Nov. 17, 2010 COMN 3393

1. Women (Gender/Feminism) Media Image Technology Nov. 17, 2010COMN 3393

2. Agenda • Acknowledging the work you have done • Reading “Ketchup” • November 24? • Housekeeping

3. Acknowledging • It is work to create a collection site for your voice • It is work to create a collection site for your voice to interact with other voices (mine, those of the authors of the readings, those of the images and videos you have encountered in the course and those you have encountered outside of the course)

4. Acknowledging • You have done the work of creating “architecture” • You have created space for your voice to intermingle with other voices • You have created space to notice and give weight to your own location, observations and position…this is not easy work, breaking ground, tilling soil – this kind of labor is not always noticed. • Congratulations

5. Visioning the future of this work • The English Patient: His collection site • Remember a/r/tography is a method that wants to interact with both text and “art” art being that which occurs in imagistic forms (image, video, play, movie, poem, music – as well as text) • Inter-textuality (more than one “text” in conversation) • Think of your SB/J/WS/Blog – as a collecting site for the various items you are finding • Think of it also as a collection site for your thoughts and reactions to what you are finding/reading

6. Things we have not had a chance to discuss yet: Five Exemplary Women, encountered in our class to date: Their model • Work of Lynn Spigel • Work of Donna Haraway • The video of Ann Cotton and Sheryl Wudunn (Empowering Women and Girls) • The video: Who’s Counting (work of Marliyn Waring) • (note January check in should show clear interaction with all of these powerful women and their work – if your journals have not already shown this)

7. The five • Chosen because of their interaction with technology • Chosen because they give you a picture of the breadth of the interaction women can situate • Chosen because they are all examples of rethinking the situation they find themselves in through the positionality of woman/women • Successful in using the positionality of women to change world • Interesting because of their co-work with men while also situating the issue of patriarchy • Interesting because of the lens they all bring around “who counts” and how they view empowerment itself – and how they also view their own agency.

8. Lynn Spigel • Lynn Spigel, the Frances E. Willard Professor of Screen Cultures at t the School of Communications at Northwestern University

9. Lynn Spigel • Lynn Spigel, the Frances E. Willard Professor of Screen Cultures at t the School of Communications at Northwestern University • Pausing: to consider how women are invited in to University

10. Lynn Spigel • Volume 2, Issue 2, Autumn 2009E-ISSN: 1754-3789 Print ISSN: 1754-3770Television, gender and space: an overview of Lynn Spigel by Sharon Sharp York: E-resources

11. Lynn Spigel • Situating the importance of the “everyday” to culture • This everyday includes architecture of home • This every day includes domestic spaces and domestic technologies • This everyday includes the presence of the television • All of these were not always consider “worth’ study

12. Lynn Spigel • http://www.youtube.com/watch?v=h8kJzBJrOkU

13. Lynn Spigel • 'low' or 'debased' forms of culture, such as women's magazines, • The “rooms” and ‘decorative” culture of the home • The sub-urban • The pictures of the family that came postwar • The pictures of “our world” that come from “other world”

14. Lynn Spigel

15. Lynn Spigel (Sharon Sharp) • Spigel is primarily concerned with feminist approaches to television in relation to place and urban, suburban, domestic and outer space, particularly in the postwar period. In order to provide an understanding of the cultural and historical contexts of media culture, • Spigel primarily uses an interpretive method based on archival research. • Indeed, her work has largely been concerned with uncovering details about the cultural contexts of television that have often challenged our thinking about the history of the medium. • Much like television studies itself, Spigel's work is interdisciplinary, drawing on feminism, art history, architecture and design, geography, urban planning, cultural theory and sf studies, which has allowed her to ask questions that she might not have asked within the confines of her own field.

16. Lynn Spigel (Sharon Sharp) • Spigel emerged as a key figure in the early 1990s with Make Room for TV: Television and the Family Ideal in Postwar America, a cultural history of American television that focuses on discourses surrounding television's installation in the domestic sphere following World War II. At the time the book was published, the focus of television studies was largely confined to understanding the medium in terms of industry regulation and technology. In contrast, Spigel offered a social and cultural historical study that examined what was said about television in postwar America. In order to account for how television was understood as a new technology entering the home, Spigel used popular sources such as magazines, advertisements, newspapers, television shows and films that revealed 'a general set of rules that were formed for thinking about TV in its early period' (9). Importantly, Spigel examined sources such as Better Homes and Garden, Ladies Home Journal and House Beautiful that addressed women and domestic issues that had been previously ignored in histories of the medium.

17. Lynn Spigel (Sharon Sharp) • Spigel themes: • Postwar North America as site of the construction of utopian hopes in technology: the role of domestic culture in that construction • The sixties as disillusioned regards this utopian promise: the television combines the family dramas – with the outer space –or magical in an effort to comment on the failure of this domestic utopia • The resources for reading our culture are right in front of us • In a field that had established itself through policy studies – this right in front of us was very powerful angle

18. Lynn Spigel (Sharon Sharp) • Spigel themes: With an emphasis on often-overlooked aspects of television and its makers and publics, TV by Design overturns the distinctions between the spaces of art and television, showing the multiple convergences between 'ordinary everyday entertainment forms and the more rarified experiences of looking at art' (297). In this way,

19. Lynn Spigel (Sharon Sharp) • Spigel’s means of forging a career • Spigel’s means of using technology to forge a voice • Spigel’s means of embroidering woman into a discipline dominated by “patricarchial tropes” • Spigel’s playfulness: using the artifacts of the everyday to read culture • Spigel’s willingness to combine disciplines; particularly art + technology from creative angles

20. Donna Haraway • Superb scientist • Intertwining technology and science • Intertwining technology and literature • Intertwining technology and art • The idea of the cyborg • The image and motifs of outer space to discuss the trope’s of science as a culture

21. Donna Haraway • The Cyborg Manifesto: • Groundbreaking: • Against a utopian ideal that was influential – the idea that we could “abstain” from technology (influenced by feminist sexual politics) • Situating a third wave feminism (feminism in interaction with postmodernism)

22. Donna Haraway • The Cyborg Manifesto: “ the borg”

23. Donna Haraway • The Cyborg:

24. Donna Haraway • The Cyborg:

25. Donna Haraway • Feminism Not the direct hit battles against patriarchy (not that they are not relevant but the metaphor of the battleground can only take us so far) Instead of dualisms Are there other strategies ? Do we need to legitimate our position or simply “inhabit our position”

26. Donna Haraway

27. Donna Haraway • Feminism Finding what is already there in science and technology that is “feminism” “Acting” or “Performing” as if the dualism of gender is not a sever, As if the body is not the first, middle or last word As if ” we have agency” As if the vagina has not been vanished from science – Realizing woman = technology - though not situating female body as the sole resource for our identity realizing that Technology is the future and that past that women are profoundly adaptive in and to…Cyber-godess image is more than yet part of the power of any domestic goddess image. Women are cyborgesses and this is can be realm of expansion and agency Patti Lather calls this “voluptuous” methodology, looking at Haraway use of science, art, literature – her cross-disciplinary partnerships Assuming “we are necessity” to our discipline

28. Half the Sky • The work of Sheryl Wudunn (see the Fora.tv video on Developing Women and Girls)

29. The work of Ann Cotton • CAMFED

30. The work of Marilyn Waring • Who’s Counting

31. What have they done that works?