queercontemporaryart: Nikita Gale (left) the artist, from…


the artist, from CLATL


Love or Something; Ink, tape on paper, 9 3/4" x 7 1/4"

queercontemporaryart:

Nikita Gale

(left) the artist, from Creative Loafing
(right) Love or Something, Ink, tape on paper, 9 3/4” x 7 1/4”

“My work seeks to humanize the roles of “spectator” and “consumer” within a system based on the consumption of symbols and materials. Recurring themes throughout my work are advertising and memory which I explore through the mediums of photography, text-based work and painting. Through the use of found and original imagery, I generate tableaux where the symbol and the symbolized exist simultaneously within one space. I am interested in the narrative that emerges in such situations — the viewer is confronted with the absurdity of the spatial, physical relationship presented which subsequently brings attention to his passive consumption of such relationships.” her site

leftofblack: Race & the Digital Humanities on the Season…



leftofblack:

Race & the Digital Humanities on the Season Premiere of Left of Black

On many college campus, professors and administrators are grappling with trying to re-brand the humanities for a generation of undergraduate students who are plugged into the digital world in ways that are vastly different than the analog world that many of their professors were trained in.  “Digital Humanities” has become the catchphrase on many campuses as they negotiate this new pedagogical terrain, a space that Patrik Svensson describes as “a rich multi-level interaction with the ‘digital’ that is partly a result of the pervasiveness of digital technology and the sheer number of disciplines, perspectives and approaches involved.”

Scholars working on “race,” particularly within the context of Black Studies, often find themselves in a double-bind with regard to the Digital Humanities.  Institutions are often slow to recognize the ways that “race” factors in the Digital Humanities, even as research highlights the ways that Blackness, for example, is palpable within social media, particularly Twitter.   At the same, some Black Studies departments have been resistant to embrace the possibilities emerging digital platforms to do the work that has always been done is these departments.

Howard Rambsy II, Associate Professor of English Language and Literature and Director of the Black Studies Program at Southern Illinois University at Edwardsville, and Jessica Marie Johnson, a Post-Doctoral Fellow in Richards Civil War Era Center and African Research Center at Penn State University are two scholars who are charting new possibilities within the context of Black Studies and the Digital Humanities.

Rambsy is the author  of The Black Arts Enterprise and the Production of African-American Poetry (University of Michigan Press) and the curator of  SIUE Black Studies. Johnson is the curator of, Diaspora Hypertext & African Diaspora, Ph.D.

computatiohumanitatis: HASTAC VI: HASTAC Conference 2013…



computatiohumanitatis:

HASTAC VI: HASTAC Conference 2013 (HASTAC on HASTAC)

Posted: September 6, 2012

Conf. date: April 25-28 2013

Submission deadline: TBA

Conf. location: Toronto, Canadia

Join us to celebrate 10 years of HASTAC at the upcoming conference.

Hosted by York University

More details will be posted soon. 

Register on HASTAC to ensure you receive our monthly newsletters with updates! (via HASTAC Conference 2013 | HASTAC)

therangerofthenorth: themasterinthetardis: ohgodwhatamidoing: …



therangerofthenorth:

themasterinthetardis:

ohgodwhatamidoing:

If anyone was curious what a fixed point in time and space looks like…

This is more or less a general visual example of this type of event.

Fixed points in time explained using a cat. Tumblr in a nutshell.

‘The Baseline Is, You Suck’: Junot Diaz on Men Who Write About Women

The Atlantic: It sounds like you're saying that literary "talent" doesn't inoculate a writer—especially a male writer—from making gross, false misjudgments about gender. You'd think being a great writer would give you empathy and the ability to understand people who are unlike you—whether we're talking about gender or another category. But that doesn't seem to be the case.
Junot Diaz: I think that unless you are actively, consciously working against the gravitational pull of the culture, you will predictably, thematically, create these sort of fucked-up representations. Without fail. The only way not to do them is to admit to yourself [that] you're fucked up, admit to yourself that you're not good at this shit, and to be conscious in the way that you create these characters. It's so funny what people call inspiration. I have so many young writers who're like, "Well I was inspired. This was my story." And I'm like, "OK. Sir, your inspiration for your stories is like every other male's inspiration for their stories: that the female is only in there to provide sexual service." There comes a time when this mythical inspiration is exposed for doing exactly what it's truthfully doing: to underscore and reinforce cultural structures, or I'd say, cultural asymmetry.

The Free University of NYC [September 18-21, Madison Square Park]

The Free University of NYC [September 18-21, Madison Square Park]:

The Principles of the Free University

The Free University of New York City is an experiment in radical education and an attempt to create education as it ought to be. First conceived as a form of educational strike in the run up to May Day, 2012, the Free University has subsequently organized numerous days of free and open education in parks and public spaces in New York City. Our project is born out of a recognition that the current system of higher education is as unequal as it is unsustainable. With increasing tuition at public and private institutions, the increasing use of precarious adjunct labor, and the larger and larger amounts of debt that students are expected to take on, a university education is systematically becoming a rarefied commodity only available to the few. It is in this context that the Free University operates as a radical and critical pedagogical space. We collaborate on the following goals and principles:
  • to be a cooperative enterprise working for a new form of education that re-defines what it means to be educators and students.
  • to prefigure a more democratic, horizontal, and radical educational structure.
  • to empower ourselves, each other, and our communities to become decision-makers in our own processes of self-education.
  • to expose the inequities of the existing university system.
  • to intentionally and conscientiously create educational spaces that are anti-oppressive, anti-racist, and anti-authoritarian.
  • to fight against the casualization and precaritization of academic labor.
  • to join others who see education as a form of direct action by withdrawing from the failing capitalist education system, and collaborating in the realization of a more accessible education for all.

In realizing these shared principles, we will reinvigorate the Commons by utilizing public spaces throughout the city. Free education is a right!!!

Computatio humanitatis: Job: Rutgers University: Assistant Professor, Digital/Public History

Computatio humanitatis: Job: Rutgers University: Assistant Professor, Digital/Public History:

computatiohumanitatis:

The History Department at Rutgers-Camden (yes, this job is in Jersey - make peace with your gods) seeks a full-time tenure-track faculty member at the rank of Assistant Professor, specialization open, with strengths in digital and public history. Appointment will begin in September 2013….