Category: social media

The radical unknowing of hope

I am reading Baudrillard’s Simulacra and Simulation, a postmodern text from the 1980s about the simulation of the real which has replaced our conceptions of reality. It largely works as a critique of the media as a means by which we “recognize” the reality of our world as consumers, a reality which is in fact a simulation of a reality now lost to us. We no longer live in a political economy but rather a production-centered social arrangement which, like Disneyland, refers to a reality that is beyond our grasp,  one which is hidden from us (which is a falsehood because nothing exists outside of the simulation of reality, or hyperreality, in which we exist and understand ourselves). If it feels a little nihilistic, perhaps even a bit like the movie The Matrix, it should. (The book inspired and appears in the film.)

I am writing a paper to talk about the possibility of hope, the hope for possibility, in an era when reality appears ever-larger as a face on a screen, divvying up alternative facts between greedy news conglomerates and sinking all of us in the United States into various states and prostrations of apathy. My graduate students express this, and I also feel that same drag on my positivity, on my creativity, in the fact of what appears to be a superstructure that seeks to cancel out my participation except through Facebook posts and, haha, blogging.

Still, I have faith that this writing can be practice for something bigger. I came to a beautiful, poetic thought today while riding the long train ride to Manhattan from Queens, a thought about hope and a way its unknowing of our present time could mean something powerful, something real, and not a simulation of real as expressed by Baudrillard. This is my thought:

Hope is the articulation of what is possible at the somatic and political level. It is neither loud or quiet, and it necessarily is accompanied by cultural and historical voices. Like agency, it is conditioned by the times in which it comes into being. Unlike agency, however, it by nature is diachronic, occupying a distinct ontological position in relation to reality. There is an unknowing to hope: it must to a point be ignorant of the current limits to reality in order to project forward into possible future contingencies. Yet simultaneously, hope knows what we are capable of before we come to attempt it. This can be a single individual, of course, but hope also can be multiplied across relational lines as such capabilities, untapped, join with those of kindred spirits and equally in-pain or joyful folk.

I hope to write more against this reality, and I hope more writing will find me and others who wish to hope, and hope together.


Hopeful” by ALEX Hill PHOTO

Hip hop dance as rupture, aesthetic rising

I’ve been obsessed with hip hop videos since 2014, when I discovered Tricia Miranda, LA-based choreographer for stars including Beyoncé, Rihanna, and Missy Elliott. I took one hip hop dance class in Boston and can barely shake it in salsa or bachata outings (#cudjatellimwhite), but that doesn’t seem to matter when I tune in on the newest gorgeous turnout by Lia Kim, Kyle Hanagami, or newcomers like Phil Wright. Most of the videos I watch (with the exception of Kim, who I believe is based in South Korea) are filmed at Millennium Dance Complex in LA. The dancers crush it in groups to the latest hits and encompass all bodies, all types, all interpretations of power and being. To say it embraces “diversity” is frankly a total disservice. It’s not about diversity. It’s about f**k yes, here it is, sit your a** down and watch this because any story you were telling about me before I started dancing is officially beat. Women stride and pop and lock, men wreath their limbs like snakes, heavy girls destroy it, skinny players jump in and get huge. It’s about owning that stage, that camera’s eye, and doing this in my way now, probably never the same, so know me the way I’m telling you, right now.


KATY PERRY – Bon Appétit ft. Migos | Kyle Hanagami Choreography

So yes, it is an indulgence. But there’s something bigger happening here, I think, and I want to suggest that we can look at this amazing work with a smarter, sharper lens. I’ve been reading about identity as a form of social performance, especially in the work of Butler, rather than as a fixed category that is applied upon birth. However, nowhere is the fluidity and transversality of Who I Am better enjoyed than in the presence and unfinished breathings of art. When we think about art as a means of rupturing a set of givens in our social realities, what Barone sees as a way of refusing a mandated status quo premised on master narratives, we can see what is possible, we can articulate it using given tools that we bend and bite on to make work for us, in the here and now. We are possible-izing what social scripts want to insist is impossible, we are making reality, bringing past presences and future openings into a unity drifting and glorious and indeterminate. Something about dance, too, adds the component of sociocultural thinking which says we can’t do this alone because there is no “we” in solitude, I am not seen nor see without the rest of us and me together, using these tools and making something new together. 

See the first performance (0:00-1:29) of Tinashe – Party Favors, choreographed by Tricia Miranda. The space this dancer, Diana, occupies, exudes ownership as she makes choices and employs a language that is fully hers. She is strong, baseball-capped, sharp-jawed, clad in black, dredded, tattooed, long-nailed, maroon-lipped, mid-driff-showing, reaching, stabbing, controlled, snaky, masculine, feminine, other-ine. She is a woman of color and urban, but even in this space there is something that luminesces beyond those terms. What and how she disrupts what is expected embodies a rising to a different level of aesthetics, where unity itself is only possible through fragmentation and reconstitution. The only way to know her is to watch, again and again, to see her meanings. I highly recommend doing so.

“GOP Gov. Snyder’s office says Detroit school kids have no right to literacy”: an opportunity to develop media literacy

The post title comes from an article a friend of mine posted on my Facebook feed, alarmed and asking what I thought of this situation.
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Photograph by Herbert Russell
Below is my response…

It’s a very interesting proposition. Checked out the story on the CBS website and this is what was included:

“The lawsuit says the schools are in ‘slum-like conditions’ and ‘functionally incapable of delivering access to literacy.’ The case, filed in federal court, directly accuses Gov. Rick Snyder, the state school board and others of violating the civil rights of low-income students.”

A couple of missing connections:

1) Schools in Detroit (and Philadelphia and Chicago and other struggling school districts) have suffered from a lack of funding which is connected both to housing issues as well as to the direct connection of federal funding to school performance, which has been in part due to the way that some states have interpreted the Common Core (see http://www.edweek.org/ew/issues/common-core-state-standards/). Obscured with this kind of commentary is the connection between federal funds and testing/school performance, which also drives decision-making on teacher retention, and the fact that schools continue to be financed by property taxes. Those tax revenues in Detroit have fallen significantly over the last decade or more, due in part to the Great Recession as well as other economic issues germane to Detroit, all of which has contributed to the struggles of that school system.

2) The accusation that Governor Snyder — who has indeed been taken to task for mismanagement and shady dealings with the public school system in Michigan — explicitly believes that students should not have a right to literacy is not accurate. Here’s another story whose header reads, “Literacy Not A Right For Detroit School Kids According To State” (http://detroit.cbslocal.com/2016/11/21/literacy-not-a-right-for-detroit-school-kids-says-state/) but which doesn’t include any specific comment that Snyder actually made about this.

I’m concerned that this is sensationalistic reporting rather than a deeper exploration of the complex questions in play. I would say that negligence is definitely a part of this, but saying that Snyder was attacking the civil rights of poor and the illiterate children of Detroit is an exaggeration. This is attack-the-individual thinking which has characterized “reporting” of late and keeps us from working on bigger and more complicated problems.

A final point: We as Americans are stuck in the democratic paradox (see my discussion of this in a previous post), which allows liberalism — freedom to pursue your own way of doing things, freedom not to be responsible for other people, etc. — to coexist with democracy. How can we support the participation of all Americans in our civic spaces when we prioritize the education of some over others through inequitable economic policies and “pull-yourself-up-by-your-bootstraps” thinking?

I don’t think my friend liked my response. It’s been three hours, which is like an eternity in FB world.

The objects of our mission: disability and subjectivity in social media

A friend of mine wrote an article recently about an interesting phenomenon in the ubiquitous conversation about social media: the use of the Internet to access voice, subjectivity, and visibility in new virtual spaces. The article refers to a mildly ironic story of a Russian website, “Dvach,” which in the past has opened up space for misogynistic attacks by regular citizens on women who been in pornographic movies (no men were pursued in the witch hunt, I’m guessing), yet whose comment boards have recently given rise to a different, more socially progressive outcome. Evidently, a woman calling herself Yelena Ovechkina who lives in Kazakhstan posted a video on YouTube about her life as a real live PWD (person with a disability). She speaks to the camera during the video, stating “invalids are people, too.” The article wrapped up with an important idea:

Ovechkina says she loves the Internet, especially because it lets her reach out to fellow disabled people and learn more about their lives. But most of the information available about disabled people is depressing, she complains, and that’s why she decided to record videos about her own life, which she says is a happy one. “I want to show the other side of disabled people’s lives. After all, it’s not all lousy, hard, and sad,” she says, smiling.

The story is a poignant one about the ways in which public opinion shifts via the ticker tape of information on social media, as it translates into awareness of different ways of being. A single user on Dvach drew the attention of the other participants on the site to the video, and the connections made across the world included tributes and well-wishing. Of course one can comment that social psychology plays a hand; who hasn’t seen a Facebook post that they liked because they thought they should participate in some sort of ethical box-checking not unlike signing a yearbook in a certain way because you know others will see what you wrote (or didn’t)?

Still, the story is meaningful and important, not least because of Ovechkina’s comments about her life with disability. She is a real person with individual experiences in disability, someone who has subjectivity in her experiences and her ways of articulating them. It is easy to make assumptions about others as they are represented to us by media or by hearsay, something which is particularly complicated when we think about people who are depicted as the downtrodden, the lost, the pushed aside by society.

I experienced similar changes to my understanding when I wrote a blog as a graduate assistant at UMass Boston a few years ago. Every week, I posted about different topics regarding inclusion in the workplace, as well as the community(ies) who participate in the conversation about disability in society. A powerful shift in my own thinking came gradually, as I realized that it’s one thing to post on/about and another to dialogue with ideas and people, and that positionality is central to the construction of truth in the public space. Did I think I speak for people with disabilities? Did I choose to represent them, and if so, who was I to do so? How did my representations contribute to (mis)information, and how could I be more interested in acting as a moderator or facilitator than simply a conveyer of a version of truth that kept me in a posture of authority while the people I was writing about were simply my latest subject?

An example of alternative authority and subjectivity in such speech is called Autistic Hoya, an eponymous blog written by a young person who identifies as “queer, trans*, asexual, fat, disability, gender, and sex positive; anti-oppression, anti-imperialism, and anti-racist; and inclusive of, accessible to, and affirming of all bodies/minds.” Autistic Hoya has published since 2011 on a number of topics related to a critical view of dominant paradigms, forces of oppression, and injustice enacted through ableism in American society. Yet also, the blog, like Ovechkina’s YouTube video, expresses the real voice and real face of a real person with disabilities. It is not seeking pity or attention. It is speaking to express one lived experience in a shared space where norms are highly dynamic and ideas pop and splash constantly.

This is the remaking of power relations and definitions through access on a new stage to an audience that didn’t know it wasn’t listening. Attending to this construction of meaning in fluid spaces of sharing and dialogue demands that the self-righteous banner of saviorism be lowered and real action, through listening and interrogating assumptions, become possible. While we in the able, dominant groups believe we have a mission, it may not be one which includes the voices and leaders it should truly have.

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Photo by Sue Austin