Facebook and Twitter
From November 1- 6, 2018, the Social Media Narratives Class in the Art and Technology Studies Department at the School of the Art Institute of Chicago hosted Contemporary Social Media Platforms and Creative Practice 2018, a Facebook and Twitter-based panel that featured a distinguished group of creators, theorists, researchers, and arts advocates.
Bringing together scholars and practitioners in a relatively new field and involving art students an in-situ experience of participating in a social media-based discussion of creative practice, the Contemporary Social Media Platforms and Creative Practice 2018 panel was the second online panel in a series that addresses issues for creative practice in the constantly evolving social media infosphere. The first panel, Social Media Narrative: Issues in Contemporary Practice, was hosted by the Rutgers Camden Digital Studies Center in 2016.
Kathi Inman Berens - Instagram Poetry
K athi Inman Berens, Assistant Professor at Portland State University’s English Department, works on digital-born literature, contemporary book history, and digital contexts of book publishing. A longtime scholar and artist in the electronic literature community, Kathi joined Portland State University’s book publishing faculty in 2015 after completing a Fulbright in Digital Culture at the University of Bergen, Norway. Kathi’s current scholarship examines the digital bibliographic conditions of 21st-century books, including creative amateurism in Instapoetry, and metadata of children’s picture books depicting nonwhite kids and families.
B en Grosser creates interactive experiences, machines, and systems that examine the cultural, social, and political implications of software. Recent exhibition venues include Arebyte Gallery in London, Museu das Comunicações in Lisbon, Museum Kesselhaus in Berlin, and Galerie Charlot in Paris. His works have been featured in The New Yorker, Wired, The Atlantic, The Guardian, The Washington Post, The Telegraph, El País, Libération, Le Monde, Süddeutsche Zeitung, and Der Spiegel. The Chicago Tribune called him the “unrivaled king of ominous gibberish.” Slate referred to his work as "creative civil disobedience in the digital age." Grosser's recognitions include First Prize in VIDA 16, and the Expanded Media Award for Network Culture from Stuttgarter Filmwinter. His writing about the cultural effects of technology has been published in journals such as Computational Culture, Media-N, and Big Data and Society. Grosser is an assistant professor of new media at the School of Art + Design, co-founder of the Critical Technology Studies Lab at NCSA, and an affiliate faculty member with the Unit for Criticism and the School of Information Sciences, all at the University of Illinois at Urbana-Champaign. https://bengrosser.com
Joy Garnet is a visual artist and writer and works as Arts Advocacy Program Associate at the National Coalition Against Censorship in New York. She has a BA in Humanities and Middle East Studies from McGill University, studied painting at L’Ecole des Beaux-Arts in Paris and earned her MFA in Painting from The City College of New York. She served as the Arts Editor for Cultural Politics (2005-2016), a peer-reviewed cultural theory journal published by Duke University Press, and on the Committee for Intellectual Property at the College Art Association. She has written extensively about media and art, visual archives, copyright, and free expression for publications that include Harper’s, M/E/A/N/I/N/G, Journal of Visual Culture, Artnet and Art21 Magazine. Her paintings have been shown at the Milwaukee Art Museum, MoMA-PS1, Whitney Museum of American Art, the FLAG Art Foundation, Boston University Art Gallery, Houston Center for Contemporary Craft, Museum of Contemporary Craft Portland, BALTIC Centre for Contemporary Art, Newcastle upon Tyne, UK and Witte Zaal in Ghent, Belgium. She is currently writing an Arab American family memoir.
R obert Gehl received a PhD in Cultural Studies from George Mason University in 2010. He is currently an associate professor in the Department of Communication at the University of Utah. His research draws on science and technology studies, software studies, and critical/cultural studies and focuses on the intersections between technology, subjectivity, and practice. He has published critical research exploring corporate and alternative social media, knowledge management, crowdsourcing, media theory, and the Dark Web. This work appears in journals such as New Media and Society, Communication Theory, Social Text, Fibreculture, Television and New Media, European Journal of Cultural Studies, and the Canadian Journal of Communication. His first book, Reverse Engineering Social Media (Temple UP, 2014), explores the architecture and political economy of social media and is the winner of the Association of Internet Researchers Nancy Baym Book award. His second book, Weaving the Dark Web was released from MIT Press in the Fall of 2018.
F or more than 35 years, Juana Guzman has served as a nationally acclaimed consultant, manager, fundraising and earned income specialist to non-profit organizations, museums, corporate and philanthropic sectors throughout the United States. Throughout her career, Ms. Guzman has championed the promotion and preservation of the arts, culture, heritage and as a catalyst for diverse American populations. Since 1980, Ms. Guzman has developed and implemented strategies that focused on organizational capacity building, community engagement, strategic and cultural planning, diversity training in the workplace, entrepreneurialism, fundraising in the public and private sectors, creative place-making and place-keeping in diverse communities of color, tourism lead by diverse communities, as well as facility development initiatives for non-profit organizations. In 2012, Ms. Guzman left her position of 13 years as the Vice-President of the National Museum of Mexican Arts (NMMA) in Chicago, the largest accredited Latino arts institution, to start her own company I Juana Know Inc., with a focus on enhanced revenue and diverse fundraising strategies for creative markets, organizational capacity building, technical assistance advisor to non-profit organizations and creative place-making/creative place-keeping. Ms. Guzman previously served as the Director of Community Cultural Development for the City of Chicago’s Department of Cultural Affairs (DCA) for 18 years. During her tenure at the DCA she was responsible for innovative economic initiatives that focused on providing strategic planning and earned income development in support of Chicago’s most diverse and underserved communities.
Gary O. Larson
ary O. Larson worked in a variety of capacities at the National Endowment for the Arts between 1980 and 1996, and was a writer/editor at both the Center for Media Education (1998-2000) and the Center for Digital Democracy (2001-2007). The author of The Reluctant Patron: The U.S. Government and the Arts, 1943-1965 and American Canvas: An Arts Legacy for Our Communities, he has also written numerous articles on culture, technology, and the nonprofit sector. He was guest curator of "DiverseNet: Building a Scenic Route on the Information Superhighway" at DiverseWorks Artspace in Houston in 1996; has taught at the University of Minnesota, the University of Maryland, and American University; and lectured at the Walker Art Center in Minneapolis and the Smithsonian Institution. A graduate of the University of California at Berkeley, he earned his M.A. and Ph.D. in American Studies at the University of Minnesota.
M aca Burbano, Sora Candelario, Jessica Darnell, Nichole Therese Fowler, Amanda Jean Heldenbrand, Bao Thoa Luong, Jose Carlos Pena, Kate Pritchard, Matt Ryerse, Dexter Colin David Stokes-Mellor, Samantha Jordyn Travis, and Chris Tsai.
udy Malloy, Host
content | code | process, last update October 2018