From Protest to Press: An Examination of Paradigmatic Changes in News Making and their Effects on Social Movement Evolution

In discussions of the expansion of the new media environment in journalistic endeavors, academics have begun focusing on how this expansion affects social protest movements\u27 interaction and successful interaction with news making. The manner in which news is created and reaches the masses has adapted, sometimes reluctantly, to the explosion of new media communication technologies. One controversial issue has been the impact the contemporary media environment has made on social movements, specifically with protests. Researchers argue that the contemporary media environment has been a tool used by protests to partake in more effective information diffusion to the masses. This paper is an analysis of the discussions regarding the impact that the news-making shift has had on protest news media involvement. This paper focuses on three different journalistic paradigms that have occurred/are occurring and the ways in which protest movements interact with each: professional, citizen, and new media. Through an intensive literature review of the available research, findings point to the breaking of the news monopoly and a redefining of the meaning of making news; both proving supportive and inhibiting to protest movements. Further research must explore isolated ways to measure what this impact means for different kinds of movements and news producers

Don't Need You: Conceptual Art, Feminism, and their Discontents

This dissertation examines the concurrent emergence of Conceptual Art and varied formations of the feminist movement, often referred to as Second-wave feminism, during the late 1960’s and through the 1970’s in the United States. This study exposes (rather than reconciles) tensions, contradictions, and occlusions in the dominant historical methods and limitations of what constitutes “feminist art” and considers the “failure” of conceptual art. Through textual, visual, and archival methods, I explore concepts of individualism versus collective identity; rebellion and refusal; essentialism and ‘womanhood’; rage; sexuality and self-pleasure; and subject and objecthood in three case studies. The first chapter is focused on critic and curator Lucy R. Lippard and her watershed conceptual project Six Years: the dematerialization of the art object from 1966-1972. I cross-examine Lippard’s notion of “dematerialization” with Argentinian conceptualist Oscar Masotta’s formulation, effectively revealing incompatible political stakes of artistic production and “radicalism” in the United States and Argentina, as well as Lippard’s often overlooked (and unfulfilled) socialist feminist politics in the larger schema of liberal feminism. The second chapter explores the concept of “anti-intellectualism” in the life and practice of Adrian Piper and offers new ways to engage with her work, such as The Mythic Being (1973-1975), beyond commonplace approaches that are hinged on identity, highlighting Piper’s status as an immutable intellectual and her unrelenting follow-through of conceptual art’s mandate. The last chapter examines Lee Lozano’s wild, intense, and brief career as a painter and conceptual artist, centering her 11 private notebooks and early drawings, as well as her infamous action, Boycott All Women (1971); I focus on Lozano’s rejection of feminism and eventual drop out from the art world as an unprecedented and often misunderstood pursuit of extreme self-definition at the expense of all other personal, intimate, social, professional, and institutional relationships. This analysis contributes to recent studies on dominant and mainstream forms of feminism uncritically prevailing in art historical discourse and concludes with the urgency of recognizing and redeeming the values of individual subjectivity and refusal of the status quo. As Lee Lozano wrote, “I want to believe I have power and complete my own fate.

A Community of Their Own: Developing an Asynchronous Canvas Learning Environment

Recently propelled into the new reality of online teaching and learning, writing program directors realized that establishing a sense of community in classes that emphasized peer workshops required a diferent approach for asynchronous students. In response, they provided parallel community-building Learning Management System (LMS) sites that generated student community and alleviated instructor workload. Employing this model of parallel LMS sites for asynchronous students provides them with a community of their own. Although asynchronous students enroll in diferent classes, conference with their own instructors, and receive grades from their instructors, they also fnd community through consistent engagement on a site of their own. In this session, attendees will consider how to use this model to enhance asynchronous students’ sense of community