Navigating the technology-media-movements complex

Abstract

In this article we develop the notion of the technology-media-movements complex (TMMC) as a field-definition statement for ongoing inquiry into the use of information and communication technologies (ICTs) in social and political movements. We consider the definitions and boundaries of the TMMC, arguing particularly for a historically rooted conception of technological development that allows better integration of the different intellectual traditions that are currently focused on the same set of empirical phenomena. We then delineate two recurrent debates in the literature highlighting their contributions to emerging knowledge. The first debate concerns the divide between scholars who privilege media technologies, and see them as driving forces of movement dynamics, and those who privilege media practices over affordances. The second debate broadly opposes theorists who believe in the emancipatory potential of ICTs and those who highlight the ways they are used to repress social movements and grassroots mobilization. By mapping positions in these debates to the TMMC we identify and provide direction to three broad research areas which demand further consideration: (i) questions of power and agency in social movements; (ii) the relationships between, on the one hand, social movements and technology and media as politics (i.e. cyberpolitics and technopolitics), and on the other, the quotidian and ubiquitous use of digital tools in a digital age; and (iii) the significance of digital divides that cut across and beyond social movements, particularly in the way such divisions may overlay existing power relations in movements. In conclusion, we delineate six challenges for profitable further research on the TMMC.     

Affective networks: how WeChat enhances Tencent’s digital business governance

An emerging body of literature has revealed that social media enhance digital business governance to facilitate Internet companies in generating profit throughout regulating the everyday lives of users. However, although existing debates are often contextualized in the West, little attention has been paid to China, where social media are widely used. To fill this knowledge gap, this article investigates the digital business governance practiced by Chinese Internet companies such as Tencent. Specifically, I employ an affective lens to analyze how WeChat, the most popular social media application launched by Tencent, allows this Internet company to influence users for its own business purposes. Chinese college students, which constitute a representative group of young people, were early adopters of WeChat, and they have led the trend of social media use in China. Based on a yearlong netnographic study of Chinese college students, the results reveal that the affective design of WeChat captured their attention and influenced their everyday practices. These results provide insight into how digital business governance operates in the Chinese context, in which authoritarianism and capitalism work closely together.     

Managing Serials in an Institutional Repository: An Interview With Kay Teel

ABSTRACT

In this interview from March 2017, Kay Teel, metadata librarian for serials and arts resources at the Stanford University Libraries, discusses the issues involved in providing access to serials through an institutional repository.     

(Un)ethical practices: intimacy and Internet in the media coverage of the Ashley Madison hack

In the summer of 2015, the “cheating website” known as Ashley Madison came under scrutiny, as a group calling itself the Impact Team revealed users’ private information. This case study explores the controversy’s Canadian media coverage and sheds light on the main discourses about intimacy and the Internet that were made visible during this event. It interrogates how cheaters, hackers, and the company were represented. To varying degrees, the mainstream press condemns the cheaters, the hackers, and the company for their behaviour. The article also addresses the ways intimate practices are politicized and commercialized in the digital context, including a discussion of the emphasis on “privacy.” To conclude the article, I discuss the transparency and privacy issues implicated in digital intimacies and the power–knowledge (im)balance implied by hackers’ online anonymity.     

Underneath we’re angry: feminism and media politics in Britain in the late 1970s and early 1980s

In the late 1970s, a billboard advertisement for Gigi underwear was installed at street level in various British cities. It depicted a woman in a trench coat walking on the street at night and looking defiantly at the camera. A second image portrays her unbuttoning her coat and revealing her underwear. A caption reads “Underneath they’re all Lovable.” This billboard evoked a wave of feminist opposition exemplified by Rosalind Coward’s essay “Underneath we’re angry” attacking the Gigi advertisement for being an invitation to rape women as well as photographic works by The Polysnappers condemning the ad. This article contextualizes the passionate resistance to the Gigi advert within the time’s feminist debates, which characterized media images as oppressive towards women, the discourse around the ideological functioning of advertisements, debates on “the sexual politics of representation,” the political role of photography, social historical events, and the political significance of the street.     

iConstruct: virtual disabilities in online settings

The present study focused on cultural constructions of disability in virtual settings, examining specifically how cultural constructions of disability were mediated through the use of online technology. This was accomplished by identifying and analyzing Greek Cypriot online news media articles and online readers’ posts in response to these articles. Findings indicated that disability in these online settings mainly reproduced traditional models of disability, with the charity model being more prevalent. However, there were instances in which dominant discourses of disability were ruptured through the introduction of counter-narratives in users’ posts which echoed the human rights model of disability. Implications for the fields of media, education and disability studies are discussed in relation to the possibility of using digital media to contribute to the challenge of critical media literacy to address issues of diversity and disability.     

From salons to the native reserve: reformulating the “native question” through pictorial photography in 1950s South Africa

The article provides a critical reflection on the practice of photographic salon exhibitions in the 1950s. In South Africa and abroad, there was a resurgence of photographic societies from the early 1950s that encouraged amateur photographers to create images based on a distinct visual grammar, thereby offering them not only an opportunity to display their work but to compete amongst each other. Subsequently, salon exhibitions produced work that would be judged on its pictorial rather than strict representational value thereby depoliticising the exhibition space. On the other hand, this article seeks to place this practice in the realm of racial segregation under apartheid by considering the deployment of the “black subject” in the native rural reserve in Joseph Denfield’s (1911–1967) work. Through a study of his ethnographic photographs which were exhibited internationally in this period as pictorial work, as well as his intellectualisation of his practice as native photography, it argues that the space of the salon allowed him to pose the “native question” pictorially, that is, provided a discourse through which the “native” could be “known” and ordered.     

Forward,Ever Forward: a reading of Robert Harris,Photographic Album of South African Scenery,Port Elizabeth,c.1880–1886

Early copies of the Photographic Album of South African Scenery that was published between c.1880 and c.1888 by Robert Harris in Port Elizabeth consisted of 28 double-card pages with two, occasionally one, tipped-in photographs per page. During the near-decade of its production, the number of images increased, printed captions replaced handwritten captions and both the selection and arrangement of images became gradually more coherent and programmatic. The paper interprets these changes as Robert Harris’s attempt to construct a public identity for South Africa at the moment its economy and society were being transformed by the diamond mines at Kimberley and elsewhere that constitute the focus of the later form of the form Album. In the developed form of the Album, a narrative progression is suggested to move from Cape Town and the Western Province, to Port Elizabeth and the Eastern Province, to the Kimberley Diamond Fields, Natal, etc. In order to read this journey critically, the paper is arranged to demonstrate the constituent parts of this journey in the representation of cities and towns, laid out in grid plans on the African veld; the depiction of individual buildings with their expressive vocabulary of architectural style; and the idea of commerce – represented in street scenes, markets and seaports – and the facilitation of commerce through roads, bridges and mountain passes. The disproportionately large number of photographs of Kimberley, with both its mining operations and no less than three commercial markets, underlines the significance of commerce and industry in the new South African identity. The emphasis on commercial achievement in the Album leaves an obviously subordinate role for images of nature in both agriculture and landscape. Farming is represented through such exploitative practices as forest clearing and hunting, rather than the developed forms of agriculture of wine farming, sheep farming and wheat farming. And landscape in the Album is either a landscape subdued to the wants and needs of a settler population that would bludgeon its way through mountain passes or divert the course of rivers to facilitate commerce, or a landscape that is defined by the imported aesthetic conventions of the picturesque and sublime. Similarly, grouping the photographs of indigenous peoples that are scattered throughout the Album, one may see that their representation is entirely instrumental, divided crudely into roles of either war-like barbarians or pliant labourers. In these ways, the Photographic Album may be understood as a true mirror of the colonial achievement.     

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.     

Stereoscopic visions: reading colonial and contemporary African photography

This piece argues for the importance of critical engagements with photographs in order to explore and rethink the past, to reflect on the present and to imagine the future. It provides a brief overview of the articles that constitute the first part of the Social Dynamics special issue on photography in Africa, a collection that contributes to the growing body of scholarship that deepens our understandings of the significance of photography on the continent.