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media_activism [2018/01/30 22:28]
nathanairplane [3. Community]
media_activism [2024/01/09 16:58] (current)
ntnsndr [8. "The Matrix of Domination"] Capitalization
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 **MDST 5002** **MDST 5002**
  
-Depending on whom you ask, media-powered activism can sound like either a silver bullet or a lost cause. It's often both at the same time and more in between. Through ​hands-on examination of the strategies and tactics of movements, past and present, we'll discover how media can shape social change and how we can become more savvy media practitioners ourselves.+Depending on whom you ask, media-powered activism can sound like either a silver bullet or a lost cause. It's often both at the same time and more in between. Through ​examining ​the strategies and tactics of movements, past and present, we'll discover how media can shape social change and how we can become more savvy media practitioners ourselves.
  
-The central ​themes ​of this course ​are power, agency, ​and narrative ​in media for social changeWhom does particular media choice empower, and whom does it render as a passive consumer? How do we choose our heroes, and what are the consequences of those choices? How can we tell stories of change that invite people to take part in changing the world? Our work will consist of close reading, ​familiarizing ourselves with relevant debates, and honing our own practice+The central ​challenge ​of this course ​is to develop a working theory of how social change can happen ​and the role of media in itWhen is spreading ​message sufficient, and when is building institutional power necessary? How can we design media with accountability to affected people? How can we tell stories of change that invite people to take part in changing the world? Our work will consist of close reading, ​forming a space of mutual support, and honing our own practice in collaboration with community partners.
- +
-The course consists of two concurrent sections---one ​in the classroom and one entirely online. While distinct, the two sections will also interact and inform each other'​s learning.+
  
 ## Instructor ## Instructor
  
-Nathan Schneider ​  ​+Nathan Schneider ​(he/​him) ​   ​
 <​nathan.schneider@colorado.edu> ​   <​nathan.schneider@colorado.edu> ​  
-Armory 1B24, meetings ​by appointment ​via email   ​+Armory 1B24 
 +Office hours Wednesdays 3--5 pm or by appointment ​  
 Website: [nathanschneider.info](https://​nathanschneider.info) Website: [nathanschneider.info](https://​nathanschneider.info)
  
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   * Cultivate habits of media activism by doing it through passionate, strategic, pragmatic advocacy   * Cultivate habits of media activism by doing it through passionate, strategic, pragmatic advocacy
   * Analyze theories and lessons from a wide range of social-change campaigns throughout history and around the world   * Analyze theories and lessons from a wide range of social-change campaigns throughout history and around the world
-  * Create a ready-to-deploy media intervention ​through ​collaboration with a social-change agent+  ​* Articulate a theory of change that informs media practice 
 +  ​* Create a ready-to-deploy media intervention ​in collaboration with community partners
  
 ## Expectations ## Expectations
  
-### Weekly+As a foundation, students are expected to complete the weekly reading assignments. This does not necessarily mean microscopic reading of every page, but it does mean engaging rigorously with portions of particular interest, as well as familiarizing oneself with the works as a whole and thinking critically about their interconnections. Come to class prepared with notes on specific quotations and ideas that you want to discuss.
  
-Students are expected to complete the weekly reading assignments. Some are fairly easy, some are very difficult; if you have trouble, please at least put your best effort on display. This does not necessarily mean microscopic reading of every page, but it does mean engaging rigorously with portions of particular interest, as well as familiarizing oneself with the works as a whole and thinking critically about their interconnections.+### Interventions (30%)
  
-For students ​working off-campusmany readings are from paywalled journals ​and will require ​the use of a [campus VPN](https://​oit.colorado.edu/​services/​network-internet-services/​vpn).+Most weeks, students turn in an Intervention. These Interventions are simple, informal multimedia sketches that contain a) a challenge or problem related to the week's texts and b) an outline for an original strategy that addresses it. Interventions need not be realistic for students to carry out; students ​may imagine themselves as representing better-resourced organizationsreal or imaginary. The purpose of this assignment is to explore our own sense of agency ​and to exercise adventuresome thinking. Over the course ​of the semester, ​student'​s Interventions may address various topics, or they can connect in a way that builds toward the final project.
  
-#### Interventions+Interventions ​may take the form of a drawing, infographic,​ game, video, skit, text, art installation,​ business plan, social media campaign, or other media, digital or otherwise. In any case, they must be submitted digitally as a new thread in the appropriate discussion topic for each week's unit. They should amount to the equivalent of one interesting page's worth of material. Each Intervention should:
  
-Each week, students are expected to turn in what we'll call an Intervention. These Interventions are simple, informal media sketches that contain ​achallenge or problem ​related ​to the week's texts and b) an outline for an original strategy that addresses ​it. Interventions need not be realistic for students to carry out; students may imagine themselves as representing better-resourced organizationsreal or imaginary. The purpose of this assignment is to explore our own sense of agency ​and to exercise ​adventuresome thinking. Over the course of the semestera student'​s Interventions may address various topics, or they can connect in a way that builds toward ​the final project.+  * Demonstrate ​sophisticated grasp of assigned texts 
 +  * Communicate ​a problem ​and a creative proposal by which to address ​it, expressed through appropriate ​and engaging media 
 +  * Practice ​adventuresome thinking ​in both concept and presentationusing compelling media techniques to communicate ​the proposal
  
-Projects may take the form of a drawing, infographic,​ game, video, skit, text, art installation,​ business plan, social media campaign, or other media, digital or otherwise. In any case, they must be submitted digitally as a new thread in the appropriate discussion topic for each week'​s ​unit.+Students are invited to view and comment on each other'​s ​Interventions.
  
-#### Discussions+### Class discussions (30%)
  
-Classroom students ​should be active participants and make contributions to the oral discussion that reflect strenuous engagement with the assigned texts; inform the instructor ahead of time about any missed classesOnline students should make at least four substantial comments on fellow students'​ Interventions. Classroom students are welcomebut not requiredto participate in the online discussions.+Students ​should be active participants and make contributions to the oral discussion that reflect strenuous ​[[engagement ​with assigned sources|engagement]] ​with the assigned texts. ​Come prepared to contribute original analysisreflectionsand critique.
  
-### Final project+Evaluation of discussion contributions takes place twice: at the middle of the semester and at the end. Students are expected to:
  
-Each student will complete a final project that is ready to deploy upon completion, in partnership ​with a relevant organizationcommunityor company. Projects might consist ​of anything in the same range of media as the weekly Interventions---exceptrather than mere sketchesthis project must be fully implemented.+  * Engage actively and strenuously ​with the bulk of each unit's assigned textsdemonstrating direct quotationsevidence ​of close readingand thoughtful analysis 
 +  * Interact respectfully and critically with fellow studentsdemonstrating careful attention to others and presenting reasoned articulations of one's views
  
-After discussing ​the topic with the instructor ​or teaching assistantstudents will turn in a proposal that explains and justifies ​the project'​s ​objective and medium. The proposal, as well as the final project itself, should ​reflect a sophisticated grasp of the themes and texts of the course. In particular, projects should convey an analysis of power and agency through which they intervene, resulting ​in a plausible case for making effective social change.+Participation in all sessions is an expectation for the course. Full or partial absences from classdue to circumstances beyond ​the student'​s ​control, should ​be discussed with the instructor ​in advance.
  
-Students will constructively review complete drafts of each other'​s projects before submitting ​the final draftSome students may choose to form groups of connected projectsbut each student is responsible for turning in their own contribution independently.+Before this assignment is due, you are welcome to propose ​the grade you think you have earned with a one-paragraph explanationThe instructor will determine final gradetaking your input into account
  
-### Evaluation+### Final project (40%)
  
-Coursework ​is evaluated according ​the following rubrics:+Each student will complete a final project that is ready to deploy upon completion, in partnership with a relevant organization,​ community, or mentor. Projects might consist of any sort of media intervention appropriate to the student'​s social-change goals. Projects do not need to be publicly released, but they should be plausibly ready for doing so. Accountability to partners is paramount; it is natural and expected that the project will evolve through the dynamics of collaboration.
  
-  * Weekly Interventions **(30%)** +After discussing the topic with the instructor, students will turn in a proposal that explains and justifies the project'​s objective and medium. The proposal, as well as the final project itself, should reflect ​a sophisticated grasp of the themes and texts of the course. In particular, projects should convey an analysis of power and agency through ​which they interveneresulting in a plausible case for making meaningful social change.
-    * Demonstrate ​a sophisticated grasp of one or more assigned ​texts +
-    * Communicate a problem ​and a creative proposal by which to address it +
-    * Practice adventuresome thinking in both concept and presentationusing compelling media techniques to communicate the proposal+
  
-  * Weekly discussions **(30%)** +Students will constructively review complete drafts ​of each other'​s ​projects before submitting ​the final draft. A project statement must be turned in with the final projectin both the draft and final stageswhich may be a revised ​and updated reworking ​of the proposal.
-    * Engage actively and strenuously with the bulk of each unit'​s ​assigned texts over the course of that unit's comments, ​with direct quotations, evidence of close reading, and thoughtful analysis +
-    * Interact respectfully and critically with fellow studentsdemonstrating careful attention to others ​and presenting reasoned articulations ​of one's views +
-    * Classroom students: weekly attendance, consistent participation in conversations;​ online students: at least four substantive comments each week+
  
-  * Final project: **(40%)** +  * Proposal: **(40%)** 
-    ​* Proposal: **(15%)** +    * Explain and justify the media intervention ​in a 1,800-to-2,000-word text with scholarly [[citation standards]] and a high degree of stylistic quality 
-      ​* Explain and justify the project idea in a 1,400-to-1,600-word text with scholarly [[citation standards]] and a high degree of stylistic quality +    * Describe the partner ​collaboration underway and the structure ​of accountability with the partner; articulate ​a clear objective for impact, reflecting an understanding of the intended audience 
-      * Describe the community ​collaboration underway; propose an intended medium, ​and scope of project deliverables,​ including rationale for each +    * Propose an intended medium and the scope of project deliverablesincluding rationale for each, in the context of an explicit ​theory of change 
-      * Articulate ​a clear objective for impact, reflecting an understanding of the intended audience, a relevant theory ​of powerand a theory of agency; include ​strong evidence of background research, ​citing ​relevant ​scholarly and primary ​resourceswhile engaging ​with at least two assigned texts from the course +    * Include ​strong evidence of background research, ​engaging ​relevant primary ​and [[:​scholarly sources|scholarly sources]]along with at least two assigned texts from the course 
-    Project ​draft: **(5%)** +  Complete ​draft: **(10%)** 
-      Complete a draft of the project that meets the expectations discussed in the proposal ​process +    Draft of the project that fully represents ​the intended scope and quality 
-    * Peer review: **(5%)** +    * Updated project statement with the same specifications as the proposal 
-      * Provide feedback for at least three fellow students'​ drafts, of at least two paragraphs each +  * Peer review: **(10%)** 
-      * Offer constructive appreciationcritique, and recommendations on each draft +    * Provide feedback for at least two fellow students'​ drafts, of at least two paragraphs each, with [[:peer review|these suggestions]] in mind 
-      * Align comments to the terms of the assignment as well as the students'​ own goals +  * Final draft: **(40%)** 
-    ​* Final draft: **(15%)** +    Produce a media intervention that is polished, compelling, informed by peer review, and ready to deploy 
-      Ensure this draft is polished, compelling, informed by peer review, and ready to deploy +    Include a project statement that meets the same specifiations as the proposal 
-      Reflect rigorous ​engagement with course themes and assigned texts +    * Demonstrate collaborative ​engagement with community partner, such as through testimonies or other evidence of their participation 
-      Demonstrate ​plausible ​strategy for circulation,​ audience, and social change+    Present ​promising ​strategy for circulation,​ audience, and social change
  
-#### Final grades +### Evaluation
- +
-Based on the stated point structure, grades will be awarded as follows: A (94-100), A- (90-93), B+ (87-89), B (83-86), B- (80-82), C+ (77-79), C (73-76), C- (70-72), D+ (67-69), D (63-66), D- (60-62), F (0-59). ​ The minimum passing grade is 60 for undergraduates and 70 for graduate students. +
- +
-#### Schedule +
- +
-Each week: +
- +
-  * Interventions are due in the appropriate online discussion unit at noon on Mondays, Mountain Time +
-  * Online students'​ discussion posts on a given unit are due at noon on Tuesdays+
  
-For the final project:+Based on the stated point structure, grades will be awarded as followsA (94-100), A- (90-93), B+ (87-89), B (83-86), B- (80-82), C+ (77-79), C (73-76), C- (70-72), D+ (67-69), D (63-66), D- (60-62), F (0-59). The minimum passing grade is 60 for undergraduates and 70 for graduate students.
  
-  * Consult ​with the instructor ​(or, for online students, ​the teaching assistant) on the final project concept, via email or meeting, by noon on Monday, February 26 +Extensions under extenuating circumstances are possible by arrangement ​with the instructor ​prior to the due date; otherwiselate work is subject to a penalty of one letter grade per day.
-  * Proposals are due in the online dropbox at noon on MondayMarch 12 +
-  * Drafts are due in the online discussion at noon on Friday, April 13 +
-  * Peer review comments are due in the online discussion at noon on Monday, April 16 +
-  * Final drafts are due in the online dropbox at noon on the last day of class---Monday,​ April 30+
  
 ## Agreements ## Agreements
  
-  * We will work together to foster a respectful, ​accessible ​community based on creativity, accommodation,​ and attention. +  * We work together to foster a respectful, ​mature, convivial ​community based on mutual learning ​through ​our diverse perspectives.
-  * When problems arise, we will seek to address them collaboratively---first ​through ​dialogue, then through revision of these agreements, then through recourse to the instructor, and then to administrators.+
   * We respect one another'​s privacy. Content shared in class or online will not be shared with anyone outside of the class without permission.   * We respect one another'​s privacy. Content shared in class or online will not be shared with anyone outside of the class without permission.
-  ​* We will refrain from the use of [[screen devices]] in the classroom, except upon agreement with the instructor or for reasons of accessibility. +  * We adhere to all [[university policies]], as well as course guidelines on [[academic ​honesty]]; we take responsibility for understanding them and the relevant procedures
-  ​* We adhere to all [[university policies]] ​regarding accessibility and academic ​integrity; we take responsibility for understanding them and the relevant procedures.+  * We strive to accommodate disabilities and other diverse needs, making use of our own capacities and [[campus resources]]. Please discuss any particular support you require with the instructor.
  
-## Units+## Shared texts
  
-Throughout the course we will be reading ​selections from:+Throughout the course we will be reading ​classics in social-change theory alongside two books by leading media scholars:
  
-  * Juman Abujbara et al. (eds.), _[Beautiful RisingCreative Resistance from the Global South](http://www.orbooks.com/catalog/beautiful-rising/)_ (OR Books2018).+  * Zeynep Tufekci, _[Twitter and Tear GasThe Power and Fragility of Networked Protest](https://www.twitterandteargas.org/downloads/twitter-and-tear-gas-by-zeynep-tufekci.pdf)_ (Yale University Press2017) 
 +  * Sasha Costanza-Chock,​ _[Design Justice: Community-Led Practices to Build the Worlds We Need](https://​design-justice.pubpub.org/​)_ (MIT Press, 2020)
  
-This is the only text that students should obtain in print form, although much of the content is also available on the [project'​s website](https://​beautifulrising.org/). All students should also take a chance to read this article, which is the basis of the exercise in the first day of class:+### 1Theories ​of change
  
-  * Bill Moyer, "​[The ​Movement Action Plan: A Strategic Framework Describing the Eight Stages ​of Successful Social Movements](http://historyisaweapon.com/defcon1/moyermap.html)," ​_The Dandelion_ ​(1987) +  * Saul Alinsky, "​[The ​Education ​of an Organizer](https://archive.org/details/RulesForRadicals/​page/​n77/​mode/​2up)," ​in _Rules for Radicals: A Pragmatic Primer for Realistic Radicals_ ​(Random House, 1971
- +  * Audre Lorde"['The Master'​s Tools Will Never Dismantle the Master'​s House,'​](https://monoskop.org/images/2/2b/Lorde_Audre_1983_2003_The_Masters_Tools_Will_Never_Dismantle_the_Masters_House.pdf)" in Cherrie Moraga and Gloria Anzaldua ​(eds.), _This Bridge Called My BackWritings by Radical Women of Color_ ​(New YorkKitchen Table Press).
-### 1. Power +
- +
-  * Gene Sharp_[The Role of Power in Nonviolent Struggle](http://www.aeinstein.org/wp-content/​uploads/2013/09/TheRoleofPowerinNonviolentStruggle-English.pdf)(The Albert Einstein Institution,​ 1990) +
-    * See also: Gene Sharp, _[198 Methods of Nonviolent Struggle](http://​www.aeinstein.org/​wp-content/​uploads/​2014/​12/​198-Methods.pdf)_ (1978); Erica Chenoweth and Maria J. Stephan"[Drop Your WeaponsWhen and Why Civil Resistance Works](http://​heinonline.org/​hol-cgi-bin/​get_pdf.cgi?​handle=hein.journals/​fora93&​section=90&​casa_token=5WCJLJ4S7iMAAAAA:​3k6bzYP1NsODlWPKut5zomB6CRuitnw7jZKW1afBhwqFwCVZky0O7zEYa_7ETda3C6sE983-hg)," _Foreign Affairs_ 93, no4 (2014)+
   * Donella Meadows, "​[Leverage Points: Places to Intervene in a System](http://​www.donellameadows.org/​archives/​leverage-points-places-to-intervene-in-a-system/​),"​ (Donella Meadows Institute, 1999)   * Donella Meadows, "​[Leverage Points: Places to Intervene in a System](http://​www.donellameadows.org/​archives/​leverage-points-places-to-intervene-in-a-system/​),"​ (Donella Meadows Institute, 1999)
-  * Gayatri Chakravorty Spivak, "[Can the Subaltern Speak?​](http://​www.bahaistudies.net/​neurelitism/​library/​subaltern_speak.pdf)"​ in Cary Nelson and Lawrence Grossberg (eds.), _Marxism and the Interpretation of Culture_ (University of Illinois Press, 1988) 
  
-_Beautiful Rising_:+### 2. "A networked public"​
  
-  * "​Pillars of Power"​ +  * Prologue, introduction,​ and chapters 1--2 in Tufekci, _Twitter and Tear Gas_
-  * "Power Mapping"​ +
-  * "​Postcolonialism"​+
  
-### 2Story+### 3"​Making a movement"​
  
-  * "​[Intro to Story-Based Strategy](https://​www.storybasedstrategy.org/​intro-to-sbs),"​ The Center for Story-Based Strategy +  * Chapters 3--in Tufekci_Twitter ​and Tear Gas_
-  * Marshall Ganz, "​[Public Narrative, Collective Action, and Power](https://​dash.harvard.edu/​bitstream/​handle/​1/​29314925/​Public_Narrative_Collective_Action_and_Power.pdf)," ​in Sina Odugbemi and Taeku Lee (eds.)_Accountability Through Public Opinion: From Inertia to Public Action_ (The World Bank, 2011) +
-  * Francesca Polletta ​and Pang Ching Bobby Chen, "​[Narrative and Social Movements](http://​www.oxfordhandbooks.com/​view/​10.1093/​oxfordhb/​9780195377767.001.0001/​oxfordhb-9780195377767-e-18),"​ in Jeffrey C. Alexander et al. (eds.), _The Oxford Handbook of Cultural Sociology_ (Oxford University Press, 2012) +
-  * Ed Rampell, "​[Indigenous Storytelling at Standing Rock](http://​www.earthisland.org/​journal/​index.php/​elist/​eListRead/​indigenous_storytelling_standing_rock/​),"​ _Earth Island Journal_ (July 7, 2017)+
  
-_Beautiful Rising_:+### 4. "A protester'​s tools"
  
-  * "​Public Narrative"​ +  * Part II in Tufekci, _Twitter and Tear Gas_
-  * "​Change Is the Only Constant"​+
  
-### 3Community+### 5"After the protests"​
  
-  * Francesca Polletta, "​[Participatory Democracy'​s Moment](https://​www.jstor.org/​stable/​24461707),"​ _Journal of International Affairs_ 68, no. 1 (2014) +  * Part III and Epilogue in Tufekci_Twitter ​and Tear Gas_
-  * Paul W. Speer and Joseph Hughey"​[Community Organizing: An Ecological Route to Empowerment ​and Power](http://​link.springer.com/​article/​10.1007/​BF02506989#​page-1),"​ _American Journal of Community Psychology_ 23, no. 5 (1995) +
-  * David Paul Nord, "[The Evangelical Origins of Mass Media in America, 1815-1835](https://​files.eric.ed.gov/​fulltext/​ED245260.pdf),"​ _Journalism Monographs_ 88 (May 1984) +
-  * Alicia Garza, "[A Herstory of the #​BlackLivesMatter Movement](http://​www.thefeministwire.com/​2014/​10/​blacklivesmatter-2/​)."​ _The Feminist Wire_. October 7, 2014.+
  
-_Beautiful Rising_:+*By this time, consult with instructor on final project topic.*
  
-  * "Seek Safety in Support Networks"​ +### 6. Case study
-  * "Al Faza'​a"​ +
-  * "​Spectrum of Allies"​+
  
-### 4Protagonism+Choose an historical example of a social movement from [Beautiful Trouble](https://​beautifultrouble.org/​case/​),​ [Beautiful Rising](https://​beautifulrising.org/​type/​story),​ or the [Global Nonviolent Action Database](https://​nvdatabase.swarthmore.edu/​). Consider it in light of the book we just read. Do some additional research to examine the mediated components of it, and prepare to present an analysis in class as your Intervention.
  
-Choose between one of the following pairs of films (and a critical essay) with an eye to how agency is expressed+### 7Media tactics
  
-Firstresistance ​to slavery:+  * Paulo Freirechapter 2 in _[The Pedagogy of the Oppressed](https://​envs.ucsc.edu/​internships/​internship-readings/​freire-pedagogy-of-the-oppressed.pdf)_ (Continuum, 2005 [1970]) 
 +  * Marshall Ganz, "​[Public Narrative, Collective Action, and Power](https://​dash.harvard.edu/​bitstream/​handle/​1/​29314925/​Public_Narrative_Collective_Action_and_Power.pdf),"​ in Sina Odugbemi and Taeku Lee (eds.), _Accountability Through Public Opinion: From Inertia ​to Public Action_ (The World Bank, 2011) 
 +  * Martin Luther King, Jr., "​[Letter from Birmingham Jail](https://​letterfromjail.com/​)"​ (April 16, 1963)
  
-  * _Lincoln_, directed by Steven Spielberg (2012) +### 8. "​The ​matrix ​of domination"
-  * _Django Unchained_, directed by Quentin Tarantino (2012) +
-  * Adolph Reed, "[The James Brown Theory ​of Black Liberation](https://​www.jacobinmag.com/​2015/​10/​adolph-reed-black-liberation-django-lincoln-selma-glory/​),​" ​_Jacobin_ 18 (Summer 2015)+
  
-Secondlabor organizing:+  * Introduction and chapters 1--2 in Costanza-Chock_Design Justice_
  
-  ​_On the Waterfront_,​ directed by Elia Kazan (1954) +*Project proposal due; no Intervention.*
-  * _[The Salt of the Earth](https://​www.youtube.com/​watch?​v=i9oY4rmDaWw)_,​ directed by Herbert J. Biberman (1954) +
-  ​Enid Sefcovica, "​[Cultural Memory and the Cultural Legacy of Individualism and Community in Two Classic Films about Labor Unions](http://​www.tandfonline.com/​doi/​abs/​10.1080/​07393180216562),"​ _Critical Studies in Media Communication_ 19, no. 3 (2002)+
  
-Third, climate change:+### 9. "​Narratives"​ and "​Sites"​
  
-  * _An Inconvenient Truth_, directed by Davis Guggenheim (2006) +  * Chapters 3--4 in Costanza-Chock_Design Justice_
-  * _This Changes Everything_,​ directed by Avi Lewis (2015) +
-  * Elizabeth Kolbert, "[Can Climate Change Cure Capitalism?​](http://​www.nybooks.com/​articles/​2014/​12/​04/​can-climate-change-cure-capitalism/​),"​ _The New York Review of Books_ (December 42014)+
  
-_Beautiful Rising_:+### 10. "​Pedagogies"​
  
-  * "Schools of Struggle"​ +  * Chapter 5 and "Directions for Future Work" ​in Costanza-Chock,​ _Design Justice_
-  * "The Onion Tool"+
  
-### 5Confession+### 11Case study
  
-Choose ​*one* of the following classic memoirs:+Choose ​an historical example ​of a social movement from [Beautiful Trouble](https://​beautifultrouble.org/​case/​),​ [Beautiful Rising](https://​beautifulrising.org/​type/​story),​ or the [Global Nonviolent Action Database](https://​nvdatabase.swarthmore.edu/​). Consider it in light of the book we just read. Do some additional research to examine the mediated components of it, and prepare to present an analysis in class as your Intervention.
  
-  * Dorothy Day, _The Long Loneliness_ (Harper & Brothers, 1952) +### 12Glimpses ​of change
-  * Mohandas KGandhi, _[The Story of My Experiments with Truth](https://​archive.org/​details/​AnAutobiographyOrTheStoryOfMyExperimentsWithTruth)_ (1925–28) +
-  * Assata Shakur, _[Assata: An Autobiography](https://​libcom.org/​library/​assata-autobiography-assata-shakur)_ (Lawrence Hill Books, 2001)+
  
-_Beautiful Rising_:+  * Walidah Imarisha, "[All Organizing Is Science Fiction](https://​archive.org/​details/​podcast_umass-amherst-history-departme_walidah-imarisha-all-organiz_1000423858347),"​ History Department, University of Massachusetts Amherst (November 13, 2018) 
 +  * Ursula K. Le Guin, "[The Day Before the Revolution](http://​www.d.umn.edu/​cla/​faculty/​tbacig/​hmcl3230/​3230anth/​day.html)"​ (1974)
  
-  ​"SMART Objectives"​+*Project drafts due, and peer review feedback due by Wednesday; no Intervention.*
  
-*Complete final project consultation*+### 13. Final reflections
  
-### 6Fact+Choose an historical example of a social movement closely related to your final project. Consider it in light of the last set of readings. Reflect on your final project in light of the case.
  
-  * Donna Haraway, "​[Situated Knowledges: The Science Question in Feminism and the Privilege of Partial Perspective](http://​www.staff.amu.edu.pl/​~ewa/​Haraway,​%20Situated%20Knowledges.pdf),"​ _Feminist Studies_ 14, no. 3\. (1988) +*Final ​projects ​dueno Intervention.*
-  * Edward Tufte, "[Pen and Parchment: The Beautiful Evidence of Medieval Drawings](https://​www.youtube.com/​watch?​v=HfXSltlDfDw),"​ Metropolitan Museum of Art (Aug 10, 2009) +
-    * A helpful summary of Tufte'​s design principles: Al Globus, "​[Principles of Information Display for Visualization Practitioners](http://​www2.cs.uregina.ca/​~rbm/​cs100/​notes/​spreadsheets/​tufte_paper.html)"​ (November 28, 1994) +
-  * Rob Nixon, "[Slow violence and environmental storytelling](http://​niemanstoryboard.org/​stories/​slow-violence-and-environmental-storytelling/​),"​ _NiemanStoryboard_ (June 13, 2011) +
-  * Liz Barry, "​[vTaiwan:​ Public Participation Methods on the Cyberpunk Frontier of Democracy](https://​civichall.org/​civicist/​vtaiwan-democracy-frontier/​),"​ _Civicist_ (August 11, 2016) +
- +
-_Beautiful Rising_: +
- +
-  * "​Zapatista Caravan"​ +
- +
-### 7. Art +
- +
-  * Ange Mlinko, "​[Craft vs. Conscience](http://​www.poetryfoundation.org/​article/​181959),"​ _Poetry_ (July 10, 2008) +
-  * Audre Lorde, "​[Poetry Is Not a Luxury](https://​onbeing.org/​blog/​longform/​poetry-is-not-a-luxury-by-audre-lorde/​),"​ in _Sister Outsider: Essays and Speeches_ (Crossing Press, 1985) +
-  * Claire Bishop, "[The Social Turn: Collaboration and Its Discontents](http://​www.gc.cuny.edu/​CUNY_GC/​media/​CUNY-Graduate-Center/​PDF/​Art%20History/​Claire%20Bishop/​Social-Turn.pdf),"​ _Artforum_ (February 2006) +
-  * Nick Nissley, Steven S. Taylor and Linda Houden, "[The Politics of Performance in Organizational Theatre-Based Training and Interventions](http://​journals.sagepub.com/​doi/​pdf/​10.1177/​0170840604042416),"​ _Organizational Studies_ 25, no. 5 (2004) +
- +
-_Beautiful Rising_: +
- +
-  * "Music Video"​ +
-  * "​Change a Name to Change the Game"​ +
- +
-*Final ​project proposals ​due+
- +
-### 8. Play +
- +
-  * Mary Flanagan, "​[Introduction to Critical Play](https://​mitpress.mit.edu/​sites/​default/​files/​titles/​content/​9780262062688_sch_0001.pdf),"​ in _Critical Play: Radical Game Design_ (MIT Press, 2009) +
-  * David Graeber, "[On the Phenomenology of Giant Puppets](https://​libcom.org/​files/​puppets.pdf),"​ address to Anthropology,​ Art and Activism Seminar Series at Brown University'​s Watson Institute (December 6, 2005) +
-  * _[The Yes Men Are Revolting](https://​vimeo.com/​ondemand/​theyesmenarerevolting/​127276632)_,​ directed by Laura Nix and The Yes Men (2015) +
-  * Luke O'​Brien,​ "[The Making of an American Nazi](https://​www.theatlantic.com/​magazine/​archive/​2017/​12/​the-making-of-an-american-nazi/​544119/​),"​ _The Atlantic_ (December 2017) +
- +
-_Beautiful Rising_: +
- +
-  * "​Replacing Cops with Mimes"​ +
-  * "Use Humor to Undermine Authority"​ +
- +
-### 9. Mediums +
- +
-  * Seeta Peña Gangadharan,​ "​{{:​src:​gangadharan-media_justice_communication_rights.pdf|Media Justice and Communication Rights}},"​ in Padovani and Calabrese (eds.), _Communication Rights and Social Justice: Historical Accounts of Transnational Mobilizations_ (Palgrave Macmillan, 2014) +
-  * Ann Komarom, "[The Material Existence of Soviet Samizdat](https://​www.jstor.org/​stable/​1520346),"​ _Slavic Review_ 63, no. 3 (Autumn 2004) +
-  * Laura Flanders, _[Next System Media: An Urgent Necessity](https://​thenextsystem.org/​learn/​stories/​next-system-media-urgent-necessity)_ (The Next System Project, 2017) +
-  * Mike Ludwig, "​[Malkia Cyril: Net Neutrality Is the Civil Rights Act for the Internet](http://​www.truth-out.org/​news/​item/​29262-malkia-cyril-net-neutrality-is-the-civil-rights-act-for-the-internet),"​ _Truthout_ (February 24, 2015) +
- +
-_Beautiful Rising_: +
- +
-  * "The Global South"​ +
-  * "​Neoliberalism"​ +
- +
-### 10. Bureaucracy +
- +
-  * Alyson Krueger, "[The Rise of the Intrapreneur](https://​www.fastcompany.com/​3046231/​the-rise-of-the-intrapreneur),"​ _Fast Company_ (May 15, 2015) +
-  * Sonia Ospina et al, "​[Negotiating Accountability:​ Managerial Lessons from Identity-Based Nonprofit Organizations](http://​journals.sagepub.com/​doi/​abs/​10.1177/​0899764002311001),"​ _Nonprofit and Voluntary Sector Quarterly_ 31, no. 1 (March 2002) +
-  * "[The Revolution Will Not Be Funded](http://​www.utne.com/​Politics/​Revolution-Will-not-be-Funded-Nonprofit-Industrial-Complex.aspx),"​ _UTNE Reader_ (March-April 2009) +
-  * David Karpf, "​[Online Political Mobilization from the Advocacy Group'​s Perspective:​ Looking Beyond Clicktivism](http://​onlinelibrary.wiley.com/​doi/​10.2202/​1944-2866.1098/​abstract),"​ _Policy & Internet_ 2, no. 4 (December 2010) +
- +
-_Beautiful Rising_: +
- +
-  * "​Activate International Mechanisms"​ +
-  * "The NGO-ization of Resistance"​ +
- +
-### 11. Danger +
- +
-  * Watch [one of the biopics on Joan of Arc](https://​en.wikipedia.org/​wiki/​Cultural_depictions_of_Joan_of_Arc#​Films) +
-    * E.g., _The Trial of Joan of Arc_, directed by Robert Bresson (1962) +
-  * _How to Survive a Plague_, directed by David France (2012) +
-  * Doug McAdam, "[The Biographical Consequences of Activism](https://​www.jstor.org/​stable/​2117751?​seq=1#​page_scan_tab_contents),"​ _American Sociological Review_ 54, no. 5 (October 1989) +
- +
-_Beautiful Rising_: +
- +
-  * "Civil Disobedience"​ +
-  * "​Subversive Travel"​ +
- +
-*Final project rough drafts due on March 13, peer reviews due March 16* +
- +
-### 12. Memory +
- +
-  * Barbara Lewis, "[The Circle of Confusion: A Conversation with Anna Deavere Smith](https://​www.jstor.org/​stable/​4336924),"​ _The Kenyon Review_ 15, no. 4 (autumn 1993) +
-  * Wu Hung, "​[Tiananmen Square: A Political History of Monuments](https://​www.jstor.org/​stable/​2928718),"​ _Representations_ no. 35 (summer 1991) +
-  * _The Black Power Mixtape 1967-1975_, directed by Göran Olsson (2011) +
-  * [Global Nonviolent Action Database](https://​nvdatabase.swarthmore.edu/​) +
- +
-_Beautiful Rising_:  +
- +
-  * "​Change Is the Only Constant"​ +
-  * "Would You Like Some Structure with Your Momentum?"​ +
- +
-### 13. Apocalypse +
- +
-  * Andy Beckett, "​[Accelerationism:​ How a Fringe Philosophy Predicted the Future We Live In](https://​www.theguardian.com/​world/​2017/​may/​11/​accelerationism-how-a-fringe-philosophy-predicted-the-future-we-live-in),"​ _The Guardian_ (May 11, 2017) +
-  * Nathan Schneider, "[Are You Ready for the Counter-Apocalypse?​](http://​www.americamagazine.org/​issue/​are-you-ready-counter-apocalypse),"​ _America_ (January 26, 2016) +
-  * Ursula K. Le Guin, "[The Day Before the Revolution](http://​www.d.umn.edu/​cla/​faculty/​tbacig/​hmcl3230/​3230anth/​day.html)"​ (1974) +
- +
-*Final projects due*+
  
 --- ---
- 
-*This syllabus is a living document. Any part of it may be brought up for discussion and modified by a consensus of those present during any official class period.* 
  
 [ [[note:​media_activism|Notes]] ] [ [[note:​media_activism|Notes]] ]