Shake and Repeat!

5.    Prototype — build fast. test and improve it together.
 (Shake and repeat.)
 
Wednesday, April 13 – Always in development
• pick 3 ch we have not read yet in any book, according to your interests
• project workshop 

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Now we enter into the prototype stage of our class: where a version of what you have been thinking about is tried out, where some trial and error allows us to see more about what does and doesn't, might or might not work, and where the resources offered to you at the conference might be used.

So think about this next stage, about what folks offered as help to your group, about what you noticed about other grps stuff that you might help with, how to put your vision into some action now in order to see what could happen right away and so on.

And we also now want to consider what this term "scholarship and practice" means (click the link presented and go to p. 18). The university is very big on it now, this class is itself a prototype of doing this, I need your input into what that phrase could/should/might mean. How is the class itself a prototype and how can I and you get feedback and from where about how to make it work out? What should the next version of the class look like?

Please read my talk for my Sweden trip and consider what role it does or could play in all this? What does it reveal about intentions and possibilities here?

How do we all frame what we need and want to know in order to see how to work with our prototypes?


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Wednesday, April 27 – What happens next?

=> • demo your prototype

A final exercise: here.  

Prototyping the class.

Worlding! 

• Donna Haraway
 & vid if you have silverlight


• Worlding Project!  

people, people and more people!

    4.    People — who are you trying to reach? how can they help right now? 

Wednesday, April 6 – Creativity, people, things and relationships
• look again at Zandt 2010, Boler 2008: ch 17, 11, 15
• projects and conference workshop: how do we include the workshop and conference into the process we are learning? how can any people who attend be invited into the process? in what ways are they part of the people to reach? in what ways are they some of the people to help? how can we share with them the strategies, stories, tools, other people and prototype? Explain that this is a PROCESS, that they are part of it, and where you all are in that process! 

SATURDAY, APRIL 9 – THEORIZING THE WEB CONFERENCE
• we are creating a workshop for the conference! Be there! Art/Soc 3203. Be there at 8:30 AM to set up for 9:30 event.


 
=> • people analysis in written form with contact log
Some students will be developing a project with an NGO or activist group in mind. Others will be thinking about audiences for projects. In these and other cases analysis of who is involved in what you are doing and what it is supposed to make happen are essential. You will write this up and may include a contact log of people involved. 

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Megan Boler with Stephen Turpin: "The Daily Show and Crossfire: Satire and Sincerity as Truth to Power":

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Boler 385: "New counterpublics" and "ironic citizenship." 386: "Coping with Complicity in Spectacular Society"

390: referring to Deleuze 1967: "the location of a problematic. The empty square is the very possibility of forming a problem that intersects a variety of different planes or registers (government, the family, race, gender, class, etc.)--without falling victim to an apathetic passivity nor filling in the square of meaning with any final determinant (the desire to fix cause and thus determine course of action too simply)." 

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And more about the addiction paradigm, panics, research, digital natives, and more:
http://www.sciencedaily.com/releases/2011/04/110405132459.htm

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tools can be processes as well as products....

Wednesday, March 16 – Creative processes and products as tools, using tools, generating tools
• Ito, chapter 5 on gaming (note PROCESS not product)
(during the break read chapter 6 on creative production as well)

boundary work: 
• 235: "making distinctions between different kinds of gaming identities and between the world of gaming and mainstream culture...."
• some forms it takes as discussed in Ito: gamer/non-gamer; killing time/hanging out vs. rec. gaming expertise; boy/girl; digital native vs. older generation; addiction & compulsion vs. social health & maturity  
• other possibilities? ethnographic ecologies vs. game designing; extensive vs. intensive; disciplinary differences, eg. HCI & English vs. ethno-methodological sociology of knowledge; inclusive practices vs. exclusionary & specialized forms of expertise; insider vs. outsider? game scholars vs. gamers? game scholar-gamers vs. play & learning scholars 

• what counts here as "accessibility" or exclusion?? what about gripes like "boys with toys"? or status driven sports identities vs. interest driven gamers identities? commitments of time and energy, greater and lesser? "I don't have enough time for my First Life..."? ebb and flow of intensities

• games as learning as play
 

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Johnson 2005: 10: "the landscape of popular culture involves the clash of competing forces: the neurological appetites of the brain, the economics of the culture industry, changing technological platforms. The specific ways those forces collide play a determining role in the type of popular culture we ultimately consume. The work of the critic, in this instance, is to diagram those forces, not decode them."

• what kind of boundary work does Johnson do?
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Some vocabularies: King, Johnson, Bolter & Grusin
* From Steven Johnson, Everything Bad (Riverhead, 2005) [these are Johnson's terms, Katie's definitions] 54-89:
Probing--learning the rules of a simulation by trial and error, while necessarily also checking out its edges, limits and unexpected artifacts or patterns
Telescoping--apprehending simultaneously all the structures of nested hierarchy and mobilizing them in various sequences
Flashing arrows--signposts to help the reader entangle themselves properly into the book
filling-in--tentatively trying out possible materials in spaces left empty in production, sometimes deliberately, sometimes inadvertently
multiple threading--keeping track of many story arcs and a range of narrative frames, noting which ones are currently active and which ones are latent but potentially significant
texture--noting which details are irrelevant but added tacitly for the pleasures of seeming realisms
layered jokes--rich associations built up humorously over long time frames that animate a complex intermedia intertextuality

* From Bolter & Grusin, Remediation (MIT, 1999): 68:

"What is remarkable is that these seemingly contradictory logics not only coexist in digital media today, but are mutually dependent. Immediacy depends upon hypermediacy.... The desire for immediacy leads to a process of appropriation and critique by which digital media reshape or 'remediate' one another and their analog predecessors such as film, television, and photography."

"The entertainment industry defines repurposing as pouring a familiar content into another media form; a comic book series is repurposed as a live-action movie, a televised cartoon, a video game, and a set of action toys. The goal is not to replace the earlier forms, to which the company may own the rights, but rather to spread the content over as many markets as possible. Each of those forms takes part of its meaning from the other products in a process of honorific remediation and at the same time makes a tacit claim to offer an experience that the other forms cannot. Together these products constitute a hypermediated environment in which the repurposed content is available to all the senses at once…."

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Only a taste of exciting resources and research on gaming and learning:
Gee 2003, 2007; Salen & Zimmerman 2004, Juul 2005, Jenkins 2006, Pearce & Artemesia 2009, Taylor 2009




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Us at Theorizing the Web!

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WHAT SHOULD YOU BE DOCUMENTING AT JARAH'S SITE? remember, do it with an eye to what senior seminar students in WMST should be synthetically gathering together (we discussed here) This site well be your "logbook." And everything else should go up here too. How will you put in your storyboard for example? Figure out how to use this site to do all the things asked for: this will take some ingenuity and will be a contribution to our program!

=> • tools & skills: demo and write up of what you learn new and what you get better at
You will participate in skills building in the course of the class, perhaps in workshops, with team members or partners, or on your own. You will demonstrate a new skill or something you got especially better at and write up how that happened and how it matters.  

=> • inventories and brainstorming write ups, document online presence, logbooking
All through the class you will keep a logbook of what you have done, what you are in the middle of doing, what you are working toward. You will turn in a cumulative log each time you work through one of the five stages of the class. [Learning Outcomes Assessments or LOAs are taken for our department from this class.]

=> • storyboard (crafty, electronic, or online), includes presentation & digital picture
A storyboard is a form of visual thinking and planning. It allows you to visually demonstrate to yourself and others a sequence of steps in an interactive and/or collaborative process. It allows you to reorder your procedures, to brainstorm with others, and to create consensus. You will present your storyboard and turn in a digital picture to document it.

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Wednesday, March 23 – SPRING BREAK

4.    People — who are you trying to reach? how can they help right now?
Wednesday, March 30 – KATIE IN SWEDEN, JARAH TAKES ON
• projects and conference workshop 

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Tooling around?

3.    Tools — set up simple tools that make it easy for contributors to see what’s happening and get involved.
Wednesday, March 9 – What counts as a tool? “Tools” across technologies and media.







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Flanagan: Jarah's site: link: twitter: podcast:

Games for change:
http://www.gamesforchange.org/channels/human   


Tiltfactor: Pox:
http://www.tiltfactor.org/pox 

Tiltfactor: Layoff: 
http://www.tiltfactor.org/play-layoff 


Grow a game, online:
http://www.tiltfactor.org/growagame/play.html   

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• Boler, chapters 4, 9, 10, 16 (online here)
• is your project a tool? does it use tools? what are the tools you have to offer or that you need? 

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• Boler helps us wonder (eg 233ff), why do we want what we want? in corporate media? mainstreaming media as community media? what we come to expect, what we come to want and why? 

• how to make the news (or what else? anything else?) be about "building knowledge in a cumulative way" (235)?

• how in our projects do we take to heart the point Fernandes makes to Boler that in the US we tend to think we have "everything to teach and nothing to learn" (236)? 

People's Production House, link here. 
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Media-digital Media and Democracy
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touching: physically, emotionally, interactively

Wednesday, March 2 – People and their lives, how to touch others, to empathize
• read ALL BOXES in Ito. Remember what Zandt has to say about empathy and sympathy.
how are these stories? what do they do? how do they help people understand the arguments of the book?
• how does your project touch you? how can it touch others? how do you plan to reach out? 
digital youth research homepage:  
media ecologies, friendship,  
intimacy, families, gaming, creative production, work 

=> • inventories and brainstorming write ups, document online presence, logbooking
All through the class you will keep a logbook of what you have done, what you are in the middle of doing, what you are working toward. You will turn in a cumulative log each time you work through one of the five stages of the class. [Learning Outcomes Assessments or LOAs are taken for our department from this class. At the end of this course you will turn in extra copies of some assignments to be used anonymously in department assessment efforts.]

=> • storyboard (crafty, electronic, or online), includes presentation & digital picture
A storyboard is a form of visual thinking and planning. It allows you to visually demonstrate to yourself and others a sequence of steps in an interactive and/or collaborative process. It allows you to reorder your procedures, to brainstorm with others, and to create consensus. You will present your storyboard and turn in a digital picture to document it. 

Activisms begin telling stories.... and how?

Wednesday, Februrary 23 -- Activisms & Stories 
• we will examine the four required books, Ito, Boler, Zandt, and Hands, together with the recommended books, Mitchell and Rodgers, to think about the activisms feminists consider, implement, critique, share, disagree about, and entangle. What scholarly maps do these draw upon? [Pluto Press] In addition to what you have read of these books already, you should also read for this week the last two chapters of Hands' book: Chapter 6 on Alter-Globalisation & Chapter 7 on Constructing the Common. 

[If for any reason you are unable to complete that reading, then choose two chapters we have not yet read from Ito and from Boler. Bring in all the books you can too, including the optional ones if you have them, Mitchell and Rodgers. You should have completed Zandt by now. Be sure you are caught up on all the reading we have already done. We are going to try to put all these books into inter-relations with each other, to consider the kinds of relationships they have to various kinds of activisms and various kinds of feminisms.]

• we will work on the stories for projects, for the workshop we will participate in for the Theorizing the Web conference, and for the learning outcomes women's studies considers meaningful for those finishing the program. How might these all come together in a meaningful way? What will it take to interconnect them? 


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After taking an entire program of study in women's studies, finishing at the end with the senior seminar, women's studies would hope that all students would be able to:
1)  identify and develop a coherent analysis of women and gender in relation to significant issues -- in this case, social media;
2)  demonstrate understanding of social and/or cultural differences, inequalities, and/or relations of power;
3)  draw appropriately on a range of work in women's studies scholarship, creative work, and theory (both from this class and other courses already taken);
4)  know how to document evidence and/or research (make good arguments and use proper citation practices);
5)  show competence in presentation skills: writing and other forms of presentation. 


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think flexible, think all this (together and separately) is not about being perfect, but about engaging, trying things out, and participating with energy, creativity and effort! But not something written in stone, or fill in the formula.

Jarah has updated her blog and it is now ready for you to use to think about and share your thoughts, experiences with brainstorming projects, and to ask other students, Jarah and myself for feedback. Go to: http://femsocmedia.wordpress.com/  


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• first half hour of class we will spend time on your posts to Jarah's blog, responding to her questions, connecting all to ideas about projects and collaborators. A quick break then.
• a big chuck of time then next mapping out some feminist approaches to social media, and the idea of how stories might work for us here. The story is the argument you make for why you should do this, in the most accessible form possible: think this way: first there was this concern, then there was this idea about how to address this concern, then there were these things to do, then these people get together to do that, then various things happen, then a project emerges. Consider this essentially a project plan that is visualized as well as written.
• finally last bit of class: we can try to brainstorm ideas as a class for the conference workshop, using the list of LOAs as a foundation. This gives us your input and you a chance to think on your own.

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View Larger Map
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MAPPING? Think Google maps, think scaling down to the backyard of a house, and then up and around a neighborhood, then back up to whole region, part of the hemisphere, and then choose our lovely planet itself. What do we mean when we say "local" and "global"? Think instead of layers of locals and layers of globals. Think of scoping and scaling -- not just these geopolitical maps, but ones across time (local nows how they looked to folks at that moment, and globals of various sorts: the second wave, the twentieth century, late capitalism), and also ones of scope of knowledges and activisms (Redstockings in the Women's Liberation Movement, The Boston Women's Health Collective and OBOS, the Revolutionary Association of the Women of Afghanistan, transnational feminisms, women of color feminisms in the US, women's studies or gender studies or sexuality studies). 


What does it take to map the books we are reading? What sorts of geopolitical entities, historical moments, feminisms & politics are they examples of? How can you tell? What helps us consider these questions? 


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Stories of Friendship

Brassard www.flickr.com/photos/brassard/138829152  clickit!

Wednesday, February 16 – Friendship
• read Ito, Hanging, section 2 (79-116), look through Boler, Hard Times, read the Introduction (1-50) 
 
• what stories are you going to tell?
 
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Just seen on Twitter, I favored and retweeted it:

hrheingold Howard Rheingold

I'm learning openly as I go along, which means experiments & failures. I try to sell that to my students as a feature, not a bug. ;-)

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Boler, 38: Tactical Media:
"expressions of dissent that rely on artistic practices and do-it-yourself (DIY) media created from readily available, relatively cheap technology and means of communication.... 'projects that people do opportunistically--seizing available or unclaimed resources....'"
• personally I call these "worn tools." Not the cutting edge ones, the hottest thing either technically or commercially, but stuff that is around easy to pick up and mess with. One of the reasons I use blogger for class websites, for example. Found tools, like found art....

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See MeganBoler.net too: what does it add to our readings?
Check out the new project: women videobloggers and YouTube.
Note: "New research directions regarding women’s online practices. We aim to explore vloggers’ insights regarding
• diverse expressions of gendered identities,
• online audiences and cross-gender dialogue and response,
• our Open Access Research Design using their platform of choice, YouTube
• women’s under-representation within web-based communities"


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What about transmedia storytelling?
What about transmedia activisms?

Katie's talk You are not the author anymore: transmedia
Our earlier post, description of the class: transmedia

Boler, 33: "Contradictions will be central to all we study." 
 • How enabled/disabled/created/altered are these by the networks of technology and commerce they are embedded within? 
• What about the hard to resolve optimisms/pessimisms Boler works hard to consider fairly? 

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clickit!

Callahan: http://feminism3pointo.blogspot.com/ 
Srivastava: http://linasrivastava.blogspot.com/ 
  

clickit!

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Media Ecologies

course shape • scholarship and • practice

    1.    Strategy — what’s your big idea?
    2.    Story — help people understand it.
    3.    Tools — set up simple tools that make it easy for contributors to see what’s happening and get involved.
    4.    People — who are you trying to reach? how can they help right now?
    5.    Prototype — build fast. test and improve it together.
 (Shake and repeat.)

1.   Strategy — what’s your big idea?

Wednesday, February 9 –  Media Ecologies
• read Ito, Hanging, intros and section 1 (xi-78) and look through Mitchell, Data, for contexts and politics, for example, Flanagan, Woodward, Hayles; and/or check out Pink Noises, book and website.
• teams and partners begin project visioning: Tara Rodgers will inspire us by visiting to discuss the history of her website Pink Noises, the book that came out of it, and her projects. The book is available as a Google ebook, and the website is: http://www.pinknoises.com/ You can also catch her on tumblr.

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Scholarship: who are these people anyway? How can you find out? Spend some time online finding out everything you can about them, and bring in notes about it all to class to share and discuss. Check this out for example: Conversation with the Digital Youth Project • Look at this article from The Washington Post, and consider the assumptions behind it that Ito's book makes visible in its discussion of "genres of participation." What else do you notice? 

• Let's discuss box 1.2 Michell (42-45), so look at that part closely and think about practices described and the frameworks the book uses. 
 

• Remember that you can download the Ito book as a free PDF file (click "DOWNLOAD THIS BOOK" here), and get a condensed version of it for free on the Kindle.
• Why is this book available in these forms and at these costs? What is this all about? Who are the people and organizations involved? What sort of project is this? (For students in 300 too, how is this an "epistemological project"?) 

• Look here for some thoughts on eBooks and how to improve the state of eBooks. What do you think? Did this change your thinking in any way? Why or why not?  
• And this? 

• Although the Mitchell book is recommended, you need to spend time finding out everything you can about it, at the library, online, by finding out everything you can about the authors named, and so on. (What else is left and covered by "so on"?) How do you do this? 

From one online review: 
"As the editors of Data Made Flesh note, while the discourses of cybernetics and communications have historically separated immaterial information from the materiality of bodies, recent developments in science (e.g. genomics), economics (patenting of biological materials), entertainment (video games) and aesthetics (transgenic art) have challenged this separation, in which “‘information’ and ‘bodies’ seem to function almost as ripples that pass from pools of liquid across one another” (p. 2). While a number of other cyberculture books tend to obsess over the future possibilities that digital technologies present, Data Made Flesh begins from the position that the practices are, in a sense, already ahead of the theory. The issue, then, is not to imagine new hybrid, cyborg forms, but rather to eschew the data-flesh dichotomy altogether, to think of embodiment as inseparable from the concerns of control. Thus, each of the chapters in Data Made Flesh focuses on 'those moments when information and flesh co-constitute one another' (p. 2). Contributions include essays on both historical and contemporary issues by Richard Doyle, Mary Flanagan, N. Katherine Hayles, Robin Held, Eduardo Kac, Elisabeth LeGuin, Timothy Lenoir, Mark Poster, Steve Tomasula, Anne Vila, Bernadette Wegestein, Kathleen Woodward and editors Robert Mitchell and Phillip Thurtle." 

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• "About this talk: Media and advertising companies still use the same old demographics to understand audiences, but they're becoming increasingly harder to track online, says media researcher Johanna Blakley. As social media outgrows traditional media, and women users outnumber men, Blakley explains what changes are in store for the future of media. • Johanna Blakley studies the impact of mass media and entertainment on our world."

1. Strategy — what’s your big idea?

Wednesday, February 2 – Share This! our handbook
• GO OVER EVERYTHING YOU DID LAST WEEK as instructed in last Wednesday's post. 
 • read all of Zandt, Share, choose the chapter that excites you the most and become an expert on it
• brainstorming and team building

FOR CLASS TODAY YOU SHOULD HAVE READ ALL ZANDT AND ALSO HAVE WITH YOU:

=a short paper, two paragraphs redrafted about commercialization, commodification, privatization.

=a paragraph summarizing notes on educational uses of social media, from reading syllabus and links, and notes about reading Zandt, and following up work missed last week online.

=a list of feminist ideas and tools used to think about these.

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Thoughts on the Wikipedia? 


Recent article in the NY Times says: 

"Jane Margolis, co-author of a book on sexism in computer science, 'Unlocking the Clubhouse,' argues that Wikipedia is experiencing the same problems of the offline world, where women are less willing to assert their opinions in public. “In almost every space, who are the authorities, the politicians, writers for op-ed pages?” said Ms. Margolis, a senior researcher at the Institute for Democracy, Education and Access at the University of California, Los Angeles. 

"According to the OpEd Project, an organization based in New York that monitors the gender breakdown of contributors to “public thought-leadership forums,” a participation rate of roughly 85-to-15 percent, men to women, is common — whether members of Congress, or writers on The New York Times and Washington Post Op-Ed pages.

"It would seem to be an irony that Wikipedia, where the amateur contributor is celebrated, is experiencing the same problem as forums that require expertise. But Catherine Orenstein, the founder and director of the OpEd Project, said many women lacked the confidence to put forth their views. “When you are a minority voice, you begin to doubt your own competencies,” she said."


 
See also:

• change.org on women not editors on the Wikipedia
• BBC World Service's Lesley Curwen from Business Daily interviews Sue Gardner, executive director of Wikipedia. They discuss recruiting women to write for the Wikipedia. 

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WORK AT HOME THIS AFTERNOON/EVENING FOR OUR CLASS!

There is a winter weather advisory through today until 4 am tomorrow. (Click the graphic above to get more weather information.) Our class would be meeting today as the snow increases and the temps fall. I have decided that rather than wait until the campus is perhaps closed at that time, to have our class activities for today done at home and, to some extent, online. 

• Read all of Zandt by next class. If you must get it as an eBook to do that, please do, and return any hardcopy books if they arrive later. And be sure to note any issues that come up in the course of doing this: prices, advantages and disadvantages, time frames, alternatives, and anything else that should be considered in a feminist analysis of the educational uses of social media. Take notes!

• Examine this website carefully, investigate all links, notice what gets added to it through this evening (and of course for next week too) and thoughtfully consider it too within a feminist analysis of the educational uses of social media. Take notes! 

• Take notes on this whole experience of substituting this work enabled by social media technologies for our face to face class. Consider this our first exercise in the uses of social media for educational purposes! Notice this and think about it all. What's good about it? What's not so good? What resources does it require? Who is accommodated, who is put at a disadvantage and how? How well can this practice accomplish what a face to face f2f meeting would make happen? 

• Take all the notes, and write up a paragraph to share with the class next time, analyzing this experience and its meanings for feminist analysis. Then notice what feminist tools, or theories or ideas you used to do this. Make a list of those too. Bring that to class to turn in next Wed, as well as having read all of Zandt.

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Some exercises to do with Zandt and some more writing to bring in for class next Wednesday:

• Notice how many different formats the Zandt book is available in: regular book both hardcover and paper, eBooks for various platforms (for the Kindle, for other devices, and to be read online in what forms?), and audio. What audiences does this assume? What audiences does it add?


• Look at Zandt's website, both appreciatively and critically: what sort of website is it? Who are its audiences? Who pays Zandt for what kinds of work and how? Look at her client list. How is the site "commercialized"? What does that mean? See the Wikipedia on commercialization.... 


• Consider the social media Zandt addresses. Make a list of all of them and then any more you know about. Put them in order of greater and lesser commercialization. Which are the most commercialized? Which are the least commercialized? Does commercialization promote feminist goals here, or does it alter them for the worst? or can you tell? how would you know?


• Feminists sometimes talk about and critique "commodification." What is that? See the Wikipedia on commodification.... What is the relationship between commercialization and commodification as you understand them addressed by the Wikipedia? Is one better or worse than the other? Are they just different names for the same thing? How can you tell?


• Lots of talk in the media today about "privatization" and feminists also talk about and often critique it. What is privatization? See the Wikpedia on privatization.... What are some relationships you see among commercialization, commodification, and privatization? Where does Zandt's book fit in all this? her website? her clients? What is going on here? Is it good, bad, a mix, which bits are which, and do you care? why or why not? 


• After doing all this write up two paragraphs on what you conclude from your explorations, analyses and thoughts here. Do a couple of drafts of what you write, not like a quick journal entry, but more like a formal paper but very very short. You will turn this in for credit next class, and you will tell others in the class about what you wrote and thought.


• For extra credit also read and include in your analysis this additional entry in the Wikipedia on the structural transformation of the public sphere and also this essay on the web by a teacher about "doing Disney." What do each of these have to do with Zandt?


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Our Books! learn about them by clicking their titles....

Boler. 2008. Digital Media and Democracy: Tactics in Hard Times. MIT. Available on the Kindle. Also available online, here.

Hands. 2011. @ Is For Activism: Dissent, Resistance And Rebellion In A Digital Culture. Pluto.

Ito. 2009. Hanging out, messing around, and geeking out: kids living and learning with new media. MIT. You can download this book as a free pdf file here. Condensed version for free on the Kindle.

Zandt. 2010. Share This! How You Will Change the World with Social Networking. Berrett-Koehler. Available on the Kindle and as a Google eBook and as an audiobook at Audible.com. 

 

 

 

and Recommended:

Mitchell. 2004. Data made flesh: embodying information. Psychology. Available as a Google eBook.

 

Rodgers. 2010. Pink Noises: Women on electronic music and sound. 978-0822346739 Available as a Google eBook. 

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all readings are also on reserve at McKeldin Library. several are new though and await purchase. all will be on 24 hr. reserve. library instructions here.

Notice how many of the books are available on the Kindle, an ebook reader. You do not need the Kindle device to read these, but can download an ap for your computer/laptop or smart phone or iPad to read them without one. Some are available as Google eBooks. To learn how to read these on your computer, look here. Usually the price is a bit lower for each of these, many available for less than $10, although you cannot resell such books. One is even available as an audiobook, look here. Please ensure access to as many of our course books as you can, bring those you have obtained or notes about them to the first class. Absolutely get or have read as much as possible of Zandt's Share This! and bring it or your notes to the first class -- you will need them the first day for our starting-things-out exercises! 

You are required to read these books, not to buy them, or even to own them. All are on reserve at McKeldin and many are available at other libraries. Share them, rent them, borrow them, xerox them, scan them. Fair use means producing copies for your own private research use. Of course you can help others in obtaining originals for such fair use copying. Always be sure to locate your books long before you need to read them, even if one or more turn out to be just coming out or even out of print. Find what you can and read them anyway! 

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And Saturday 9 April we have the unusual opportunity to participate in an exciting conference on campus. "Theorizing the Web" will be examining many issues we will be addressing in the class, including online activisms amid intersectional issues, methods, and visions. Coming to this one day conference is a requirement for the class, so build it into your calendars right away! The Conference link is here.   




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Check out this website as a point for conversation and envisioning what is at stake, what might matter most, and how people are thinking about these issues today:

welcome to our senior seminar in women's studies!

social media as play, play as learning, learning as movement, movement as social change, social change in social media, social media as play, play as learning, learning as movement …  it’s time to join this circle of scholarship and practice with feminist visions in hand and heart!

Commerce and knowledge work today backdrop so-called transmedia stories, those told across technology platforms, as well as the making, sharing and patterning of knowledges across economic and social sectors, making up what some call the transdisciplinary. 

In this class we will be studying this context as well as the practices of social media and the possibilities it offers for feminist activisms, learning and play. Where do you come in? Where do I come in? This women’s studies senior seminar is going to be your chance to share scholarship and practice with two feminist thinkers about media possibilities today and how feminists might move and shape them. I am a feminist scholar of media and technoscience and I like to tell stories about different media and what they are good for. My partner is Jarah Moesch, a new media artist and technologist who will be teaching us all ways of playing with activist media and workshoping skills and ideas. This will be an exciting, experimental semester! A new course in our department!

We will not be using Blackboard in this class, but rather working here with Blogger, a public online site, using it for class multimedia presentations, for class preparation and review, and maybe for other possibilities! Blogger is one example of the kinds of social media available on the web today, and we want to be studying it as well as using it, seeing what it is good for! 

A senior seminar is required for all women's studies majors, minors and certificate students. To create our own community of theorists and activists, we want to all get to know each other and work with each other. Ours here is an active and ambitious learning community for scholarship and practice.

All students please do come to office hours to just talk. I want to get to know each of you personally! I am excited to see again students I already know and very much looking forward to meeting those of you I don't know yet! This should be a very fun class, demanding I hope in the most satisfying ways, and full of comradeship and excitement. I want to know how the class is working for you, what touches and excites you, how your projects are going.

Let me know in office hours or after class when you need help, or any special accommodations, the sooner the better. Folks with disabilities or who need time from class to observe religious holidays, please contact Katie ASAP to make any arrangements necessary. 

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how the class will be organized

This will be a media and technology intensive course. So-called constructionist learning and collaboration open up our analysis of interconnections among social media worlds. Bring your own laptop, netbook or iPad if you can, to connect with social media, to become increasingly savvy about web resources, and to use data visualizations and virtual environments for cognition and collaboration. Throughout the course we will share resources for all these. • The first half of each class will work off of Katie’s blogger presentations to collectively work out and discuss how we might use the stories these knowledges tell. • The second half of each class will involve active participation in a variety of forms, sometimes more discussion, often hands on practice.  

What you will complete by the end of the course is a project that combines both the scholarly and the practice aspects. Our course term will be structured using the five steps that have emerged from the Learning, Freedom and the Web project online: http://learningfreedomandtheweb.org/

1.    Strategy — what’s your big idea?
2.    Story — help people understand it.
3.    Tools — set up simple tools that make it easy for contributors to see what’s happening and get involved.
4.    People — who are you trying to reach? how can they help right now?
5.    Prototype — build fast. test and improve it together.
(Shake and repeat.)


 

In other words, the course will involve both taking things in, absorbing them and learning to put them in context; and also actively using what we come to know, sharing it others, thinking on one's feet, brainstorming and speculating, figuring out how it all fits together. Scholarship and Practice. Both require careful preparation before class and keeping up with the reading. Some educators call these forms passive and active learning. One can take in and absorb more complicated stuff than one can work with and work out, at least at first. We do both in the class, but we also realize that active learning requires patience and imagination, a bit of courage to try things out without knowing something for sure yet, and a willingness to play around with being right and wrong, guessing and a lot of redoing.

Graphics, lecture materials and notes, communications and assignment help, and other vital class information and presentations live here, the site you are using now. You can complete your assignments properly only if you stay very familiar with our class website. Bookmark it immediately! Plan on revisiting this site and reading email often, at least every couple of days, not just a few minutes before class. These are course requirements. If you have any difficulties getting access to these resources come and talk to me as soon as possible. Any announcements about cancellations due to weather or other considerations, and general class requirements will be sent out on coursemail and you need to see those immediately.

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graded assignments
This is an experimental class and will involve a lot of shaking, stirring, doing, and figuring this out on the fly! Grades will be determined generously, but hard, imaginative, collaborative work in good faith and using smart processes are essential. Working with the five step process altogether is key. Each step involves team work, demos and products of various sorts; their presentation and documentation will be worth 20% of your grade each time.

1.    Strategy — what’s your big idea?
• inventories and brainstorming write ups, document online presence, logbook & LOA materials
We will start off the class with inventories of who we all are, when we can be available for partnerships, workshops and team work, what we can do, what we want to learn to do, what web presences we already have, and what we might be working toward. Brainstormings will be the first write-ups to share. All through the class you will keep a logbook of what you have done, what you are in the middle of doing, what you are working toward. You will turn in a cumulative log each time you work through one of the five stages of the class. [Learning Outcomes Assessments or LOAs are taken for our department from this class. At the end of this course you will turn in extra copies of some assignments to be used anonymously in department assessment efforts. Your turning these in are a part of this 20% of your grade.]

2.    Story — help people understand it.
• storyboard (crafty, electronic, or online), includes presentation & digital picture
A storyboard is a form of visual thinking and planning. It allows you to visually demonstrate to yourself and others a sequence of steps in an interactive and/or collaborative process. It allows you to reorder your procedures, to brainstorm with others, and to create consensus. You will present your storyboard and turn in a digital picture to document it.

3.    Tools — set up simple tools that make it easy for contributors to see what’s happening and get involved.
• tools & skills: demo and write up of what you learn new and what you get better at
You will participate in skills building in the course of the class, perhaps in workshops, with team members or partners, or on your own. You will demonstrate a new skill or something you got especially better at and write up how that happened and how it matters.

4.    People — who are you trying to reach? how can they help right now?
• people analysis in written form with contact log
Some students will be developing a project with an NGO or activist group in mind. Others will be thinking about audiences for projects. In these and other cases analysis of who is involved in what you are doing and what it is supposed to make happen are essential. You will write this up and may include a contact log of people involved.

5.    Prototype — build fast. test and improve it together.
(Shake and repeat.)
• demo your prototype, turn in digital pictures
You will present the prototype for your project and will document both presentation and any objects with digital pictures.

SUMMARY OF GRADED MATERIALS: Each part is 20% of your grade:
• inventories and brainstorming write ups, document online presence, logbook & LOA materials
• storyboard (crafty, electronic, or online), includes presentation & digital picture
• tools & skills: demo and write up of what you learn new and what you get better at
• people analysis in written form with contact log
• demo your prototype, turn in digital pictures

Wondering how grades are determined? What they mean?

•    A work is excellent, unusually creative and/or analytically striking
•    B is fine work of high quality, though not as skilled, ambitious, or carefully presented as A
•    C is average work fulfilling the assignment; should not be hasty, or insufficiently collaborated 
•    D work is below average or incomplete; shows many difficulties or cannot follow instructions
•    F work is not sufficient to pass; unwillingness to do the work, or so many difficulties unable to complete

See http://www.womensstudies.umd.edu/wmstfac/kking/teaching/250/grades.html
for more discussion of each grade. Remember, you can always talk to Katie about grades and your evaluation concerns during office hours anytime.

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what to do when you must unavoidably miss class, perhaps for illness: 

•    TALK TO AT LEAST TWO CLASS BUDDIES IMMEDIATELY. Before you even come back to class, call them up or email them and find out if any thing you need to plan for is happening the day you return, and make sure that you know about any changes in the syllabus. Try to have done the reading and be as prepared as possible to participate in class and with your projects when you return.
•    MAKE A DATE TO MEET WITH CLASS BUDDY TO GET NOTES AND DISCUSS WHAT WENT ON IN CLASS WHILE YOU WERE GONE. You are responsible for what happened in class while you were gone. As soon as possible, get caught up with notes, with discussions with buddies and finally with all the readings and assignments. Always talk with class buddies first. This is the most important way to know what went on when you were gone and what you should do.
•    AFTER YOU HAVE GOTTEN CLASS NOTES AND TALKED ABOUT WHAT WENT ON IN CLASS WITH BUDDIES, THEN MAKE APPOINTMENT TO SEE KATIE. If you just miss one class, getting the notes and such should be enough. But if you've been absent for more than a week, be sure you make an appointment with Katie, and come in and discuss what is going on. She wants to know how you are doing and how she can help. Or, while you are out, if it's as long as a week, send Katie email at katking@umd.edu and let her know what is happening with you, so she can figure out what sort of help is needed. You may need to contact team member as well.
•    IF YOU ARE OUT FOR ANY EXTENDED TIME be sure you contact Katie. Keep her up to date on what is happening, so that any arrangements necessary can be made. If you miss too much class you will have to retake the course at another time. But if you keep in contact, depending on the situation, perhaps accommodations can be made. Since attendance is crucial for the process of this special course and thus for your final grade LET KATIE KNOW WHAT IS HAPPENING so that she can help as much and as soon as possible.
•    IF AT ALL POSSIBLE YOU SHOULD ATTEMPT TO DO TEAM OR PARTNER WORK VIA CELLPHONE WITH OTHER MEMBERS. Similarly if you are, say, too sick to attend a demo session but are perhaps at home recovering, you might make arrangements with a class buddy to “attend” via cellphone, listening to presentations and even possibly giving your own. Consult with Katie, but especially with class buddies for such possibilities.
•    THE DIFFERENCE BETWEEN AN EXCUSED ABSENCE AND ANYTHING ELSE: generally speaking you are only allowed to make up work you missed if you have an excused absence. That the absence is excused does not mean you are excused from doing the work you missed, but that you allowed to make it up. I usually permit people to make up any work they miss, and do not generally require documentation for absences. Be sure to give explanations in your logbook and do make up all work you have missed. 

Check our blog and http://www.womensstudies.umd.edu/wmstfac/kking/teaching/250/missmore250.html
for these instructions.

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FIRST WEEKS:
course outline, • scholarship and • practice

Wednesday, January 26 – Welcome to our class in the scholarship and practice of feminist social media activisms!

    1.    Strategy — what’s your big idea?
    2.    Story — help people understand it.
    3.    Tools — set up simple tools that make it easy for contributors to see what’s happening and get involved.
    4.    People — who are you trying to reach? how can they help right now?
    5.    Prototype — build fast. test and improve it together.
 (Shake and repeat.)

• this week the first part of the class will take up our introductions: to each other, the books, the syllabus, the website, and the shape of the term
• the second part will begin our starting-things-out exercises: inventories begun, examining Share This! and Jarah’s poster fun.

1.   Strategy — what’s your big idea?
Wednesday, February 2 – Share This! our handbook
• read all of Zandt, Share, choose the chapter that excites you the most and become an expert on it
• brainstorming and team building

Wednesday, February 9 –  Media Ecologies
• read Ito, Hanging, intros and section 1 (xi-78) and look through Mitchell, Data, for contexts and politics, for example, Flanagan, Woodward, Hayles; and/or check out Pink Noises, book and website.
• teams and partners begin project visioning: Tara Rodgers will inspire us by visiting to discuss the history of her website Pink Noises, the book that came out of it, and her projects. The book is available as a Google ebook, and the website is: http://www.pinknoises.com/

Wednesday, February 16 – Friendship
• read Ito, Hanging, section 2 (79-116), look through Boler, Hard Times, read the Introduction (1-50) 
• what stories are you going to tell?
 
Wednesday, Februrary 23 -- Activisms & Stories 
• we will examine the four required books, Ito, Boler, Zandt, and Hands, together with the recommended books, Mitchell and Rodgers, to think about the activisms feminists consider, implement, critique, share, disagree about, and entangle. What scholarly maps do these draw upon?
• we will work on the stories for projects, for the workshop we will participate in for the Theorizing the Web conference, and for the learning outcomes women's studies considers meaningful for those finishing the program. How might these all come together in a meaningful way? What will it take to interconnect them? 

2.    Story — help people understand it.
Wednesday, February 23 – Visualizations as stories, plans, relationships
• Hands, @, chapters 6 & 7 (142-190 + notes; if cannot, then choose another chapter we haven’t read in both Ito and Boler)
we want to revisit all books in order to map them across feminisms – this is a story? story, argument, persuasion
• project planning and storyboarding

Wednesday, March 2 – People and their lives, how to touch others, to empathize
• read ALL BOXES in Ito. Remember what Zandt has to say about empathy and sympathy.
how are these stories? what do they do? how do they help people understand the arguments of the book?
• how does your project touch you? how can it touch others? how do you plan to reach out?

=> • inventories and brainstorming write ups, document online presence, logbooking
All through the class you will keep a logbook of what you have done, what you are in the middle of doing, what you are working toward. You will turn in a cumulative log each time you work through one of the five stages of the class. [Learning Outcomes Assessments or LOAs are taken for our department from this class. At the end of this course you will turn in extra copies of some assignments to be used anonymously in department assessment efforts.]

=> • storyboard (crafty, electronic, or online), includes presentation & digital picture
A storyboard is a form of visual thinking and planning. It allows you to visually demonstrate to yourself and others a sequence of steps in an interactive and/or collaborative process. It allows you to reorder your procedures, to brainstorm with others, and to create consensus. You will present your storyboard and turn in a digital picture to document it.


3.    Tools — set up simple tools that make it easy for contributors to see what’s happening and get involved.
Wednesday, March 9 – What counts as a tool? “Tools” across technologies and media.
• Boler, chapters 4, 9, 10, 16
• is your project a tool? does it use tools? what are the tools you have to offer or that you need?

Wednesday, March 16 – Creative processes and products as tools, using tools, generating tools
• Ito, chapter 5 (during the break read chapter 6 as well)
• games as learning as play

=> • tools & skills: demo and write up of what you learn new and what you get better at
You will participate in skills building in the course of the class, perhaps in workshops, with team members or partners, or on your own. You will demonstrate a new skill or something you got especially better at and write up how that happened and how it matters.

Wednesday, March 23 – SPRING BREAK

4.    People — who are you trying to reach? how can they help right now?
Wednesday, March 30 – KATIE IN SWEDEN, JARAH TAKES ON
• projects and conference workshop

Wednesday, April 6 – Creativity, people, things and relationships
• look again at Zandt, Boler ch 17, 11, 15
• projects and conference workshop

FRIDAY, APRIL 9 – THEORIZING THE WEB CONFERENCE
• we are creating a workshop for the conference! Be there!

=> • people analysis in written form with contact log
Some students will be developing a project with an NGO or activist group in mind. Others will be thinking about audiences for projects. In these and other cases analysis of who is involved in what you are doing and what it is supposed to make happen are essential. You will write this up and may include a contact log of people involved.


5.    Prototype — build fast. test and improve it together.
 (Shake and repeat.)
Wednesday, April 13 – Always in development
• pick 3 ch we have not read yet in any book, according to your interests
• project workshop

Wednesday, April 20 – Testing things out
• pick 3 more.
• project workshop

Wednesday, April 27 – What happens next?

=> • demo your prototype, turn in digital pictures


Wednesday, May 4 – LAST DAY: SCHOLARSHIP AND PRACTICE
• LOA materials due, and a discussion of the course, what we have done, what we could do