After the wonderful panel yesterday, I had some people ask for more details on what I’m doing. Here is an abstract:
Historical glitch: Understanding digital media through the photographic lens, explores the intersecting media ecologies of social media, digital heritage content, and culture. Specifically, this project focuses closely on what a digital project that takes advantages of the formal changes inherent in the shift from analog to digital media looks like. The project highlights how social media can be used as platforms for change and also looks at their limits and potentials for knowledge and culture when such media are used to construct alternate historical narratives. The case study for this project, Vintageblackbeauty, which was digitally born on the social networking site Tumblr, puts digital tools into practice by disseminating historical photographs of black women in their everyday lives from across the black diaspora. The effects of this experiment are theoretically understood through the works of Fanon, Hurston, and McLuhan. Additionally, a digital performance piece that analyzes the effects of this practice, informed by Dada art practices, puts the theoretical implications into motion by placing the digitized photographs gathered on Vintageblackbeauty in conversation with media from the same time periods. Through exploring this ecology, I posit that we can gain a better understanding of some of the differences between digital and analog media, their different potentials for change, as well as the inherent limits they pose. While digital media do allow for greater access and dissemination, they are still tied to a screened experience and held to ethical standards determined by various stakeholders who are often ephemeral or evolving and in contradiction with how we have been trained to conceive of knowledge production.
Over the weekend I started seeing a bunch of stuff about Trigger Warnings popup in the twitter verse. Apparently there was a piece in the New York Times about the literary Canon making students squirm. So students should be warned with Trigger Warnings, so they know ahead of time that they might be made uncomfortable. That makes me wonder what happens when someone like me walks into a classroom as a professor. I think maybe I should get a shirt that says “trigger warning” because me being a black female in the role of professor (even though technically I am an instructor, the students insist on calling me professor instead of Jade) means that I make some students in the southern university where I teach uncomfortable. Just by existing. Trigger warnings work on by creating an aesthetic of oppression. But this is something that I think has a bigger longer history… which is the subject of my first official peer-reviewed academic publication.
The Catholic schoolgirl & the wet nurse: On the ecology of oppression, trauma and crisis Jade E. Davis
This paper explores the idea of facing oppression by exploring how two photographs, one of a Catholic schoolgirl and one of a wet nurse were received as they made their way through social media. In addition, the paper looks at a blog post that was made about photographs from a similar time period as the photos. By exploring how the photos were received through Fanon, visual studies, and psychoanalytic theory, the paper proposes a new way to view these photographs, outside of the narratives of Oppression and Trauma. Instead, by understanding the re-inscription of the dominant narratives as an ongoing crisis, we allow for a reparative reading of this type of imagery that complicates our relationship with the past.
You can read the article here: http://decolonization.org/index.php/des/article/view/19997
I have openly had a hard time with the idea of academic publishing being behind paywalls. The open web is under attack, but I still believe that information should be freely available and up for debate. My understanding is most academic articles are read by three people. I want those three people that will find use in what I wrote to be able to use it freely. I am extremely happy that my first CV line item that will read as not totally alt-academic-academic (which is what most of my CV is), is available for anyone and everyone to read, take from, discuss, critique, etc. And, it is about trigger warnings, and how we use them to oppress certain bodies.
So, big thank you to Decolonization for being a part of my academic life and choosing to publish my article. I’m grateful to be in such a wonderful volume that is tackling decolonial aesthetics.
“Official culture still strives to force the new media to do the work of the old media. But the horseless carriage did not do the work of the horse; it abolished the horse and did what the horse could never do. Horses are fine. So are books.” – Marshall McLuhan
The other day I picked up a book and tried to look through it. I didn’t flip through the pages or turn the book over, I simply held it in my hands and brought it closer to my face to see if anything became clearer is the distance between my eyes and the thing in my hand diminished. Much to my dismay, rather than anything contained within the book becoming clearer, I found all I was doing was make the world around me darker. The contained universe of the book is fascinating because it is something we are, for the most part culturally literate in. It contains its own beginning and end and the mind of its creator. It can fit in the palm of our hands. Because most of us have had experiences where we had to write something but couldn’t find the words to fill in the space, we understand the labor that goes into the task of its creation. Because we can hold in our hands and take time to look through it, because even when it is not in our hands it doesn’t change, the book becomes its own standard. And it is the standard we have for where knowledge worth knowing is contained. The book is the prism we use to understand knowledge. The book seems to be the model we’re building from to determine what knowledge online should look like. Me writing this is no exception. There is a slight difference I’d like to call attention to though by asking a question:
What color is the sky?
I recently asked this question during my session at DML, with a different image of a blue sky, text in blue. There was no response. I had to ask twice, and everyone said blue. It was the only answer that was logical given the givens of the image and the cultural understanding we have of the color of the sky. I have to confess I spent a good portion of my life thinking the sky was blue as well, until I listened to an episode of the podcast radiolab called “Colors”.
It is an fantastic episode. I highly suggest anyone who has time listen to the whole thing. There is a section in the podcast titled “Why Isn’t the Sky Blue?” that brought me to using the question about the sky to understand the digital as a space of knowledge production and what I like to call knowledge-play that. The piece explains that the sky has not always been blue because across cultures, blue is the last color humans learn to recognize. The sky, without the cultural knowledge of blue then is something without color. But, because we have blue, the sky is blue.
What I think is fascinating about this is even with blue, the sky we experience is capable of being so many more colors within the limited range of colors we can see (another topic explored in the podcast). It is many colors we can’t see as well. But cultural we know for certain that the sky is, in fact, blue.
I googled “the definition of saturation” so you don’t have to. It makes one of those wonderful little google boxes pop up that contains a bunch of information including the definition of saturation that is important to my thinking here:
(esp. in photography) the intensity of a color, expressed as the degree to which it differs from white.
My chapter in Field Note’s for the 21st Century is titled “The Medium is Light”. It is freely available on the HASTAC website and Rap Genius You can see the condensed video version created as part of an assignment give to me and my co-authors from Omar Daouk
a video exploring aspects of digital media through McLuhan’s the Medium is the Massage and the Medium is the Message.
Since writing the book, and I more thoughts on the important for understanding light and why McLuhan’s statement that “light is pure information” is so important in this moment as we still try to figure out how the digital can be used to create a classroom without walls. I’ve already pointed to the problem of using the book as the prism for knowledge in the digital age, and provided some other things from McLuhan that show that this conversation is not a new one. What is new though is how light based electronic media have become as discussed in the chapter and video linked to above. I am a bit obsessed with backlit screens and fibre optic cables because they are our primary information sources now:
The information me we see is reflections of information that is projected and I think that is a theoretical explosion (and I sort of love thought explosions because they lead to the creation of new worlds).
If we go back to the episode of radiolab, it starts with a story of Newton trying to figure out if the color was in the prism or if it was in the light. You should listen to the podcast to hear the cultural beliefs and how he eventually figured out the prism (It worth the time!). We cultural know how prisms work. And we can use it as a metaphor, as I did when I started. The book is the prism we have for knowledge. Our devices, computers, smart phones, tablets, phablets, etc. are the prisms we use to filter and render digital data and information. Prism has a specific cultural relevance with regards to digital information given the revelations from the summer. I don’t think that is a coincidence. What my message is with all of this, especially with regards to understanding knowledge in our current information age is that, we have to think of how playful light can be. There is something from the book that I think translates very well to light. A book is like a shadow, it blocks out a lot of stuff so you get a silhouette of relevant information. Right now, when we think of the light of the internet it is like the light of the sun, blinding if you look directly into it, but helpful and necessary to live in a world where data and information are currency.
I recently went to a Ken Wissoker talk at Duke University. He was speaking about the (academic) book. He said it is no longer the place to create new information because the information is already on the internet. The more interesting books will come up with new ways of interpreting or putting the information together. So what is the role of the digital then? I think it is to make shadow puppets. When we use it as a flashlight, like I’ve tried to do with this post, where we highlight, play with, bring together, and make move information that’s relevant to the thing we are trying to understand, if we learn to apply filters, and change the data we are rendering with our electronic devices into meaningful bits of media that resemble media from the past, we might just figure out the color(s) of the digital information age. I hope that it doesn’t end up being like the sky, stuck in a single hue, but instead it is a dynamic ever-shifting gradient that pushes the limits of our perceptions and understanding.
I spent this summer at Microsoft Research New England as a PhD Intern working on a project with the most boring title ever. “The Student as End User in the MOOC Ecology”. Here is a link if you are interested in seeing my talk on the topic (also took place at Microsoft Research):
I am in the process of doing a final revision of my paper before I start submitting it. Currently I’m debating how much I need to go into what the Big 3 MOOC companies are saying . In the paper I speak about more than Daphne Koller’s TED Talk, and spend more time talking about imperialism as the accumulation of capital… but, as with the final draft of everything, I’m trying to figure out what is adding enough to keep and what is taking away from the overall point and purpose of the paper.