girl.is.a.four.letter.word The Collective Practices of Amateur Self-Imag(in)ing and Personal Website Production 1996 to 2001

Scholarship on the practices of young gender-marginalized people online is a burgeoning theme within internet studies and feminist media studies. Within historical scholarship of the internet, young women’s practices have been critically neglected. In feminist art history, feminist practices with emerging technology are abundant but young women making art on and with the web is not. Given the aforementioned gaps, this dissertation aims to expand the interdisciplinary fields of internet studies, feminist media studies, and feminist art history through a genealogy of a conjunctural moment of the world wide web. The thesis title presents the breadth of this project: the erased and forgotten web-based work, specifically the self-imaging practices, of young women who used proto-social media forms in the process, creation, and circulation of production between 1996 and 2001. Demanding a synthesis of critical skills operating within the fields mentioned above, it aims to do so through a phenomenological and affect theory analysis of self-images that appeared on personal websites. It argues that these self-imagi(ni)ng practices serve as (a) tactical methods in reaction to patriarchal regimes of power and s/censorship, (b) a means of engendering the sociality of trauma as a productive orientation, and (c) communicative nodes that through wit(h)nessing reshape a feminist intimate public into a new genre of friendship predicated on the aesthetics and forms of circulation of the work. Most internet analysis misses the aforementioned politically engaged feminist history and its influence on how we use and conceptualize the web today. The project’s objective is to provide a philosophical genealogy of the web, demanding a more politically feminist espousal of it, both in theory and practice

On in-ness: What Cégep teaching keeps teaching me

A first-person essay on the ways that Cégep teaching is different from teaching at a university. The reflection explores how belonging — an "in-ness" — is enacted within a creative arts department by focusing on various experiences from being hired to navigating teaching online during the pandemic. By doing so, the author recognizes how they come to understand and promulgate belonging in the classroom.Un essai à la première personne sur les différences entre l’enseignement au cégep et à l’université. Cette réflexion explore la manière dont un sentiment d’appartenance est mis en œuvre au sein d’un département des arts créatifs en se concentrant sur différentes expériences, de l’embauche à la navigation de l’enseignement en ligne pendant la pandémie. Ce faisant, l’auteure reconnaît comment ils en viennent à comprendre et à promulguer le sentiment d’appartenance dans la salle de classe

What to Ask Women Composers: Feminist Fieldwork in Electronic Dance Music

Normal 0 false false false EN-US JA X-NONE This article reflects upon the research methods employed for microfemininewarfare (2012), an interactive database documentary that investigates female electronic dance music (EDM) artists. The purpose of the documentary is to feature the contributions of women as composers, to show how they came to be composers and to reveal the tactics used to approach significant issues of gender in the male-dominated world of EDM. I highlight the theoretical and methodological processes that went into the making of this documentary, subtitled “exploring women’s space in electronic music”. By constructing “electronic music by women” as a category, two objectives are addressed: first, the visibility of women’s contribution to the musical tradition is heightened; and, second, it allows an exploration of the broadening of discourses about female subjectivity. This article showcases feminist research-creation and friendship-as-method as effective research methods to glean meaningful content when applied to EDM fieldwork. <!--EndFragment--

Knowing responsibly: decolonizing knowledge production of Indonesian girlhood

10.1080/14680777.2020.1763418Feminist Media Studies215758-77