Let's Party! today we are DONE with this class and can celebrate!

===
Today we will start off with creating a festival atmosphere. Katie will bring some foods and some drink and we can toast each other as we go around and look at everyone's final posters.

We will spend as much time doing this as we need to! THINK FUN!

Then we will debrief a bit (still with food and drink) about what is available in PROTOTYPE today: all this is complete today as prototype: that is to say, offering visions of possibilities that could have emerged, might yet emerge or not, and that working on has offered as experiences we can build on ourselves, and with each other.

We will finish when things are done, and after that Katie can stay as long as necessary to talk to anyone about anything they would like to consult about. No office hours after this class, so this is your last chance to consult with her, this term, this year, this whatever!

Today I, Katie, am celebrating this class and its accomplishments! with much appreciation. this is the final graduate course I will have taught in my 30 years in this department.

What a wonderful way to go out! I am thrilled to share today with you all -- so glad it has been with each of you in particular! I hope my appreciation of each of you has been clear all along and bubbles over today!





===

===
WHAT IS A POSTER SESSION 621 STYLE?

http://gal621.blogspot.com/2014/05/621-spr14-posters.html  

===

===
Wonder where Katie was last week? She was celebrating her 65th birthday, her 30th year teaching in WMST, and her retirement at the end of June by giving a talk at the University of Delaware. She was assigned this topic: The State of Feminism and Women's Studies Today!

Well, of course, being Katie she had to change it to something else and fill it full of

BOUNDARY OBJECTS!

Her secondary title turned into "Feminisms, Women's Studies Multiplicities, 'States'" and was shared with a group of faculty, students grad and undergrad and from the old days, staff, activists, and various folks who wandered in! (well, sort of.) and some of these fellow HistCon alums and allies with an eye to thinking in transdisciplinary terms.

IT WAS FUN!

And I got to go to the Longwood Gardens, which was a special pleasure.

And the birthday party dinner after was fun also!

Here is the link to the talksite I created for this event.

http://stateswmst.blogspot.com      

And here is the handout I gave out as party-favors!

===

Handout17 Delaware by Katie King on Scribd

===

Marvelous Stank

===
=NOTICE THAT NEXT WEEK, Katie will be out of town, and you all will meet in a WORKSHOP on posters and website.
=THE FOLLOWING WEEK IS OUR LAST CLASS: our poster sessions and our website goes live.

3 May -- <poster & website workshop> Katie out of town
10 May -- <poster session> COMING TOGETHER AND APART: everything due.

===
Wednesday 29 April, Marvelous Stank Matters 

Stallings, p. 134, quotes character in Butler's Fledgling: "Do you love me, Shori, or do I just taste good? (139) "Butler's heroine forces readers to see that the social construct of time fabricates orientation as much as sex or gender." 

READINGS: 
• Stallings. 2015. Funk the Erotic. Illinois
• Marcus. 2015. Self-Care for Activists. Mocana.
• Neff. 2015. Self-Compassion. William Morrow.
• Neff Companion website: http://self-compassion.org  

PRESENTERS: Hagen, Lundy-Harris & Aftab, Knowles

>>ON ARRIVAL: Attendance Portraits

>>BEFORE BREAK:
• 3:45: PRESENTATION led by Hagen, Lundy-Harris
• 4:05: DISCUSSION until break at 4:45

===
From Marcus:

===
From Neff's website: http://self-compassion.org/why-we-need-to-have-compassion-for-our-inner-critic/  

===

>>BREAK @ 4:45

>>AFTER BREAK:
• 5: STALLINGS LED SYNTHESIS created by Aftab, Knowles
DISCUSSION on ALL materials in order to entangle thoroughly everything.

===
From Wakeford, N. 2015. "Don't Go All the Way: Revising 'Misplaced Concretism.'" In Bowker et al. Boundary Objects and Beyond: Working with Leigh Star. MIT. pp. 69-83. 

p. 82: "The Method toolkit incorporates other elements, woven into an argument in which understandings of marginality and multiplicity function together.

"First, we must think of 'communities of practice' in so far as they link together actions, people and artifacts. Second, we have to find the 'boundary objects' and the work of translation and communication between communities of practice. Third, we should consider 'borderlands' and 'monsters.' She [Leigh Star in essay on 'Misplaced Concretism'] offers the following explanation: 'A monster occurs when an object refuses to be naturalized. A borderland occurs when two communities of practice co-exist in one person.'

"The argument is explicitly about relationality." 

[refers to Star, S.L. 1994. "Misplaced Concretism and Concrete Situations." Gender-Nature-Culture Feminist Research Network Working Paper 11. Odense University, Denmark.]

===

Mapping Worlds, being in your stomach

===
19 April  -- worlds: Roelvink or Wilson (Peskin, Walker)
TODAY'S CLASS: pattern for paired readings

===

===
Mapping worlds: diverse economies, gut gathered embodiments, being in your stomach 

WHERE ARE WE IN THE COURSE RIGHT NOW?
SECOND CLASS OF FINAL SECTION 3: >>>BECOMING TOGETHER AND APART

=NOTICE THAT SECTION 3 ENDS WITH OUR FINAL CLASS, OUR POSTER SESSION, AND THAT OUR COURSE PAPER WEBSITE GOES LIVE THEN: 10 MAY! 
=NOTICE THAT WEEK AFTER NEXT, Katie will be out of town, and you all will meet in a WORKSHOP on posters and website. 

being in your stomach .... 

===
Wednesday 19 April, Mapping Worlds, being in your stomach 

READINGS: 
• Roelvink. 2015. Making Other Worlds Possible. Minnesota.
• Wilson. 2015. Gut Feminism. Duke.
PRESENTERS:  Peskin, Walker

>>ON ARRIVAL: Attendance Portraits

>>BEFORE BREAK:
• 3:45: PRESENTATION led by Peskin, Walkers
• 4:05: DISCUSSION until break at 4:45

>>BREAK @ 4:45

>>AFTER BREAK:
• 5: SYNTHESIS created by all of us
DISCUSSION on ALL materials IN ORDER TO INTEGRATE these new two.

===

Gibson-Graham: composite person with collaborative companions 

• TAKE BACK THE ECONOMY: companion workbook for transforming: http://takebackeconomy.net        
• TBTE Website: companion site for using workbook and workshopping: http://takebackeconomy.net/?page_id=627          
• COMMUNITY ECONOMIES: activist website: http://www.communityeconomies.org/Home        

===

FORUM ON ADAPTATIONS
Penn Humanities Forum 
Wednesday, 21 March 2012 - 5:00pm—6:30pm
Rainey Auditorium, Penn Museum, 3260 South Street
http://www.phf.upenn.edu/events/feminist-darwin  

===
Katie's work on gut and diabetic posthuman: http://newmatsf.blogspot.com      

===

Affirmative (re)reading/writing: keeping it "new"

===
TODAY'S CLASS: pattern for core readings 
Opening Up to Affirmative (re)reading/writing: keeping it "new": 

12 April -- "new": Stallings & Shotwell & Allied Media

• Shotwell: Part I, Part III.5, Conclusion (Aftab, Lundy-Harris) 
• Stallings: Part 1.4, Part II, Conclusion (Attia, Hagen) 

===

===

New materialisms and affirmative (re)writing:

=how does (re)writing entail (re)reading?
=how are writing and reading mutually co-consituting? how are they thoroughly entangled?
=think: Derrida and "writing" too: "writing" of this sort INCLUDES speech, the oral, and all "literacies" of the "literal" -- presentation, action, performance, and more....

===

===
WHERE ARE WE IN THE COURSE RIGHT NOW?
WE BEGIN SECTION 3: >>>BECOMING TOGETHER AND APART

>This title comes from Svedmark's thesis and indexes her new materialist practices.

>Notice that Stallings weaves in and out and around new materialism too.

>Notice that Shotwell practices a prefigurative politics that attempts to be that which it intends to create in the world. For some the term "praxis" means this, for others "praxis" is a more strictly "synthesis" term. (what's the difference?) 

Shotwell, p. 166: "articulations of prefigurative politics -- the practice of collectively acting in the present in a way that enacts the world we aspire to create."

NOTICE THAT SECTION 3 ENDS WITH OUR FINAL CLASS, OUR POSTER SESSION, AND THAT OUR COURSE PAPER WEBSITE GOES LIVE THEN.

===
READINGS FOR SECTION 3:

• WEBSITE: Allied Media Projects: https://alliedmedia.org
• WEBSITE: Self-Compassion: http://self-compassion.org
• Stallings. 2015. Funk. Illinois.
• Shotwell. 2016. Against. Minnesota.

• Roelvink. 2015. Possible. Minnesota.
• Wilson. 2015. Gut. Duke.

• Marcus. 2015. Self-Care. Mocana.
• Neff. 2015. Self-Compassion. William Morrow.

===
WHAT'S COMING UP TODAY AND THE REST OF THE TERM

12 April -- "new": Stallings & Shotwell & Allied Media

• Shotwell: Part I, Part III.5, Conclusion (Aftab, Lundy-Harris) 
• Stallings: Part 1.4, Part II, Conclusion (Attia, Hagen) 

19 April  -- worlds: Roelvink or Wilson (Peskin, Walker)
26 April -- care: Stallings then Marcus or Neff; review all 

• Stallings: revisit based on what we discover throughout semester (Aftab, Knowles) 
• Marcus or Neff (Hagen, Lundy-Harris) 

3 May -- <poster & website workshop> Katie out of town
10 May -- <poster session> COMING TOGETHER AND APART: everything due.

===
TODAY'S CLASS: pattern for core readings 
Opening Up to Affirmative (re)reading/writing: keeping it "new": 

THINK: New materialisms and affirmative (re)writing:

=how does (re)writing entail (re)reading?
=how are writing and reading mutually co-consituting? how are they thoroughly entangled?
=think: Derrida and "writing" too: "writing" of this sort INCLUDES speech, the oral, and all "literacies" of the "literal" -- presentation, action, performance, and more....

• INVESTIGATE WEBSITE: Allied Media Projects: https://alliedmedia.org
• READ: Shotwell: Part I, Part III.5, Conclusion (Aftab, Lundy-Harris); Stallings: Part 1.4, Part II, Conclusion (Attia, Hagen)
• MAKING: 2 min. Attendance Portraits (Barry. 2014) HAND THESE IN AT BREAK TO DIRECTOR OF POSTERS Hagen. Damien will collect these through the semester, to be returned to folks as they work first on website and then on final posters.
• MAKE SURE HANDOUTS HAVE BOTH NAMES OF PRESENTERS ON THEM ALONG WITH DATE. Make enough copies to hand out to everyone in class (8 copies).

>>BEFORE BREAK: 

PRESENTATION ONE led by Aftab, Lundy-Harris
• 3:45 pm and go for ONLY TWENTY minutes (timed!)
• 4:05 Aftab, Lundy-Harris facilitate discussion until break at 4:45 pm

DISCUSSION: it is the responsibility of the WHOLE class to bring in text details AND CONNECT THEM TO CONTEXT offered by Aftab, Lundy-Harris!
Details to be drawn from: Shotwell: Part I, Part III.5, Conclusion and ALLIED MEDIA and other as appropriate.

Shotwell, p. 196: "One key difference between a conspiracy theorist and an activist, for lack of a better word, is that the conspiracy theorist holds that the best defense is more and better knowledge (read my website, listen to my explanation, investigate what you know) and the activist holds that the best defense is creating another world.... People doing movement work usually get lots of things wrong, which might not be such a problem -- if the purpose of the work isn't to be right. Instead, our purpose is to contingently make it be something that deserves a future has one.... trying to move beyond the epistemic and into the ontic -- we are attempting to prefigure something."

[screen shot from http://itstartswithus-mmiw.com ]

>>AFTER BREAK: 

PRESENTATION TWO led by Attia, Hagen
• start at EXACTLY 5 pm (timed!) and go for ONLY TWENTY minutes (timed!)
• 5:20 pm Attia, Hagen facilitate discussion until class ends at 6 pm.

DISCUSSION: it is the responsibility of the class to bring in text details AND CONNECT THEM TO CONTEXT offered by Attia, Hagen!
Details from: Stallings: Part 1.4, Part II, Conclusion and ALLIED MEDIA and other as appropriate.

Stallings, pp. 235-6: "By examining space and sites where narratives and performances of the body provocatively intersect with expressions of interior movement, I have theorized how the need for such centers has already been // articulated elsewhere -- profane sites of memory. Reading these spaces with a methodology that incorporates the importance of aesthetics and sacred forces, as well as ethics and public spheres, brings us closer to developing communal practices of love and intimacy that can embrace all."

===

Thinking about Peer Review

===
Here is the peer review resource Lenora found that we would like to go onto the website as well as project in class during our debrief: http://writing.wisc.edu/Handbook/PeerReviews.html  

Ada's slide show on their open peer review process: https://www.slideshare.net/kestlund/open-peer-review-with-ada

And Ada's discussion online of process: http://adanewmedia.org/beta-reader-and-review-policy/  

Hyperrhiz, publication ethics: http://hyperrhiz.io/publication-ethics.html

===

Today is our class conference, conducted poster session style

===
PREVIOUS EMAIL SENT OUT FROM PAPER SESSION TEAM Jonelle & Lenora
Mar 30 (6 days ago)

Hello, class!

As Directors of Papers, Lenora and I wanted to send out an e-mail in advance of our paper sessions next week outlining the schedule for the day; parameters for paper presentations; and some helpful reminders.

*SCHEDULE & SESSION FORMAT*
The conceit for our paper sessions is that we are each presenting a paper on our fantasy panel - you propose the panel title, your fellow panelists, and the conference/circumstances of your presentation! You can reflect on this idea in your handout (more on that in the next section).

We will each have a "station" where we lay out our papers and handouts. 

During sessions, our classmates will rotate to our stations in 15 min. intellectual speed dates to investigate each other's work.

KK says: NOT NECESSARILY ONE-ON-ONE! LITTLE GRPS ARE GOOD TOO! 

The schedule for class will lay out in the following manner:
3:30-3:45: Set-up of stations
3:45-4: Introduction to the sessions and reminders: orientation
4-4:20: Silent encounter with stations taking notes
4:20-4:50: Session 1
4:50-5:20: Session 2
5:20-5:30: Break
5:30-6:00: Debrief

*PAPER PARAMETERS & EXPECTATIONS*

• A reminder that your paper should be 10 pages - conference paper length - and engage most of the books/transmedia we have covered in class.
• Remember - this is an opportunity to both demonstrate your mastery of course materials and engage with a topic you care about. 
• For the paper sessions, please bring a hard copy of your paper as well as a handout including your professional bio and a description of your fantasy panel.

*REMINDERS*

• During our debrief, we will discuss our best fits for peer review and then assign two peer reviewers to each project. 
• There will be a group writing session in the Media Lab on Friday (tomorrow) from 10am-12pm - feel from to join the group for some community while you write!
•  Please let us know if you have any questions or concerns before Wednesday. 

See you then!
Jonelle & Lenora

===
How it looks in Zine-lands

===
EMAIL SENT OUT TODAY! time for our collective performances and knowledge creating!

Dear Folks,

If for ANY reason you do not have what you think is a finished, perfect, usual style paper today, you are still on! Come and do a thing!

Bring everything you have to today's session and participate as thoroughly as possible! The interactions today are CRUCIAL and matter so much more than "the paper": a fancy seminar paper really not the point of our practice together at all.

So do what you can to fully be present and to offer yourself and your ideas to the class as a whole. If you must, forget paper-ness and come with collaboration, openness to making knowledge collectively, helping others out with their thinking, and being savvy about how to ask for that from others.

Papers will be up for peer review, and we will decide who shall review what today too. So you will turn a paper into two peer reviewers for evaluation today or this week.

Go for it! Katie

===

AS YOU ARRIVE: 
CREATE A PRESENTATION "STATION" POSTER SESSION STYLE: 

Basically everyone creates a little space marked by their paper handout. We do NOT present contents of paper: we emphasize INTERACTION! That's a bit tricky and hard to get ourselves into this as a special practice: I say to folks: tweet at each other! So questions and answers are fine but not at any length! That's hard! we love to be the center of attention rather than actually interacting.

No monologing, yes, tweeting!

Think poster session, only with papers and handouts; think tweeting rather than presenting; think feedback at various ranges of engagement and detail.

In other words, arrange your materials to share visually so that when we walk around and take notes on each others' stuff, we can absorb much of what you are attempting to do just by looking things over.

Just as you would set up a poster graphically, set up your station visually: 
[hints for doing this with a poster here: https://projects.ncsu.edu/project/posters/   ; transfer these suggestions to this situation such as I have done next]

An effective interactive station created poster-session-style is a visual communication experience. 

It should help you 
...engage colleagues in conversation
...get your main point(s) across quickly
...effectively solicit substantive feedback
 
An effective station is ...

• Focused
• Visual
• Ordered in some sequence

It communicates quickly, even instantly on multiple levels ...

• source of information
• conversation starter
• advertisement of your work
• summary of your work
• It shows, not tells

Checklist: 

• objective(s) and main point(s) easy to see 
• label has your feedback desires clearly communicated 
• visuals
• narrative organization

===
From the Assignments tab: your responsibility for today: 

= Write a ten page paper to share in a class conference, conducted poster session style.

In the middle of the semester we will conduct in one class period two poster session style paper discussions in which you will share your current work with each other after having written a ten page paper. That means that some people will be presenting their work in various parts of the room, all at the same time, while other class members wander around the room, interacting with them as they discuss their projects, using handouts to focus interactions. After we spend time doing this, we will move into collective discussion and engagement all together. This means you create connections between your work and the work of others, and orchestrate a collective conversation.

This is NOT about editorial suggestions for writing itself, but a substantive engagement with the IDEAS of your classmates as put forth in their papers. 

The papers will then be collected as an online book website that we will refer to for the rest of the semester. If non native speakers or others need adjustments here please work with Katie to make them carefully ahead of time.

[image credit: http://raulperez.cikeys.com/why-is-writing-so-difficult/  Pointers here too!]

Notice how you will get some tips too for the final assignment by doing this one! 

Final Assignment:
= create a substantive scholarly research poster, individually, or as a member of a team of up to 3 members.

Posters should synthesize the work you have done in the class, bringing together in some interactive way yours and others’ presentations and research, readings, and papers. They should demonstrate your wide and specific use of course texts. They may play with data analytics in some fashion, they may have creative elements (although they need to do this for a professional context), they will be predominately visual rather than textual. They should include both the RESULTS of your synthetic analyses, and also a way of showing HOW YOU GOT THERE! In the sciences you would show the experimental set up, the results and your methods. How should these elements be transformed for your sort of poster? You should have a fantasy scholarly venue in mind for the poster you, perhaps in a team, come up with. Posters have long been a staple of conferences in the sciences, sometimes in the social sciences, and increasingly today, in the humanities, especially in the digital humanities. Humanities style posters are still in development, and digital humanities posters are often unusually creative, with an eye to data analytics and visualizations. We will discuss these in the class. NO POWERPOINT PRESENTATIONS WILL BE ACCEPTED FOR THIS ASSIGNMENT. However Powerpoint is actually often used as a kind of graphics manager to create the single slides that become a poster. There are lots of ideas for all this online, and we will also discuss this as well. We will need a director of posters, who will troll the web for resources, work with poster makers generating ideas, and on the last day of class, coordinate two poster sessions.

NOTICE THIS IS ON THE WAY TO THE CLASS JOURNAL WEBSITE WHICH INCLUDES YOUR PROFESSIONAL PRESENCE ON THE WEB! 

One way to curate your professional presence on the web is to create your own professional website. If you have never made a website, you might start off with a Blogger version. Blogger is what I use for the class website. I use Weebly for my professional website. Both of these are very simple. Or you might like to build a site on Word Press. If you have already begun crafting websites, pick your favorite platform for something new, or enhance what you already have going with projects from our course. A fun site with easy tools for all kinds of web prototyping activities you will find here: http://easyedutools.weebly.com

===
Instructions for sending attachments to Katie, handouts, papers, anything:

WHEN SENDING AN ELECTRONIC ATTACHMENT TO KK: not to my katking@umd.edu email, but to my gmail account: katiekin@gmail.com  . NOTE KIN NOT KING! Our system will often throw out or eat attachments, so to make sure I really have it and easy to retrieve down the road, I need it at gmail.

To be able to search for it easily please use this format for the subject header to gmail: yourlastnameonly 621 whatitis.

And name the file the same way. THINK: if Katie were to download this would she be able to tell from the file name what it is and who it is from without opening it, but just from the filename? would that be unique so it doesn’t get mixed up with someone else’s?

===
HANDOUT EXAMPLE 

_handout16 Gut Linköping by Katie King on Scribd

 
===

Breathing, Becoming, Together and Apart

===
TODAY'S CLASS: pattern for paired readings
>>>NOTICE THIS SECOND SECTION OF THE COURSE ENDS WITH OUR PAPER SESSIONS 5 APRIL, which is next week 

Go around and ask all: What are you doing in your papers? 

===

===
THIS CLASS IS THE THIRD CLASS OF THE SECOND SECTION OF FOUR SECTIONS.
The second section is called <<Staying with the Trouble>>>
Why is this class called Breathing, Becoming, Together and Apart?

What does this mean? How many meanings could it have? Why might it matter? What does "mattering" do? How could it "matter" to you? How could it matter very differently to other feminists? to other ...what?

>>>AGAIN: NOTICE THIS SECOND SECTION OF THE COURSE ENDS WITH OUR PAPER SESSIONS 5 APRIL -- next week

Co-creating phenomena .... 

===
Wednesday 29 March, Breathing, Becoming, Together and Apart 

• READINGS: Svedmark or Górska  
(sections worked out with Dir. Presentations: Peskin but individuals should choose which book to be an expert on, and the class as a whole should have read everything altogether in these individual bits)
• PRESENTERS:  Peskin & Knowles

>>ON ARRIVAL: Dir. Posters Hagen will distribute materials for Attendance Portraits and time them for only but all of 2 mins. You can always bring materials for these yourselves too.

>>BEFORE BREAK:

• 3:45: PRESENTATION led by Peskin & Knowles ON BOTH Svedmark & Górska (with handouts) will start at 3:45 and go for ONLY TWENTY minutes (timed!)
• 4:05: DISCUSSION led by Peskin & Knowles until break at 4:45
it is the responsibility of the WHOLE class to bring in text details AND CONNECT THEM TO CONTEXT offered by Peskin & Knowles!

>>BREAK @ 4:45

>>AFTER BREAK:

• 5: SYNTHESIS created by all of us
DISCUSSION on ALL materials IN ORDER TO INTEGRATE these new two.

Linköping Tema Genus: the thesis tree 

===

===
Svedmark: Co-creating Others: pp. 131-135: 

=Speculators: "They feed us with speculative and alternative versions of the truth.... Flashback...." Fake? is it real? is that the most important thing? 

=Helpers: "These "helpers' seem to be attracted to places where emotional content is shared freely, with few filters...." You may need to "join" to know about. 

=Lurkers: "...they can be spotted every now and then when things get rough and situations demand action." Difficult to study.... 

=Other others: 1) those with honest intents. 2) Trolls: "to provoke, to upset and to do harm...." How does one tell which ones are which? 

===
Svedmark: TechnoEmotions: pp. 161-181: 

"Although this thesis is empirically dense my mission has never been to look at -- but through -- these sometimes extreme cases in search for postman relations and practices apart from our first encounter."

=(dis)Trust
=(fiction)Truth
=(dis)Embodiment
=(eternal)Time

===

QUESTIONS 

1) process metabolize, through instances of hyperventilation

talk about metabolization in reconfigurations of power: 

=shared air & bio communication p 208

=situated dispersed 

=orgasm/relaxation – Anna & ? read from p 173

=sniffing/smell – Tarik and Matt & ? olfactory life together & play p 267

=danger/hazard – Marik & ? combat breathing? Flow of intensities? p 272

=panic/suffocation – Marik & ? read p 295

=un/containability – apparatus? Use with hyperventilation: p 218 realities read

=puffs/helping – politics? Hyperventilation read p 307 with eye to change

2) form, apparatus, matterwork

=for dissertation, Parts I & II

=for further uses, perhaps writings, how to alter this apparatus? 

3) intersectionality and its transnational, transdisciplinary, trans-identity: co-constitutions & origins 

=problematize origin stories and their narrative structures in Part 2, re panic p 230, how would you do something similar with intersectionality? How would it be the same, how different?

=fuzzy studies, boundary objects (situated and dispersed)

=hard to articulate: read p 238

4) politics of salience, ambivalence, identity and social movements

=ambivalence? Ambiguity, non coherence, transcontextual paradox and tangles

=situated and dispersed

=Matt's social movement projects: breathing skills for protest p 279 

=white and the racial projects of intersectionality

=cis and masculinities Matt & Marek; the sexual politics of Anna and clients p 174; the embodiments of Lina and perhaps the autoethno attentions

=BlackLives Matter and I cannot breathe: social movements. p 277 

===

more to think with about fixing....

===
Just saw this video on Facebook and thought we might want to consider its messages in our musings on "just fix it, anyway" --

took me a while to find the url and could not find any embed code, so I am posting a screen shot and the url. Check it out and consider these questions:

=in what ways could this logic apply to feminist concerns?
=is already used by feminists both literally and figuratively?
=what might be exceptions to this logic of invisible design?
=what would Leigh Star say?
=why is there no easy to get at embed code?

https://www.facebook.com/Vox/videos/651251625062443/  

===

Staying, Ending, Refuge, Collaboration

===
TODAY'S CLASS: pattern for paired readings
>>>NOTICE THIS SECOND SECTION OF THE COURSE ENDS WITH OUR PAPER SESSIONS 5 APRIL -- two weeks after Spring Break, which is next week.

THIS CLASS IS THE SECOND CLASS OF THE SECOND SECTION OF FOUR SECTIONS.
Why is the second section called <<Staying with the Trouble>>> ?
Why is this class called Staying, Ending, Refuge, Collaboration?

What does each mean? How many meanings could each have? Why might it matter? How could it matter to you? How could it matter very differently to other feminists? to other ...what?

>>>AGAIN: NOTICE THIS SECOND SECTION OF THE COURSE ENDS WITH OUR PAPER SESSIONS 5 APRIL -- two weeks after Spring Break, which is next week.
 

===
Wednesday 15 March, Staying, Ending, Refuge, Collaboration 

• READINGS: Haraway or Tsing  
(sections worked out with Dir. Presentations: Peskin but individuals should choose which book to be an expert on, and the class as a whole should have read everything)
• PRESENTERS:  Hagen & Lundy-Harris
• SYNTHESIZERS: Attia & Walker

>>ON ARRIVAL: Dir. Posters Hagen will distribute materials for Attendance Portraits and time them for only but all of 2 mins. You can always bring materials for these yourselves too.

>>BEFORE BREAK:

• 3:45: PRESENTATION led by Hagen & Lundy-Harris ON BOTH Haraway & Tsing (with handouts) will start at 3:45 and go for ONLY TWENTY minutes (timed!)
• 4:05: DISCUSSION led by Hagen & Lundy-Harris until break at 4:45
it is the responsibility of the WHOLE class to bring in text details AND CONNECT THEM TO CONTEXT offered by Hagen & Lundy-Harris!

>>BREAK @ 4:45 

>>AFTER BREAK: 

• 5: SYNTHESIS led by Attia & Walker
DISCUSSION on ALL materials IN ORDER TO INTEGRATE these new two.

===

Participating in Women's Strike

===
Many women will not be able to strike on Wednesday because they have responsibilities that make that impossible, or it is too dangerous for them in various ways. Other women will strike in the face of dangers, and many women will strike in solidarity in whatever ways they can. 

We will not meet in class Wednesday 8 March, International Women's day, to make it possible to 

stop work as usual

on this day for students, teachers, staff, and others who will participate in the strike according to their needs and hopes. 

We will drop the texts we were going to examine this week, and instead continue on to what we had planned for next week. We will discuss at another time how to include those dropped texts later in the term.

May this action be powerful around the world  

===
http://www.womenstrike.org

===

The World Needs You

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Wednesday 1 March, The World needs you, flesh and blood, for coproduced freedoms 

• INVESTIGATE WEBSITE: THE SELF CARE PROJECT: www.theselfcareproject.org
• READ: Shotwell: Introduction, Part II, Part III.6; McKittrick: Chapters 4, 5, 7, 8, 9, 10
• MAKING: 2 min. Attendance Portraits (Barry. 2014) HAND THESE IN AT BREAK TO DIRECTOR OF POSTERS Hagen. Damien will collect these through the semester, to be returned to folks as they work first on website and then on final posters.
• MAKE SURE HANDOUTS HAVE BOTH NAMES OF PRESENTERS ON THEM ALONG WITH DATE. Make enough copies to hand out to everyone in class (8 copies).

>>BEFORE BREAK: pattern for core readings 

PRESENTATION ONE led by Peskin & Walker  
• 3:45 and go for ONLY TWENTY minutes (timed!)
• 4:05 Peskin & Walker facilitate discussion until break at 4:45
DISCUSSION: it is the responsibility of the WHOLE class to bring in text details AND CONNECT THEM TO CONTEXT offered by Peskin & Walker!
Details to be drawn from: McKittrick: Chapters 4, 5, 7, 8, 9, 10 and THE SELF CARE PROJECT and other as appropriate.

Walcott on McKittrick, p. 190: "Wynter is very attentive to biology as both a known and unknown quality of what it means to be human. Her writings evidence the ways in which culture and knowledge are implicit to producing scientific descriptive statements of humanness, as well as disclosing the very scientific underpinnings of a flesh-and-blood worldview." 

[Quotation image from Real Human Being: https://loveandragemedia.org/2015/03/12/real-human-being/  ]

>>AFTER BREAK: pattern for core readings 

PRESENTATION TWO led by Knowles & Hagen
• start at EXACTLY 5 pm (timed!) and go for ONLY TWENTY minutes (timed!)
• 5:20 Knowles & Aftab facilitate discussion until class ends at 6 pm.
DISCUSSION: it is the responsibility of the class to bring in text details AND CONNECT THEM TO CONTEXT offered by Knowles & Aftab!
Details from: Shotwell: Introduction, Part II, Part III.6 and THE SELF CARE PROJECT and other as appropriate.

Shotwell, p. 166: "articulations of prefigurative politics -- the practice of collectively acting in the present in a way that enacts the world we aspire to create." & p. 171: "Identifying into disability praxis means that everyone, however situated, can shape their life's practice in a way that contributes to self-determination and coproduced freedoms." 

[image from Building Successful Social Movements: http://hollyroach.com/toward-collective-liberation-building-successful-social-movements/   ]

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sharing as constitutive of SF feminisms

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I am sorting through my out of print SF books to downsize them and to share. If you want to look over what I have and see what you might use, or what we might create a department library of, please come by my office.

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TODAY'S CLASS: pattern for paired readings

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THIS CLASS MARKS THE END OF THE FIRST OF FOUR SECTIONS OF THE CLASS.
It has the same title as the class does:
>>Why didn't you just fix it anyway?<<
What does this mean? How many meanings could it have? Why might it matter? How could it matter to you? How could it matter very differently to other feminists? to other ...what? 

WHAT SECTION DO WE BEGIN NEXT WEEK? WHAT IS IT CALLED? WHY?
Next week we will return to Mckittrick and add Shotwell this time.
Presenters will be Walker, Peskin, Aftab, Knowles.
How will teams form? Who is presenting on what? talk with Dir. Presentations Peskin 

>>>IT ENDS WITH OUR PAPER SESSIONS 5 APRIL 

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Wednesday 22 February, Schulman or Wekker
• READINGS: Wekker & Schulman 
(sections worked out with Dir. Presentations: Peskin but individuals should choose which book to be an expert on, and the class as a whole should have read everything)
• PRESENTERS:  Lundy-Harris & Attia

>>ON ARRIVAL: Dir. Posters Hagen will distribute materials for Attendance Portraits and time them for only but all of 2 mins. You can bring materials for these yourselves too.

>>BEFORE BREAK:

• 3:45: PRESENTATION led by Lundy-Harris & Attia ON BOTH WEKKER & SCHULMAN (handouts) will start at 3:45 and go for ONLY TWENTY minutes (timed!)
• at 4:05 Lundy-Harris & Attia facilitate discussion until break at 4:45
IN DISCUSSION: it is the responsibility of the WHOLE class to bring in text details AND CONNECT THEM TO CONTEXT offered by Lundy-Harris & Attia!

>>AFTER BREAK

• 5 pm CONTINUED FACILITATION led by Lundy-Harris & Attia
DISCUSSION on ALL materials from last week and also this week.

it is the responsibility of the WHOLE class to MAKE SYNTHESIZING CONNECTIONS AMONG OUR READINGS and to offer ideas about USING THESE in various contexts and for various purposes. ALSO INCLUDE HANDOUTS, WEBSITES, PODCASTS, VIDEOS and other transmedia! (I know, it's really a lot isn't it! yet the rich entanglements do matter!) 

>>RICH TANGLES OF TRANSCONTEXTUAL TRANSMEDIA 

KK HANDOUTS SO FAR: 
• Lothian. 2016. "Choose not to warn." Feminist Studies 42/3: 1-14.
• King. 2016. "Microaggressions as Boundary Objects." Australian Feminist Studies 31/89: 276-282.
• Davidson. 2017. The Future of Education is Now. Anthropology News. http://www.anthropology-news.org/index.php/2017/01/13/the-future-of-education-is-now/

TRANSMEDIA SO FAR: 
• #LETUSBREATHE Collective: http://www.letusbreathecollective.com
• EMERGENCE From the Wikipedia: Emergence > emergent properties and processes: [emphasis mine] https://en.wikipedia.org/wiki/Emergence  
• Lurie. 2014. "How to Read a Book in Two Hours or Less." Grad Hacker, Inside Higher Ed. https://www.insidehighered.com//blogs/gradhacker/how-read-book-two-hours-or-less  
• Self-care is radical: http://selfcareisradical.tumblr.com
• Jazaieri. How to consume research [on Mindfulness] with a critical eye. http://greatergood.berkeley.edu/article/item/what_we_still_dont_know_about_mindfulness_meditation
• Brené Brown. Courage is Born of Struggle PODCAST. http://www.onbeing.org/blog/courage-is-born-from-struggle-bren-brown/8601
• What Will The Theme Of Your Life Be In 2017? http://www.dailygood.org/story/1475/what-will-the-theme-of-your-life-be-in-2017-kira-m-newman/
• IDEAS ON FIRE website http://ideasonfire.net

AND
• thoughts on KIT MAKINGS and what you have done and changed and need. 

>>WITH KATIE as we decide: 

WE WILL CONSIDER USING SOME OF THIS TIME after break on paired days FOR PROTOTYPING AND JUST HOW WE WANT TO DO THAT.

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BRINGING TOGETHER INTERTEXTUALITY, MAKING, NEW MATERIALISMS 

search LINK new materialism intertextuality

See slideshow here: https://www.slideshare.net/margokreole/intertextuality-44208541  

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Intertextuality > The Electronic Labyrinth (at iath UVA) © 1993-2000 Christopher Keep, Tim McLaughlin, Robin Parmar: http://www2.iath.virginia.edu/elab/hfl0278.html  

"Derived from the Latin intertexto, meaning to intermingle while weaving, intertextuality is a term first introduced by French semiotician Julia Kristeva in the late sixties. In essays such as "Word, Dialogue, and Novel," Kristeva broke with traditional notions of the author's "influences" and the text's "sources," positing that all signifying systems, from table settings to poems, are constituted by the manner in which they transform earlier signifying systems. A literary work, then, is not simply the product of a single author, but of its relationship to other texts and to the strucutures of language itself. "[A]ny text," she argues, "is constructed of a mosaic of quotations; any text is the absorption and transformation of another" (66).

"Intertextuality is, thus, a way of accounting for the role of literary and extra-literary materials without recourse to traditional notions of authorship. It subverts the concept of the text as self-sufficient, hermetic totality, foregrounding, in its stead, the fact that all literary production takes place in the presence of other texts; they are, in effect, palimpsests. For Roland Barthes, who proclaimed the death of the author, it is the fact of intertexuality that allows the text to come into being:

"Any text is a new tissue of past citations. Bits of code, formulae, rhythmic models, fragments of social languages, etc., pass into the text and are redistributed within it, for there is always language before and around the text. Intertextuality, the condition of any text whatsoever, cannot, of course, be reduced to a problem of sources or influences; the intertext is a general field of anonymous formulae whose origin can scarcely ever be located; of unconscious or automatic quotations, given without quotation marks. ("Theory of the Text" 39).
Thus writing is always an iteration which is also a re-iteration, a re-writing which foregrounds the trace of the various texts it both knowingly and unknowingly places and dis-places.

"Intertexts need not be simply "literary"--historical and social determinants are themselves signifying practices which transform and inflect literary practices. (Consider, for example, the influence of the capitalist mode of production upon the rise of the novel.) Moreover, a text is constituted, strictly speaking, only in the moment of its reading. Thus the reader's own previous readings, experiences and position within the cultural formation also form crucial intertexts.

"The concept of intertexuality thus dramatically blurs the outlines of the book, dispersing its image of totality into an unbounded, illimitable tissue of connections and associations, paraphrases and fragments, texts and con-texts. For many hypertext authors and theorists, intertextuality provides an apt description of the kind of textual space which they, like the figures in Remedio Varo's famous "Bordando el Manto Terrestre," find themselves weaving."

search LINK Remedio Varo's famous "Bordando el Manto Terrestre

See also, New Materialism in Contemporary Art: https://newmaterialismincontemporaryart.wordpress.com/2015/0/  

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