Online spaces are a socialist feminist issue that must be addressed, especially since the structure of the tech industry itself impacts attitudes toward women and minorities. This chapter outlines the abuse that women, minorities, LGBTQ people, and the disabled face as they inhabit online contexts. A major contributing factor to this environment is a form of “hands off” e-libertarianism, where those who fight back against toxic discourse are told to “log off if you don’t like it.” The fact that the Internet and social media are now essential spaces for one’s livelihood only heightens the need for a militant response. An overview of authoritarian and fascist organizing within online spaces is presented as well.
One of the major media talking points about Trump supporters was that deep down they were anxious about the economy, thus driven to right wing movements. Endless articles and blogs investigated the plight of the white, male, rural, heterosexual worker, with few pieces devoted to the majority of people who rejected Trump. This de-racialization of the working class in particular flies in the face of reality, which is a multicultural, female young, urban workforce occupying service industry jobs. A major assertion of this chapter is that unless labor movements and the media acknowledge the diversity of the working class, it will be impossible to fight what is happening under capitalism.
Medicine has always been regarded as one of the most significant disciplines, grounded in a humanistic approach, due to its ultimate exposure and connection with people as ‘patients’ and hence a holistic understanding of the patient as ‘human’ is fundamental. In our potentially dangerous times, the instrumental, technical and fragmented ways of seeing knowledge tend to permeate most disciplines, including medicine. This may result in individuals becoming alienated with the ‘self’ as potential doctors, with the discipline and with patients through the monologic discourse of academia or clinics. This article examines this (in)visible global issue in the specific context of Iran, where bilingual medical education adds another level of complexity in dialogic ‘seeing’ of self, knowledge and patients. Grounded in Bakhtin’s theory of dialogue and critical literacy approach to language and literacy, this article explores the affordances of a pedagogical intervention at an Iranian university. This offers diverse avenues for constructing a holistic medical knowledge in the process of becoming a professional through narrative medicine, clinical scenarios, evidence-based medicine and personal experiences. Selected stories of participants’ ontological and epistemological transformations, in their process of ideological becoming, are offered to argue for the urgency of dialogic ways of ‘seeing’ in potentially dangerous times.
Debates around authenticity within photographic discourse are persistent. Some have revolved around documentary photography, while other discussions focus on the ethical validity of digitally edited news photographs and indeed the photographic medium itself. This article proposes that discussions around ‘authenticity’ should be focused instead towards contextualising photography more appropriately within the creative practice of ‘making strange’. It acknowledges existing debates around photography and authenticity, before locating the discussion within creative practice. It then moves to a discussion, using Robert Capa’s ‘Falling Soldier’ (Capa, 1936) as a starting point, before drawing on examples from the author’s own creative and professional practice. In the process, the article argues that visual researchers embrace the challenges of making the familiar strange within photographic creative practices.
Although bees are separated from humans by about 600 million years with a common ancestor that had only a rudimentary nervous system, they still share over 60% of our Genome. Any commonly observed learning principles between bees and humans may be consequently either basal, or may have evolved in parallel due to their efficiency. While the universality of associative learning among the animal kingdom is well established, recent advances on honeybee’s cognition push further our understanding of shared mechanisms. Honeybees demonstrate the ability to prioritise information depending on context and the cost associated with making errors. Individual bees show evidence of having different heuristic approaches to solve complex tasks, and maintaining a diversity of cognitive strategies is also probably highly adaptive for group success. Bees can learn key numerosity abilities that humans acquire at school, such as the ability to add and subtract, understand the concept of zero and also how to link symbols with the specific numbers of items present. Such knowledge on bee cognitive-like processing serves as a source of inspiration for a better understanding of the biological roots of our intelligence, and may help shape educational theories or strategies to improve artificial intelligence efficiency.
As a filmmaker, the author felt the need to develop a deep connection with her subject, but was unsure how to do so with the Murray-Darling River. Initially, she saw the river as a system akin to what Pierre Bourdieu calls a field: forces external to the author acting upon each other. She felt that to connect with the river she needed to adjust her habitus (personal dispositions; way of being) to its field. This continued once the author returned to Melbourne, but through the medium of the images of the river. During the edit, she shifted from seeing the river as a field of external forces to seeing it as a habitus, a way of being. This was necessary for the river to become a character, rather than just a location.
In 2014, the government of Western Australia proposed a plan to defund, and in effect close, about half of the nearly three hundred remote Aboriginal communities in the state. During this time, the author collaborated on a hand sign video project with five women Elders at the Kapululangu Women’s Law and Culture Centre in Balgo, an Aboriginal community in the Great Sandy Desert. The author articulates why Marumpu Wangka! Kukatja Hand Talk—an unassuming and largely improvised video—struck a chord at this precarious moment for Aboriginal communities. The author argues that hand sign videos provide a rare mode of intercultural engagement that is simultaneously culturally specific and broadly relatable. In a mediascape in which most Australian viewers are inundated with visual tropes of Aboriginal communities as either suffering or mystical, representations of jovial gesture encourage understanding beyond these stereotypes by intimately engaging everyday community interaction. Referencing the supplemental eight-minute video throughout, the author (1) overviews the significance of hand sign systems in Aboriginal Australian communities, (2) describes the collaborative and improvised hand sign video production process, and (3) argues for the importance of visual representations that can transcend—even if modestly—settler/Indigenous divides during the current dangerous times for Aboriginal communities.
Memes are an increasingly prevalent means of communication in online spaces. Their influence is felt in the offline world as attitudes and dispositions traverse the postdigital membrane. The medium is emblematic of the democratic and participatory communities of the internet, yet there is evidence that they play a role in the well-documented political radicalisation that happens in online spaces. Semiotic concepts such as inter and intratextuality, and Peirce’s conception of habit provide a framework to understand how the language of memes is developed and transformed across a network.
This chapter explores the mattering of science and art creativities for future-making education through the transnational project Naming the world: Enhancing early years literacy and sustainability learning. Set in the context of the new geological age of the Anthropocene, the project was informed by posthuman and new materialist theorising, and the proliferation of ways these have been applied in early years learning. It is based on the belief that children of the Anthropocene will grow into a different future than the one we now know, so we need to learn with them and from them, in their everyday worlds. Through researching in collaboration with these children Naming the world seeks new ways of being, knowing and doing, and emergent creative pedagogies for future-making education. It troubles power politics and policy by transforming the power dynamics between university and practitioner researchers and through engaging with young children as a source of knowledge production and decision making.
The project was implemented in two phases: in the first phase university researchers collaborated with young children (0–5 years), through a process of deep hanging out. In the second phase children and educator researchers developed creative pedagogies in response. The chapter outlines the methodological and theoretical underpinnings of Phase 1, in “posthuman” and “new materialist approaches”, and Despret’s “curious practice”. The difficult transition in between is explored as a liminal space of unknowing, a necessary space to enable transformative practices to emerge. The chapter also explores the emergent creative pedagogies that came into being through one of the projects from Phase 2: What can we see outside? (Becoming Bird Project). Through this project, new configurings emerged when Australian Indigenous eco-philosophies came into play, emphasising the necessity of emergence from unknowing for future-making education.
The world is willed and wild, as are human contributions to it. Scientific and artistic practices are imbued with both dimensions in somewhat different ways. A dominant trend in the evolution of science has been to resist the wildness inherent in human and natural processes. But assuming things are or should be orderly is a hopeless and destructive premise. It often leads to increasingly forceful attempts to control, followed by ever wilder side effects. Science education is destined to serve destructive ends until its practitioners better understand and interrogate the relationship between these two very different, yet complementary, aspects of scientific knowledge and practice. On the other hand, some art forms invite a more integrated experience, appreciation and participation. As such, art holds important ontological, epistemological and ethical lessons for sustainable science education. This chapter explores how dialogue with art can help science educators uncover some of these lessons and foster more graceful complementarity between our will for order and our response to chaos.