Radical Digital Media Literacy in a Post-Truth Anti-Trump Era

An article about Fake News Poetry workshops as radical digital media literacy given the truth of fake news

Ev-Ent-Anglement: A Script to Reflexivey Extend Engagement by Way if Technologies

We discuss an art project that links entaglements and events and thinks about cutting pasting and bleeding

A Preservationist’s Guide to #100hardtruths-#fakenews: One Fake News Preserve

The author created a media project, #100hardtruths-#fakenews, to collect and preserve media relating to fake news that was generated during the first 100 days of the U. S. Presidency of Donald J. Trump. Her resulting website chronicles fake news as well as the many media responses to it. This article describes the author’s construction of the site, characteristics of the posts, and ways in which she navigated the large volume of fake news and related posts. The project explores the complex issues that attend such a project. The goal was to induce energy and insight so that thoughtful professionals might save intentional digital news preserves. The article concludes with preservation recommendations

No Woman is an Object: Realizing the Feminist Collaborative Video

Feminist video does collectivity exceedingly well. Certainly other politicized cultural movements and individuals work through this method, and, of course, feminists also produce work in collaboration in film and other media (as Julia Lesage testifies above). However, I assert that there is a profound natural mechanics to women\u27s work in video that makes the medium\u27s method, theory, and theme the interactive and politicized subjectification of the female sex. Film and patriarchy share the project of women\u27s objectification-they make victims. Video and feminism see women as complex, worthy selves-they produce subjects. In feminist collaboration: video, the medium (inexpensive, debased, nonprofessional), the message (woman, as subject, needs to be constructed), and the ideology (the personal is the political; process over product) align into a near-perfect praxis. I should know: as producer and advocate of a great many such projects, I have found a beauty, synchronicity, and power in the process of making and screening feminist collaborative video that is, in these moments at least, almost emancipatory. And thus, this warning: though it is always postulated as an ideal, there is little writing about the realized feminist collaborative video. Here I will look at RELEASED: Five Short Videos about Women and Prison (a project I produced in 2000) to trouble, and sometimes celebrate, the neat alignment between video, subjectivity, collectivity, and feminism

#cut/paste+bleed: Entangling Feminist Affect, Action and Production On and Offline

I consider my media praxis project to be labs, encounters, theory-making and scholarly output where doing and thinking in community (often the classroom and its linked spaces) in the sites or technologies under consideration is the “scholarly” product. That is to say, the doing and the process is the product, and what remains can also be shared and/or evaluated, as needed. This sharing of process is what I model now. I describe my most recent project, Ev-Ent-Anglement, engaging again critically with social media networks from inside them, share some of my lessons learned about production and action-based New Media/DH research, and conclude with why I think these methods (as much as my findings) matter