old audiences. They debated the politics of Digital Storytelling with some of the movement’s founders. They re-wrote Wikipedia pages. They made mash-ups of feminist theory and memes. They found and analyzed multivoiced and third-person stories (on Twitter and Tumblr) and talked to animals. Some of my students engaged for a semester with another group of undergrads at Bowling Green State University, and with students from grad courses at USC who made amazing digital learning resources for us to use.
They worked on and about podcasts, and stories about Study Abroad and Queer Chicanos. They found new forms for telling the stories of Youth Violence and Violence Against Women. One performed a close textual analysis of Facebook commentary while others made keyword videos on feminism and technology.
Given all their amazing work (and I do hope you’ll hit some of these links; you won’t regret it!), what am I (t)here for, then? If literacy has been gained, and critical practice is already happening online, what is the role of the critical digital pedagogue? Well, most likely neither more nor less than what the role of the professor has always been. Remember when we taught writing? Sure, students arrived with literacy and tools, and the professors’ function was no mere thing: to add history, theory, a framework, a community, evaluation, and caring, careful, critical dialogue.
I am blown away by my students’ skills, and hereby simply provide this shining frame at yet another semester’s end. Well done all!