The ‘digital glimpse’ as imagining home

This paper proposes the concept of the ‘digital glimpse’, which develops the existing framing of imaginative travel. Here it articulates the experiences of mobile workers digitally connecting into family life and everyday rituals when physically absent with work. The recent embedding of digital communication technologies into personal relationships and family life is reconfiguring how absence is experienced and practiced by workers on the move, and through this, new digital paradigms for life on-the-move are emerging. This paper explores how such social relationships are maintained at-a-distance through digital technology – using evidence from qualitative interviews with mobile workers and their families. Digital technology now enables expressive forms of ‘virtual travel’, including video calling, picture sharing, and instant messaging. This has implications for the ways in which families can manage the social and relational pressures of being apart. Experiences of imaginative travel created through novel media can enrich the experience and give a greater sense of connection for both those who are at home and those who are away. While technology is limited in its ability to replicate a sense of co-presence, ‘digital glimpses’ are an emergent set of sociotechnical practices that can reduce the negative impact of absence on family relationships.     

Beyond the “digital divide”: the “computer girls” of Seelampur

In the last decade, India’s position as a global information economy has aided its status as the poster child for Information and Communication Technologies for Development (ICTD) initiatives in the global South. Policy discourse emphasizes that crossing of the “digital divide” through access to technology will bring a leveling of economic and social hierarchies. Based on sustained ethnographic observations and interviews in Seelampur in New Delhi, my paper critically examines the promise of inclusion in the information society for low income “Muslim women.” In following the lives of the “computer girls” of Seelampur, I argue that access to computer training contradictorily reproduced and reified interconnected divisions of gender, class, caste, and religion. Ethnographic research reveals the complexities of everyday lived experiences among Seelampur women. The space of the ICT center was rigidly stratified and the center primarily attracted women from relatively higher class and caste positions within Seelampur. However, I argue that the women had contradictory experiences related to their status as India’s “middle-class” that restricted their economic and social mobility outside the ICT center. Their experiences testified to structural disempowerment that disrupted deterministic assumptions about ICT and mobility.     

Performing the “quing of berlin”: transnational digital interfaces in queer feminist protest culture

Abstract

This paper employs the figure of the “interface” to explore the work of German feminist rapper and spoken-word performer Sookee (Nora Hantzsch), who constitutes an ideal case-study for examining the interface between digital technologies, transnational feminisms, and local activism. Sookee is an underground hip-hop artist and queer political activist in Berlin, a location which features in her work as a site of subcultural dissent and contested identities. Sookee is also an academic; a youth outreach worker; a significant online presence; and an international creative collaborator. As such, she navigates the interfaces between multiple social groups, media, discourses, and cultural contexts—regional, national, and transnational. This article focuses on the digital circulations of Sookee’s material against the backdrop of her local performative and activist work. Her transnational collaborations with women MCs and poets from South Africa and America, as well as Europe, celebrate cultural, linguistic, racial, and ethnic difference by bringing in a diverse range of feminist voices to the German context.     

“Everyone Can Make Games!”: The post-feminist context of women in digital game production

After over a decade of scholarly research and well-documented harassment, sexism, and other forms of exclusion and marginalization, digital games culture is currently the object of heightened attention and discourse related to diversity and inclusion. This paper considers the context of this shift with a particular focus on the relationship between gender-focused inclusivity-based action in the form of women-in-games incubators, post-feminist discourse, and the neoliberal context of digital games production. As opposed to rife anti-feminism and similar “backlash” sentiments, articulations of post-feminism within the digital game industry provide insights into the tensions inherent in introducing action for change within a conservative culture of production, particularly for women in the industry. At the same time, the contradictions and tensions of the post-feminist ethos allow for actions that function through this logic while subverting it. Through a brief consideration of three exemplary post-feminist articulations by visible female figures in the North American digital games community, this article explores the challenges and opportunities presented by the gaps and contradictions of post-feminism in games culture and production. It concludes with equal measures of caution and optimism, indicating future directions for study and activism.     

Kübra Gümüşay,Muslim digital feminism and the politics of visuality in Germany

abstract

Muslim women’s digital activism exists in complexly racialized visual contexts. This is exemplified in the journalism and activism of Kübra Gümü?ay, who first gained public attention as the purportedly first “hijabi columnist” in Germany. This essay draws on her series “50 Thoughts” as an entry point into her digital activism. I suggest that Gümü?ay uses this series to reveal the larger visual dilemmas with which she engages. Her digital activism functions by taking the risk to both expose and reconfigure the very conditions under which she is visible and comprehensible to her publics. In particular, I consider her activism as using digital spaces for self-poiesis (an imaginative remaking of self) as well as teleopoiesis (an imaginative reaching out to the other). This latter move functions both to gesture to an anti-racist community as well as to alliances among multiple feminisms.