P. Kerim Friedman is an associate professor in the Department of Ethnic Relations and Cultures at National Dong Hwa University, in Taiwan, where he teaches linguistic and visual anthropology. He is co-director of the film Please Don't Beat Me, Sir!, winner of the 2011 Jean Rouch Award from the Society of Visual Anthropology. Follow Kerim on Twitter.
In the week since Rex’s post on the Salaita case things have been moving fast. So fast that (unlike Corey Robin) I have a hard time keeping up. As of today, six departments at UIUC have taken votes of no confidence in the university leadership, with the number expected to rise to ten by the end of the week. Add to that seven academic associations which have issued letters condemning the university’s handling of the case, as well as numerous talks, conferences, and other events which have been canceled by scholars boycotting the university, and it is safe to call this a “movement.”
About a year ago I wrote a long post that discussed both my general approach to working with academic PDFs as well as the specific Apple (OS X/iOS) software I use to manage my own workflow: Sente. I still consider Sente to be a kind of gold standard for reference management software, but there are a couple of things about it that lead me to regularly check out the competition. One is that it only works on Apple products and many of my students are Windows users. The other is that, even on the Mac, it does not work within the web browser itself, but forces you to launch the app and use its own built-in web browser, which always interrupts my workflow. In my last post I mentioned a few other issues and briefly surveyed the competition; however my current work environment has me on a Windows 7 computer and so I decided to look again at the competition, especially cross-platform solutions. The first one I discovered is ReadCube but I found it just didn’t meet my needs. It didn’t do a very good job getting citation information (I had lots of errors in my metadata) and the iPad app was too limited for my needs. However, another service turned out to be more promising: Paperpile, and I thought I’d write a short post about how I’m using that.
[The following is an invited post by Arpan Roy. Arpan is a student of anthropology and currently an instructor of English and linguistics at An-Najah National University in Nablus. His research interests are activism and dual narratives in Israel/Palestine.]
Although I was instantly moved by the Palestinian narrative from the moment I learned of it, it would be years before I knew any Palestinians. Nor did I know any Israelis. Yet, in the bohemian subcultures of urban America, you could say that I, in the ironic words of Najla Said, ‘grew up as a Jew.’ Jews were friends, ex-girlfriends, band mates, co-workers, classmates, bosses, and professors. Some broke from the dominant Zionist narrative, while others did not. Usually we didn’t talk about it. There was enough going on with my own coming of age to get into world politics. Somehow I missed the second intifada.
Soon I’d have more to say. Once, in San Francisco, a band I was playing in broke up when the harmonium player stormed out of practice after I debuted a new song about Palestine. A few months later, in 2006, I was traveling in South America when the Second Lebanon War broke out. I was surrounded by herds of Israeli backpackers fresh out of the military. It was difficult for me not to separate the scenes of destruction I read in the news from the aloof and giddy young ex-soldiers let loose on the streets of Cuzco and La Paz. More than a few conversations went late into those nights.
[This is an invited post by John Postill. John is a Vice-Chancellor’s Senior Research Fellow at RMIT University, in Melbourne. He is currently writing a book titled Hacker, Lawyer, Journalist, Spy: Freedom Technologists and Political Change in an Age of Protest. He blogs at media/anthropology.]
Two and a half years ago, TIME magazine declared 2011 to be The Year of the Protester. From the Arab Spring or Spain’s indignados to the Occupy movement, this was undoubtedly a year of political upheaval around the world.
But 2011 was also an important year for a new global vanguard of tech-minded citizens determined to bring about political change, often in connection with national crises. Let us call these citizens, at least for the time being, freedom technologists.
Consider, for instance, the loose network of freedom technologists who spearheaded the Tunisian uprising. On 28 November 2010, after long years of struggle under one of the world’s harshest regimes, the lawyer and blogger Riadh Guerfali created the site TuniLeaks. A WikiLeaks spin-off, this site released US diplomatic cables that were highly embarrassing to Ben Ali’s autocratic regime. These leaks helped to prepare the protest ground. The trigger came through the actions of another freedom technologist, veteran activist Ali Bouazizi, who recorded on his smartphone the self-immolation of his cousin Mohamed, a street vendor. He then shared the video via Facebook, where it was picked up by journalists from Al Jazeera – barred from entering Tunisia – and broadcast to the whole nation (and the rest of the Arab world). Al Jazeera’s freedom technologists relied on blogs and social media to bypass the official restrictions and report on the fast-moving events on the ground. When the government censored Facebook, the transnational online group Anonymous launched Operation Tunisia, carrying attacks against government websites via dial-up connections provided by Tunisian citizens.
One of the questions I get asked most often by graduate students doing ethnographic research is about how much data they need to collect. I think this is especially troublesome for those who are doing fieldwork somewhere far away, where limited time and funds mean that they will unlikely be able to make a return trip after they return from the field. But even those doing research closer to home want to know “How much is enough?” In answering this question I draw on my experience as a documentary filmmaker.
A “shooting ratio” is “the ratio between the total duration of its footage created for possible use in a project and that which appears in its final cut.” For a Hollywood film, where the scenes are planned in advance, this might be four to one. That is, shooting four hours of footage for every hour of the final film. Now that films have largely gone digital, producers no longer need to worry about the cost of expensive film stock, but it still costs a lot to have actors and crew out for a day and nobody wants to waste too much time shooting the same scene over and over again.
In 2012 I wrote a post, Seven Ways to Talk to a White Man in which I talked about how Taiwanese react to seeing a foreign-looking person speak Chinese. Here is a funny video from Japan which dramatizes the scenario I described as “Look at the Asian”:
As pundits, politicians, and the world’s media wring their hands over Putin’s next move, events in Crimea seem to be fading from attention. Residents of Crimea have noted, correctly I think, that even after annexation, the Autonomous Republic of Crimea remained little more than a square on the board of a geopolitical chess game.
Focusing my attention on that square, the tiny, green, diamond-shaped peninsula hanging in the Black Sea, has been distressing to me over the past weeks. I have conducted anthropological fieldwork in Crimea on and off for almost two decades. Most recently, I have been using Skype calls with friends and colleagues on the peninsula, as well as local television available on the internet, for information. Continue reading →
Anthropology may be “the worst major for a corporate tool” but that doesn’t mean that anti-corporate anthropologists shouldn’t consider incorporating. In this special pre-tax-day post I will take a break from my usual anti-capitalist blogging to talk about one particular instance where anthropologists might want to incorporate: if you are thinking of making a documentary film it may be just the thing for you.1
Many independent filmmakers register as either an S-Corporation2 or an LCC (a limited liability company) in order to protect themselves if they get sued3 by the subjects of their films. (Or from someone who claims to be harmed by the film or by the process of making the film.) Having a company helps protect your personal assets, such as your house or retirement savings, etc. from being seized if you were to loose the suit. Many independent filmmakers even set up separate LLCs for each film. Doing so, however, is a lot of work, and not without its downsides.
[This is an invited post by Elizabeth Chin, a professor in the MFA Program at the Art Center College of Design in Pasadena, CA.]
Last year, Nickolay Lamm made viral internet splash with his “real Barbie,” a materialization of the iconic doll that used the average measurements of a 19 year old woman rather than the endlessly criticized unrealistic proportions of Mattel’s super-selling doll. Now Lamm is taking that doll, named “Lamilly,” to production. I don’t want to be a hater, but I think Lamilly will tank.
The best introductory text to the events immediately preceding the protest is this piece by J. Michael Cole in The Diplomat:
Thousands of Taiwanese were surrounding and occupying the Legislative Yuan (LY) in Taipei on March 19 after legislators from the ruling Chinese Nationalist Party (KMT) expedited the review process of a services trade pact with China that many fear could have damaging repercussions on Taiwan’s economy and sovereignty.
For some reason, since we launched the new site, our security software was preventing people from leaving comments. That should be fixed now. Sorry about that!
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Since we launched Savage Minds in 2005 the only time there were ads on this site was the short time last year between when we moved to WordPress.com for hosting and when we paid to turn them off. We apologize for that. The fact is that most of us use ad-blocking software so we didn’t notice the ads until they were pointed out to us and then we promptly got rid of them. We don’t intend to put ads here, and — even though we all put in a lot of work (and money) behind the scenes to keep the site going — we aren’t asking for your support…
OK, enough with the “we.” Although this is a group site and we make all major decisions (including posting this request) together, this is very personal for me. For the past three months I’ve been working non-stop behind the scenes to move to a new server, restore the archives, and redesign the site. If you paid a professional to do this kind of work it would cost at least $2,000, and maybe as much as four times that. I did it because I care about this site. If you also value this site and the work that goes into it, I’d like to ask you to support an organization that is very important to me: Budhan Theatre.
Because our archives were lost to the internet for the past year a lot of great content has been offline. (Google is now slowly re-indexing all of it.) If you just started following Savage Minds recently and would like a quick overview of our best posts for the past seven years, please take a quick look at our annual highlights. These are our yearly end-of-the-year round-ups which highlight our best content from each year. We started doing these in 2006, so we don’t have one for our first year, 2005, but it’s otherwise pretty comprehensive. Enjoy!