Have you ever noticed how ‘anthros’ sort of sounds like ‘thrones’? Do you know why? BECAUSE THE UNIVERSE WANTS US TO REMIX ANTHROPOLOGY AND GAME OF THRONES.
*North American Dialogue; with apologies in advance for acronym abundance
Savage Minds welcomes guest blogger Lindsay A. Bell
I recently became the Associate Editor of North American Dialogue (NAD). Part of the AAA Wiley-Blackwell basket of goodies, NAD is the peer reviewed journal of the Society for the Anthropology of North America (SANA). I was brought on to help with the journal’s “brand issues”; namely its recent conversion to a peer reviewed publication and its history as being, um, well CUNY-centric. I am pretty excited about working with SANA on NAD. As a relatively recent section of the AAA, SANA has done much in the way of establishing anthropologies of North America as politically and theoretically important. As the incoming Associate Editor, I am hoping to pick your savage minds about publishing, social media and related issues. In particular, for those of you whose work is North American (and we mean that as broadly as possible), what would you like to see from this publication? From the digital gurus in the crowd, I want to hear about how or if social media should be used to draw a broader public to scholarly work?
Most graduate programs in anthropology require us to take a course in methods to prepare us to “do anthropology” on our own. In class, we discuss what makes a good research question, the trade-offs between qualitative and quantitative data, and the importance of taking good field notes. Sometimes we even get to conduct research and experience firsthand how to enter a community, recruit informants, transcribe interviews, and code data. This practical training allows us to try out the methods we are learning in class and troubleshoot any problems we have along the way with our professors and peers. In this post, I want to talk about the benefits of this model for cultivating a related, necessary, but often neglected skill-set in graduate school – digital literacy.
Digital literacy is loosely defined as the ability to understand and use a range of digital technologies. For an anthropologist, these are specific tools such as social media, digital repositories, or web design that can significantly augment our success as scholars. Most of us have heard about the benefits of using Twitter or have figured out how to post lecture slides onto our online course management systems. However, I have found from personal experience that it is not enough to know that these tools exist – we also need to understand and navigate the complex digital cultures which they (and we) are bound up in.
Savage Minds welcomes guest blogger TAZ KARIM
In the past five years, Twitter has become a mecca for social science researchers: the number of topics, informants, and networks waiting to be analyzed are limitless (here are some examples). With the help of a nifty program like Tweet Archivist, you could literally collect thousands of micro-narratives about people’s ideologies, behaviors, and relationships around a search query – all from the comfort of your office. This was the utopian vision I had of Twitter research when I started designing my final project for the Cultural Heritage Informatics (CHI) Fellowship at Michigan State University (link has been fixed!).
Over the last year, I have become interested in how Americans are sharing experiences with prescription drugs through social media. My dissertation look at one drug in particular, Adderall, a treatment for ADHD which is being illegally bought and sold by college students for academic and recreational purposes. At first, I was completely shocked by the sheer number of individuals who are openly admitting their illicit drug use online – after all, many twitter names are publically attached to an individual’s real name. More amazing was how many are intentionally categorizing their tweets using hashtags like # adderall or #adderallproblems, so that people interested in the topic (like myself) could easily find and share their tweets. There are even entire accounts dedicated to the “adderall lifestyle” like @adderallavenger @adderallnation @adderalltalking @addiestories… and the list goes on. I felt like I had hit a goldmine of data – now all I had to do was figure out how to harvest it.
Why Twitter? What value does Twitter offer to an academic? And, are you missing out if you are not on Twitter?
Yesterday someone I follow (@bacigalupe) posted a link to a Digital Sociology post titled “Can academics manage without Twitter?” My answer was: of course they can. Academics do not need to be on Twitter, and yet there are some very real benefits to Twitter. What are they, you ask? In the order I posted them (and with the original 140 character limitations of syntax preserved), here are five academic benefits I’ve experienced through using Twitter:
#1: learning about new research, publications, conferences, conversations
#2: community-building, following/connecting with colleagues around the world in your own + cognate fields
#3: the drop-in or hang-out-all-day options; you can tweet & read as you like, greatly enabled by list feature Continue reading
Many scholars, activists, pundits, and even a few politicians agree that American democracy is in trouble. Many reasons are given–the raw punch of money in elections, a distracted, apathetic, or misinformed population, the absence of civic education, the specter of blind patriotism, the penal threat and painful reality of police brutality. The signs of collapsing democracy are obvious: the debt ceiling debacle, the recent Supercommittee failure, Citizen United v Federal Elections Commission, a US Congress with 9% approval ratings. Our Occupy mobilizations, and our “deeply democratic” (Appadurai 2001) methodology of the General Assembly inspired as it is by the anthropological knowledge translated through our colleague David Graeber, are reactions to the failure of the present incarnation of American democracy while exclaiming our desire, voice to voice, for a more humane social democracy.
Non-fiction information, knowledge, and “the news” are essential for citizens to make wise decisions regarding the future of a democratic state. The right to media is a human right and a public resource for democratic communication. But the media is a finite resource, limited in radio, television, and the internet and limited by the amount of subjective mental bandwidth we can personally process. In the United States this media resource was allocated by the state to corporations. These America corporations were given the right and responsibility to use the “airwaves.” Part of the bargain the government struck with these companies was that they could make massive profits if they worked in the public interest by informing and educating the citizens. This responsibility they have slowly neglected and we are today left with fiction parading as fact on television news. Citizen involvement in this corporately consolidated public sphere was promised but subtly ignored. The abused or misused power of corporate media is a significant reason why democracy is failing.
I keep returning to the public sphere as Habermas originally described it as I think about progressive political movements of today: Occupy Wall Street and its global dimensions, Anonymous and its more theatrical and political wing LulzSec, and progressive and independent cable television news network Current. Internet activism, television news punditry, and street-based social movements each work together implicitly or explicitly to constitute a larger public sphere. As scholars we need to resist the temptation of excluding one form of resistance as being inconsequential to social justice or to analysis and instead see all three as working together in a media ecology.
A little over a month ago I uploaded 24 minutes of raw footage of the Palestine/Israel Wall I shot in 2009. This is footage for a documentary I am making about divided cities. I’ve finished the sections on Nicosia, Cyprus and Belfast, North Ireland and I’ve finished shooting but not editing this story on East Jerusalem. Unedited and with its natural sounds I thought it was gritty and evocative enough to stand alone on YouTube. I uploaded it and titled it “Palestine Apartheid Wall Raw Footage.” Last week I got a YouTube message from user WHW680 who kindly informed me that he remixed my footage into the French pro-independent Palestine hip-hop video “the Wall of Zionist Racist Freedom for Palestine.” Shocked and honored I watched the video.
Artistically, WHW680 doesn’t use the shots I would; he doesn’t get the projection ratios right; I wouldn’t quite be so intense with the title; and he cuts the edits too early or too late, making the viewing experience choppy. I am being intentionally superficial here for a reason, as I am trying to express the first round of mental dissonance experienced when remixed. As a cinematographer it is an enlightening if challenging ordeal. It gets deeper, too, when your work is not only remixed in a way that challenges your technical and artistic vision but is used politically in surprising ways.
The footage was used to make a music video for the track “Palestine” by Le Ministère des Affaires Populaires, a popular Arab-French hip-hip group in Paris, off of “Les Bronzés Font du Ch’ti” described as “an album that sounds like a call to rebellion, insurrection and disobedience but also solidarity.” They tour Palestine, including Gaza. The music is fantastic, mixing breaks, good flows, meaningful lyrics, and longing violins. Obviously I can get behind the activism of a liberated Palestine but becoming a tool for propaganda, despite my agreement with it, without my vocal consent, is a creatively dissonant experience.
Political semiotic engineering for the right causes I can dig, but agency denying actions are experienced as a type of cognitive violation nonetheless. The quintessential sign of this is the final few second of the video. After the footage ends and while the music still lingers, the words “Freedom, Return, and Equality,” and “Free Palestine-Boycott Israel,” and www.bdsmovement.net circle a Palestinian flag. This final frame essentially brands this video for the BDS Movement, a civil rights organization focused on “boycotts, divestment and sanctions (BDS) against Israel until it complies with international law and Palestinian rights.”
This isn’t “my” footage anymore, WHW680 generously cites me in the description, but the semiotic potential of the footage previously shot by me is mobilized for the BDS Movement. The aesthetic and the political fold into each other in remix activities in which preceding agencies, my own as cameraman, is incorporated or replaced by the technical agencies of the French remixer, WHW680, and reformulated into the political vision of the pro-Palestinian BDS Movement. Which is all good, but it gives me a new look at remix culture.
This experience has forced me to eat some of my words. Remix culture isn’t a myth. I agree with my earlier detractors who stated that it isn’t about the volume of the activity nor the impact of this remixed song or that music video. I would add something more. Being remixed is personally transformative for those being reformatted by values and practices beyond their control. Not only does remix challenge jurisprudence and liberalism, and present new modes of knowledge production, it also modifies the subjective constitution of agency in artistic and political social sphere.
I wasn’t so sure that it reflexively understood what it was doing with the whole global bio-political-cash-techno-domination thing–so it is an honor to finally hear from @capitalism_ itself on Twitter! Here @_capitalism describes its Twitterverse suchly:
“This is my house, this is where I speak my thoughts, this is where I brutalize the masses.”
In the great model of other revealers such as @MuammarLGaddafi, @OsamaInHell, and @BPGlobalPR–here is a representative sample of what @capitalism is thinking about today. Check out the transparency that can be achieve when grand narratives take it upon themselves to use the spiritual technology of the world wide web. No more investigative reporting, academic activism, or critical theory is necessary to interpret disaster capitalism. It is all right here! Zuckerberg is right, the world is becoming more transparent ‘cuz of the internets. Thanks Biz Stone and thank you @capitalism for coming clean with your intents!
Cash grabbing is an altruistic behaviors, grab that cash, put your consciousness on hold for another fifty years. Continue reading