The aim of the workshop is to enable a productive dialogue between different researchers, activists, artists and dimensions of community. We hope that this will lead to new forms of engagement and new collaborations between communities and academics.
The workshop is linked to the second annual conference of the International Feminist Journal of Politics, (Im)possibly Queer International Feminisms, between May 17-19, 2013. The Workshop is organised by the Sussex Centre for Cultural Studies, University of Sussex and supported by the EPSRC/CC+ Network Sustaining networked knowledge: expertise, feminist media production, art and activism.
Feminism, queer activism and queer studies have engaged with questions of technology, computing, and social media. In this workshop we are interested in exploring a range of themes around mediation and gender/sexuality activism – and particularly how digital technologies, art and social media can present possibilities or impossibilities for social equality.
Our keynote speaker is Alexandra Juhasz, Professor of Media Studies, Pitzer College. Alex has written multiple articles on feminist, fake, and AIDS documentary. Her current work is on and about YouTube, and other more radical uses of digital media. She has produced the feature films, The Owls, and The Watermelon Woman, as well as nearly fifteen educational documentaries on feminist issues like teenage sexuality, AIDS, and sex education.
We will be screening the feature film The Owls, on Wednesday 16th May, Duke’s at the Komedia, 6.30pm (in collaboration with the Centre for the Study of Sexual Dissidence and Eyes Wide Open Cinema).
Closing Plenary: Radical art practices, feminism, new technologies and performance
Discussant: Sally-Jane Norman (Attenborough Centre for Creative Arts)
This plenary aims to enable discussion about new technologies, digital and other, in relation to gender, sexuality and the body – and to weave some common threads across art, science and theory. At the same time, it seeks to enable a space for experimentation and performative mode of action, as it summons its own publics, initially in the physical space of the workshop and later in its digital materialisation (in the SusNet platform).
The framing question to the participants of this plenary aims to find some common ground between them and to also identify differences: How do digital technologies shape your artistic practice, politics and/or research?
The more specific question aims to link the plenary and the workshop as a whole to the larger project of sustaining networked knowledge production, which is the EPSRC/CCN+ funded network project SusNet: What are some challenges to and opportunities for radical, alternative or critical knowledge production (in its different modes, e.g. art, theory, or other modes of practice) within institutionalised contexts today (including digital ones)?