Dear colleagues,
Please consider sharing with your communities, and/or submitting a proposal
to our edited volume: Digital Feminist Activisms: The Performances and
Practices of Online Public Assemblies.
The CFP call on the qlab website can be found here and below:
http://www.qcollaborative.com/2019/04/12/cfp-digital-feminist-activisms-the-performances-and-practices-of-online-public-assemblies/
Thanks and all the best.
*Digital Feminist Activisms: **The Performances and Practices of Online
Public Assemblies*
*Editors*
Dr. Shana MacDonald (University of Waterloo)
Dr. Milena Radzikowska (Mount Royal University)
Dr. Michelle MacArthur (University of Windsor)
Brianna I. Wiens (York University)
With the rise of what Jessalyn Keller and Maureen Ryan have called
“emergent feminism,” we are witnessing a moment marked by the “sudden
reappearance” of strident critiques of gendered inequalities within popular
discourse (2018, 2). More often than not, emergent feminisms are amplified
online through social media by popular feminism and celebrity endorsements
(Banet-Weiser 2018, McRobbie 2009), which can problematically promote
neoliberal values of individual consumer practices and competitive
self-improvement as a forms of empowerment. And yet, access to social media
has produced important and critical forms of feminist politics. In *Notes
Towards a Theory of Performative Assembly, *Judith Butler (2015) advances
the importance of bodies assembling in space as a form of protest that
performatively asserts both “the right to appear” and demands “a livable
life” for those in positions of precarity. While feminist visibility in the
broader public eye has produced important dialogues, this politics of
assembly simultaneously begs the question: “What about those who prefer not
to appear, who engage in their democratic activism in another way?” (Butler
2015, 55). There are many valid and powerful reasons as to why feminist
activists may want, or be able, to *not *appear given the dangerous climate
of online spaces, rife with the violent misogyny of trolling culture. These
forms of publicness and erasure are equally important to consider within
current considerations of emergent feminist practices online.
This book seeks to gather provocations, analyses, creative explorations,
and/or cases studies of digital feminist practices from a wide range of
disciplinary perspectives including, but not limited to, media studies,
communication studies, critical and cultural studies, gender and sexuality
studies, performance studies, digital humanities, feminist HCI, and
feminist STS. The book frames digital feminisms as forms of public assembly
that are performative and theatrical; that is, performative in that they
can offer, “a process, a praxis, an episteme, a mode of transmission, an
accomplishment, and a means of intervening in the world” (Diana Taylor
2003, 15), and theatrical in that they are events that may include
characters, plot, the invocation of an audience, and the collective labour
of multiple collaborators. In this way, digital feminist practices foster
counterpublics––communities that enable “exchanges...distinct from
authority” that “have a critical relation to power” (Michael Warner 2002,
56). This book seeks to consider how digital feminist activism uses
conventions of assembly, performativity, theatricality, and design to
counter the individualizing forces of postfeminist neoliberalism while
foregrounding the types of systemic change so greatly needed, but often
overlooked, in this climate.
*List of possible topics:*
- Feminist hashtag activism; feminist, anti-racist, decolonial, LGBTQ+
hashtag movements
- Closed virtual feminist communities and safe(r) spaces
- Feminist and post-feminist forms of digital culture
- Intersectional feminism online
- LGBTQ+ digital cultures
- Black, indigenous, and people of colour (BIPOC) digital cultures
- Transnational digital feminism
- Popular and celebrity feminism online
- Feminist responses to online misogyny
- Feminism and post-feminism on Instagram and/or Twitter
- Feminist, queer, and BIPOC meme
- Feminist, queer, and BIPOC design
- Gamergate and implications of online misogyny in game culture
- Methodological and/or theoretical approaches to feminist digital
culture
Please submit a 250-350 word abstract, a brief author bio, and any
questions to Brianna I. Wiens ([log in to unmask]) by *May 30th, 2019. *
Accepted submissions should be 6000-7000 words and will be due to the
editors by *November 1, 2019*.
*References*
Banet-Weiser, Sarah. 2018. *Empowered: Popular Feminism and Popular
Misogyny. *Duke University Press.
Butler, Judith. 2015. *Notes Toward a Theory of Performative Assembly*.
Cambridge, Massachusetts. Harvard University Press.
Keller, Jessalynn and Maureen E. Ryan (eds). 2018. *Emergent Feminisms:
Complicating a Postfeminist Media Culture*. Routledge.
McRobbie, Angela. 2008. *The Aftermath of Feminism: Gender, Culture and
Social Change. *Sage.
Taylor, Diana. 2003. *The Archive and the Repertoire: Performing Cultural
Memory in the Americas*. Durham, NC: Duke University Press.
Warner, Michael. 2002. “Publics and Counterpublics.” *Public Culture 14*(1):
49-90.
Dr. Milena Radzikowska, MDes
Professor, Information Design, Faculty of Business and Communication
Studies, Mount Royal University
Convenor, Intersectional Feminist Design Research Lab |
http://www.qcollaborative.com
Pronouns: she / her
[log in to unmask]
http://www.milenaradzikowska.com
https://medium.com/@milenaradzikowska
*It's a great life if you don't weaken.*
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people of the Treaty 7 region in Southern Alberta, which includes the
Siksika, the Piikani, the Kainai, the Tsuu T'ina and the Stoney Nakoda
First Nations. The City of Calgary is also home to the Metis Nation of
Alberta, Region III.
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