February 19, 2014
I had the opportunity to speak this past weekend with my colleague and friend, Liz Losh, about the FemTechNet DOCC2013 as part of the Gaede Institute’s yearly conversation on the Liberal Arts, this one on MOOCs. The Institute’s director, Christian Hoekley, put together a compelling program where both critics and successful practitioners of recent MOOCs joined in conversation with a small, engaged, thoughtful crowd of interlocutors to think, in particular, about the challenges of technologically enhanced/corporate/computer delivered education within the context of a liberal education that might seem diametrically opposed to the aims of most mainstream MOOC‘s: bent as they are to serve many, many, many customers, efficiently, conveniently, for free (or at low cost or via the “noblesse oblige” of the wealthy few [Astin]), leaving in the dust the traditional teacher/professor, brick and mortar classroom, and its well-established norms of community, conversation, and care.
Alexander Austin, described by many in the room as the “guru of higher education research,” reminded us that his lengthy and lauded career of research allowed him to assure us that evidence has established, over decades and across thousands of undergrads at a variety of learning environments, that what students need to succeed is frequent interactions with faculty, student-to-student contact, co-curricular opportunities, writing, independent research opportunities, and a common core, none of which are usually available, or even attended to, in the production, selling, and use of MOOCs. He understands this “course content delivery” view of education as decidedly uninterested in other things that most colleges want to boast about: their institution’s unique purview on teaching young people leadership, citizenship, self-awareness, or critical thinking. Meanwhile, Peter Hadreas named similar qualities left under-attended to in the MOOC his Philosophy colleagues were being forced to teach on Justice (and for which he and he colleagues penned an infamous letter of refusal as a direct appeal to Professor Michael Sandel): education that needs to honor knowledge, good will for the student, and open speech.
What we learned in the meantime, from Owen Youngman who carefully studied his own tens of thousands of students enrolled in his MOOC on new media, “Understanding Media by Understanding Google,” was that the very many students from around the world who were successfully, happily, and gratefully taking his course for free were primarily older students, with undergraduate and even graduate training: people who were already prepared to learn on their own, or with the guidance of other students, students who were augmenting their already completed liberal education with extra stuff available for free on the Internet.
The conference left me no less suspicious about what MOOCs can’t and won’t do, and all the nefarious reasons that necessiate that liberal arts professors and our students should stay impassioned in our refusal of this upstairs/downstairs scenario [Hadreas], what I have liked to think of as a separate-but-equal set up, whereby some people get to take the Harvard class for credit, and the rest take the dumbed-down, paltry, technologized alternative for free. But this conversation did allow me to see how MOOCs can enhance, although never replace, what we strive to do well in college, and can provide a small piece of what people might want or need who are not (or will not get to be) in college. MOOCs can provide a form of adult or remedial education where they add information, access, learning, and knowledge to those with little access to these fine things without them. For those of us in higher education, including our students, our work is to provide MOOC alternatives by using technology, and other means, to improve what we do and to open access to what we have.
January 27, 2014
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?”
Now, 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).
Now, 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.
January 17, 2014
These are loose ideas to initiate conversation with Julia Lesage and friends from ADA .It will be a live, online conversation on, January 17: Multimodal Editing and the Future (join us)! We”ll start with On Publishing My YouTube “Book” Online (September 24, 2009) because here I list and demonstrate many of the issues, questions, delights and concerns about this kind of scholarly work and practice. I’ll ask to watch a brief section of this video:
I have three large points about new affordances, traditional rubrics, and their intersections and frustrations that I will make in my brief presentations before we have a conversation .
1) Why would you write online? What are its affordances?
- Because you are working on Internet culture, databases, or other objects or cultures or practices that (in part) reside online
- Thereby your access and your readers’ is streamlined
- You write in the vernacular, community, structure you analyze:
- You need not describe, you can build (or analyze), from shared interaction with the object you study
A) It allows for multi-modal authorship
- Creative possibilities including: montage, sound, image, design
- Expressive possibilities in same vernacular you study
- Collaborative authoring possibilities:
- with your “subjects,” “readers,” or “students”
B) Different writing practices: See FLYT on Writing Practices
- Quick; Short
C) Different audiences and places for scholarly practice
- Outside academia
- Your Subject
D) Different reading practices
- Quick, short
E) Different structures of vetting
- Open Source
- New models for peer review (or not)
E) Different paradigms, practices of Publishing
- “The Absurdities of Moving from Paper to Digital in Academic Publishing (June 11, 2010),” LFYT
2) Traditional Rubrics for Academic Writing (apologies to Rhetoricians and Scholars of Writing, this is my quick list and I’m ready for your additions and nuances!)
- hypothesis and thesis
- research: footnotes, bibliography
- analysis: clearly expressed, smart, original
- proof: facts, data, quotations
- detail: relevant, elegant, supportive
- coherent structure: 5 pg. paper, 10 pg. paper, dissertation
- style: clear, pretty, personal, impersonal
- rhetorical paradigm
- Awareness of audience
3) Questions for conversation:
- How do you graft 1) New Affordances to 2) Traditional Rubrics?
- Thesis is easy! Research is the same.
- So are footnotes and bibliography, although they could take many forms and sit in many places (i.e. they could be spoken, or written on an image as text)
- What needs to shift or change entirely?
- Structures: papers are cumbersome and incorrect
- Style: different audiences and reading practices
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