Racial projections: cyberspace,public space,and the digital divide

Scholars of critical race studies, urban history, and information and communications technologies (ICTs) share an interest in the relationship between spatial and racial disparities, including the quality of basic infrastructure, degrees of connectivity, and participatory culture. However, contemporary research on the digital divide struggles to link historical legacies of uneven development, as well as social justice strategies, with digital participation in urban spaces. By examining contemporary digital art that critiques the spatial inequalities encountered by U.S. racial minorities, this article illustrates how public intellectuals use ICTs in ways that draw upon past strategies to territorialize space for political ends. It focuses on digital pop-ups, open-air installations that cast images onto public space using projectors. Historicizing these new efforts illustrates a continuity of tactics engaged by communities of color in response to socio-spatial inequalities in the urban United States, such as the 1970s mural movement’s efforts to re-politicize spaces of exclusion. While existing literature finds that digital inequality results in differential digital human capital, this research indicates that place-based claims, such as digital pop-ups, are important sites for combatting racial injustice and creating more inclusionary spaces, especially among youth adults.     

25 years of digital archives of visual materials: what we’ve done,what we’ve learned,and what challenges remain

In this article, the author looks back at the history of American digital archives of visual materials. Beginning with the Berkeley Image Database in 1986, he outlines the contributions that various projects made to the development of new tools and approaches, focusing on three important projects in which he participated in the decade leading up to 1996. How did both content and metadata change as these projects went from single collections to aggregations of diverse collections? After situating these three projects, the author then briefly covers highlights of other visual collection projects and systems from the subsequent 15 years, discussing their need to evolve from access systems into archival systems. The article concludes with an outlook on past challenges that the field has already overcome and a discussion of the new challenges for digital archives in the future.     

In search of African history: the re-appropriation of photographic archives by contemporary visual artists

The digital revolution has fundamentally changed our relationship to archives, by accelerating their “dusting off” and their re-appropriation, particularly in the art world. This article will show the ways in which some contemporary visual artists use new digital technologies to provide new ways of storing, reading and retrieving contemporary African history. Such artists do so by revisiting diverse forms of archives that are mainly photographic, and which were produced during the colonial and independence eras.     

Urban anthropology and sociology

This research forms part of the project titled: ‘Aesthetic quality research of three Valencian schools’, that analyses the effects in detail that images displayed in schools have, as a variable in evaluating educational quality. Through applying Arts Based Educational Research, images displayed on 29 classroom walls in three schools were photographed and analysed based upon their function; they were subsequently classified as educational images, academic images, and comfort-generating images. The results of this research show quantitative, qualitative, and aesthetic values of this visual heritage by using photographic series that are laid out in a chart-like manner, creating a visual message for each classroom. Upon observing these typologies, one perceives: the predominate utilisation of the image and its aesthetics; the differences in visible occurrences between subject matters displayed on the walls; the teacher’s intentions when displaying the images. In the conclusions, alternatives are proposed for improving the schools’ aesthetical qualities.     

Bridge Arts Education Centre ‘A Real Chance for the Arts’

SUMMARY: Bridge Arts Education is a centre for troubled children, part of Warwickshire Education Support Service. In this article, I explore its history and some of the strategies employed to work effectively with what can be a highly stressed group of children. At Bridge, the education department employs artists to work with children who have serious emotional and behavioural problems. I explain our use of creative themes and mention some of the practicalities of getting disillusioned children down to work. I discuss the value of this arts approach in meeting our National Curriculum and GCSE obligations. I also mention our approach to behavioural problems. We attracted the interest of West Midlands Arts and the article ends with a look at a Trainee Artist Placement which they funded at Bridge.     

Creativity in social work education and practice: reflections on a Survivor Arts Project

This article, written by survivor artists, practitioners and academics (each moving between these different identities and associated voices), will explore a creative arts approach to social work (SW) education within the context of service user and carer involvement. In addition to building upon a developing literature base, the writers will draw upon their own experience and the experience of other service user and carer contributors as well as student and practitioner feedback. In doing so, this article will seek to analyse some of the ways the creative arts can be harnessed as a tool for a more radical, creative and critical approach to professional education and how this in turn can help develop more empathic, critically self-reflective and creative (in the broadest sense of the word) practitioners. In critiquing the more traditional service user and carer involvement approach, this article will attempt to show how the more innovative approach of the Survivor Arts Project can move us beyond an arguably more limiting ‘expertise through experience’ model. In outlining an emancipatory model which recognises the relevance of lived experience and places this within the context of survivor movements, focusing also on the skills and insights survivors bring to SW education, this article will detail the ways we can work towards developing a more vibrant and dynamic learning environment which values our life stories and recognises our strengths as well as the many different and overlapping identities which place us along a continuum that connects our lives and informs our practice.     

Art Criticism and its Power Over Women Artists - An Inquiry into the Sources of Gender Discrimination in Jewish Palestine/Israel, 1920-1960

Discrimination against women in the Western field of Visual Arts persists, even today. In this article I reflect upon the formative years of the field of Visual Arts in Jewish Palestine/Israel. I examine what role art critics took in the emergence of the systematic forms of artistic malestream domination. I also analyze which strategies allowed art critics to develop their position as the "knowers" of high art. While artistic malestream practices have not only held back female artists in the past, they also still affect women's artistic careers. Thus, the exposure of these concealed mechanisms can inform both academic scholarship and the artistic discourse.     

The becoming of an archive: perspectives on a music archive and the limits of institutionality

ABSTRACT

The call on South African music departments to critically engage with their curricula in order to reflect the broader music landscape wherein they function has been ongoing for the past 40 years. While some departments did engage in strategies to transform their curricula, various scholars have pointed out that most of these institutions have to some extent remained fixed within conservative syllabi and ideological practices conceived to serve the previous dispensation. It is within this field of discursive engagement and political actions directed towards change that archives can play an important role in decolonising higher education institutions. While recognising that archives work to a slower historical beat than what is currently (often militantly) demanded in debates on decolonisation in South African universities, this article wishes to argue that this temporal differential is important in terms of long-term institutional and curricular reform. This article will consider these questions with particular reference to the Documentation Centre for Music (DOMUS), an archive-centred music research project in the Music Department at the University of Stellenbosch. This article will posit that DOMUS’s collection practices and projects may serve as examples of active and radical strategies with the potential to affect change within conservative institutional spaces.     

Media Technologies, Images of Drugs, and an Evocative Telepresence

I regard electronic media technologies as framing devices for how viewers perceive issues associated with illegal drugs. Controllers of electronic media technologies produce and disseminate images of illegal drugs and users of such drugs to which viewers respond. People who control the images of electronic media production create an evocative telepresence, or a visual context that relies on appeals to authority and emotion. However, viewers do not merely respond to images of illegal drugs; rather, they actively interpret such images and draw their own conclusions. To demonstrate the complex relationship between electronic stimuli and viewer responses, I report on a classroom experiment comparing those who saw and heard a heroin user with those who only heard this user. I also report findings from student perceptions of and reactions to four drug films. Results of the experiment and the readings of films indicate that viewers, especially those who can see and hear electronic displays, are sophisticated consumers who respond to immediate stimuli while making reference to distal stimuli. In the main, I contend that electronic images of illegal drugs and users in an evocative telepresence are powerful stimuli, but they do not cause viewer perceptions.     

Protest leadership in the age of social media

This article challenges the idea that social media protest mobilization and communication are primarily propelled by the self-motivated sharing of ideas, plans, images, and resources. It shows that leadership plays a vital role in steering popular contention on key social platforms. This argument is developed through a detailed case study on the interaction between the administrators and users of the Kullena Khaled Said Facebook page, the most popular online platform during the Egyptian revolution of early 2011. The analysis specifically focuses on the period from 1 January until 15 February 2011. It draws from 1629 admin posts and 1,465,696 user comments, extracted via a customized version of Netvizz. For each day during this period, the three most engaged with posts, as well as the 10 most engaged with comments, have been translated and coded, making it possible to systematically examine how the administrators tried to shape the communication on the page, and how users responded to these efforts. This analysis is pursued from a sociotechnical perspective. It traces how the exchanges on the page are simultaneously shaped by the admins’ marketing strategies and the technological architecture of the Facebook page. On the basis of this exploration, we argue that the page administrators should be understood as ‘connective leaders’. Rather than directing protest activity through formal organizations and collective identity frames, as social movement leaders have traditionally done, connective leaders invite and steer user participation by employing sophisticated marketing strategies to connect users in online communication streams and networks.     

Visualising the ends of identity: pre-birth and post-death on Instagram

This paper examines two ‘ends’ of identity online – birth and death – through the analytical lens of specific hashtags on the Instagram platform. These ends are examined in tandem in an attempt to surface commonalities in the way that individuals use visual social media when sharing information about other people. A range of emerging norms in digital discourses about birth and death are uncovered, and it is significant that in both cases the individuals being talked about cannot reply for themselves. Issues of agency in representation therefore frame the analysis. After sorting through a number of entry points, images and videos with the #ultrasound and #funeral hashtags were tracked for three months in 2014. Ultrasound images and videos on Instagram revealed a range of communication and representation strategies, most highlighting social experiences and emotional peaks. There are, however, also significant privacy issues as a significant proportion of public accounts share personally identifiable metadata about the mother and unborn child, although these issue are not apparent in relation to funeral images. Unlike other social media platforms, grief on Instagram is found to be more about personal expressions of loss rather than affording spaces of collective commemoration. A range of related practices and themes, such as commerce and humour, were also documented as a part of the spectrum of activity on the Instagram platform. Norms specific to each collection emerged from this analysis, which are then compared to document research about other social media platforms, especially Facebook.     

Uncovering testimonies of slavery and the slave trade in missionary sources: the SHADD biographies project and the CMS and MMS archives for Sierra Leone,Nigeria, and the Gambia

This article highlights narratives of enslavement held in the Church Missionary Society and Methodist Missionary Society archives for the Sierra Leone, Yoruba, and Gambia missions in the nineteenth century. Its particular focus is on testimonies of Africans who experienced enslavement in Africa and were subsequently sold to Europeans on the coast and embarked on trans-Atlantic slave vessels. These documents form part of the Social Sciences and Humanities Research Council (SSHRC)-funded SHADD: Studies in the History of the African Diaspora – Documents project, a digital publication of the Harriet Tubman Institute for Research on Africa and its Diasporas at York University (http://tubman.info.yorku.ca/publications/shadd/). This article catalogues both the narratives uncovered to date – among the longest unpublished accounts of enslavement in Africa – and research strategies for uncovering more. It concludes with an appendix indexing digitized and transcribed documents available on the SHADD database as research and teaching resources.     

Developing a Vision for the Common Core Classroom: What Does Elementary Social Studies Look Like?

In each edition of their book Doing History: Investigating with Children in Elementary and Middle Schools, Levstik and Barton (2011) encourage us to take a mental journey to imagine classrooms where students regularly “do history” (xi). The social studies experiences that many educators envision for elementary classrooms include teaching students to frame questions, read for information, and organize primary and secondary sources to share their knowledge with classmates. NCSS provides an infrastructure for social studies goals in which knowledge, skills and attitudes are developed in meaningful social studies lessons. When viewed through the lens of the Common Core State Standards for English Language Arts & Literacy in History/Social Studies, Science, and Technical Subjects (CCSS ELA), we recognize the fundamental nature of aligning social studies standards with literacy strategies for elementary teaching and learning. The purpose of this article is to examine the usefulness of CCSS ELA for teaching elementary social studies. The authors share a vision for the “common core classroom” that includes a range of literacy strategies for teaching standards-based social studies.     

Arts policy and practice for disabled children and young people: towards a ‘practice spectrum’ approach

This article argues for an approach to the evaluation of arts policy and practice for disabled children and young people that goes beyond the dialogic antagonism between Disability Arts and community arts, and towards a ‘practice spectrum’. Little is known about the extent to which a Disability Arts perspective has extended into arts policy and practice for disabled children and young people. The article aims to redress this knowledge gap. It is based upon two sets of data collected in relation to the East Midlands region of England during 2014. First, a critical evaluation was conducted of official and institutional attitudes to arts practice with disabled children and young people. Second, interviews exploring contemporary practice were conducted with 24 arts organisations. Their practice represents a diverse range of art forms and programmes undertaken in the region, and a range of attitudes and positions taken towards disabled children and young people. We argue that the best way to conceive of current practice is as a spectrum, as opposed to an antagonism between community arts and Disability Arts perspectives. There is, however, little evidence of the penetration of a Disability Arts perspective into policy and practice for children and young people.     

Making mammograms mobile: Suggestions for a sociology of data mobility

Although academic interest in the study of mobilities is on the increase, exactly what it takes and what it means for data to become mobile is seldom asked. This paper addresses that question for the case of digital medical images, more precisely mammograms (X-ray images of the breasts). It is argued that the kind of reasoning which treats mobility as a fixed asset of such images is problematic, because it obscures the particular perceptions, circumstances and practices that play a part in the accomplishment of medical images as mobile. The argument is based on ethnographic involvement with an e-Science/telemedicine research project aimed at demonstrating the benefits of a digital mammography database for breast cancer screening services, epidemiological research and radiology teaching in the UK. By focusing on the ways in which mammograms are re-presented as 'mobile data', and on how their movement is practically organized in the context of this project, the paper indicates a new direction for the sociological study of data mobility: one that understands the relationship between 'data' and 'mobility' as accomplished and emerging rather than fixed and inherent.     

How companies cultivate relationships with publics on social network sites: Evidence from China and the United States

This study advances our understanding of relationship cultivation on social media from a cross-cultural perspective. We examined how companies use popular social network sites (SNSs) to facilitate dialogues with publics in two culturally distinct countries: China and the United States. We employed a content analysis of 50 corporate pages with 500 corporate posts and 500 user posts from each country. Overall, companies in both countries have recognized the importance of SNSs in relationship development and employed the appropriate online strategies (disclosure, information dissemination, and interactivity and involvement), but the specific tactics vary across the two markets. Furthermore, cultural differences among the types of corporate posts and public posts on SNSs indicate that culture plays a significant role in shaping the dialogue between organizations and publics in different countries. Implications for corporate relationship management practice in the global market in the digital era are discussed.     

Purification Equals Silence: Censorship of Queer Expression by the Theocratic Right

Censorship in all its forms has recently been increasing across the United States. While censorship is practiced across the political spectrum, the greatest threat to free expression comes from the Theocratic Right, The largest category of material targeted by this movement is queer expression. Present censorship efforts are rooted in a long-standing American tradition of hostility to art and to dissenting voices. The five principal areas in which queer expression is censored are: (I) state and federal cultural agencies such as the National Endowment for the Arts; (II) public education, school curricula, and public libraries; (III) higher education; (IV) print, broadcast, and digital media; (V) arts and entertainment. The progress the Theocratic Right is making in narrowing the limits to speech is often abetted by unholy alliances with the Left. Anti-censorship organizations exist, but have thus far been insufficient to turn the tide.     

Digital Introspection Within Learning-on-my-Own Rhetoric Among Computer Gamers

In activity theory, most studies have focused on examining learning centered around interactions with peers or mentors; but the personal learning frame centered on externalization of internal activity is yet to be fully examined. I performed an ethnographic study of a computer-mediated form of such self-teaching activity in the electronic sport game StarCraft. I found that expert players relied significantly on digitally-mediated introspection—self-examination and critique of personal practices mediated by digital archives—to reveal psychological contradictions which become new objects of learning. I argue that psychological contradiction is a useful concept for examining self-teaching activities within computerized environments.     

What remains of Abu Ghraib?: digital photography and cultural memory

Ten years on, the photographs from the US-operated Iraqi prison Abu Ghraib have become synonymous with the war on terror for highlighting an unseemly combat culture. This article focuses on the ongoing functions of these viral photos as objects of cultural memory and also highlights their use as war trophies. Drawing on theories of digital photography, emotional and gestural communication, visual semiotics, and cultural memory, this article examines six of the circulated images. Focusing on the symbolic, the visual contents of the photos are contrasted with the rhetorical account from criminal investigator Brent Pack in the documentary Standard Operating Procedure. While Pack concludes that these images are in fact abusive, he nevertheless dismisses the relevancy of the emoting individuals within the photographs. The arguments here take a particular shape: the pictorial display of emotion is not only relevant, but is essential to the communication of group identity and the perpetuation of cultural memory, which is reinforced by the role that digital photographic technology plays in aiding the circulation of this cultural memory.