How do Manifestos create Worlds?

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For today you read either or both of Haraway's Manifestos in Manifestly Haraway 2016.

How do you know a Manifesto when you see one? 
WIKIPEDIA WISDOMS HERE & HERE
How do you write a Manifesto yourself? 
ONE APPROACH HERE; ANOTHER HERE

I care about…

I believe…

I am committed to…

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From Haraway Cyborg:

"Irony is about humor and serious play. It is also about a rhetorical strategy and a political method, one I would like to see more honored within socialist-feminism. At the center of my ironic faith, my blasphemy, is the image of the cyborg...." (5, 2016)  [okay, google blasphemy and you get:

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From Haraway Companion Species:

"This manifesto explores two questions flowing from this aberration and legacy: (1) how might an ethics and politics committed to the flourishing of significant otherness be learned from taking dog-human relationships seriously; and (2) how might stories about dog-human worlds finally convince brain-damaged U.S. Americans, and maybe other less historical challenged people, that history matters in naturecultures?" (95, 2016) [okay, google manifesto and you get:

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More on the contexts and meanings of Haraway Cyborg:

Sofoulis. 2002. Cyberquake: Haraway's manifesto. In D. Tofts, A. Jonson & A. Cavallaro (eds.), Prefiguring Cyberculture: An Intellectual History. MIT Press, pp. 84-103. Pdf of one version HERE.

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Consider The Riot Grrl Manifesto: 

RIOT GRRRL MANIFESTO

BECAUSE us girls crave records and books and fanzines that speak to US that WE feel included in and can understand in our own ways.

BECAUSE we wanna make it easier for girls to see/hear each other's work so that we can share strategies and criticize-applaud each other.

BECAUSE we must take over the means of production in order to create our own moanings.

BECAUSE viewing our work as being connected to our girlfriends-politics-real lives is essential if we are gonna figure out how we are doing impacts, reflects, perpetuates, or DISRUPTS the status quo.

BECAUSE we recognize fantasies of Instant Macho Gun Revolution as impractical lies meant to keep us simply dreaming instead of becoming our dreams AND THUS seek to create revolution in our own lives every single day by envisioning and creating alternatives to the bullshit christian capitalist way of doing things.

BECAUSE we want and need to encourage and be encouraged in the face of all our own insecurities, in the face of beergutboyrock that tells us we can't play our instruments, in the face of "authorities" who say our bands/zines/etc are the worst in the US and

BECAUSE we don't wanna assimilate to someone else's (boy) standards of what is or isn't.

BECAUSE we are unwilling to falter under claims that we are reactionary "reverse sexists" AND NOT THE TRUEPUNKROCKSOULCRUSADERS THAT WE KNOW we really are.

BECAUSE we know that life is much more than physical survival and are patently aware that the punk rock "you can do anything" idea is crucial to the coming angry grrrl rock revolution which seeks to save the psychic and cultural lives of girls and women everywhere, according to their own terms, not ours.

BECAUSE we are interested in creating non-heirarchical ways of being AND making music, friends, and scenes based on communication + understanding, instead of competition + good/bad categorizations.

BECAUSE doing/reading/seeing/hearing cool things that validate and challenge us can help us gain the strength and sense of community that we need in order to figure out how bullshit like racism, able-bodieism, ageism, speciesism, classism, thinism, sexism, anti-semitism and heterosexism figures in our own lives.

BECAUSE we see fostering and supporting girl scenes and girl artists of all kinds as integral to this process.

BECAUSE we hate capitalism in all its forms and see our main goal as sharing information and staying alive, instead of making profits of being cool according to traditional standards.

BECAUSE we are angry at a society that tells us Girl = Dumb, Girl = Bad, Girl = Weak.

BECAUSE we are unwilling to let our real and valid anger be diffused and/or turned against us via the internalization of sexism as witnessed in girl/girl jealousism and self defeating girltype behaviors.

BECAUSE I believe with my wholeheartmindbody that girls constitute a revolutionary soul force that can, and will change the world for real.

 "The Riot Grrrl Movement began in the early 1990s by Washington State band Bikini Kill and lead singer Kathleen Hanna.The riot grrrl manifesto was published 1991 in the BIKINI KILL ZINE 2"; online at: http://onewarart.org/riot_grrrl_manifesto.htm

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Beginning Experience Set 3: Keeping our planet going, caring for flourishing and justice

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Experience Set 3 AT A GLANCE

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BOUNDARY OBJECTS THAT MATTER:

Collins, p. 204: "The central challenge of intersectionality is to move into the politics of the not-yet. Thus far, intersectionality has managed to sustain intellectual and political dynamism that grows from its heterogeneity. This is immensely difficult to achieve when faced with the kinds of intellectual and political challenges we have explored in this book. But just because something is difficult does not mean that it's not worth doing."

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Collins, p. 193: "Throughout the book, we have aimed to deepen this working definition of intersectionality in ways that encompass its heterogeneity and dynamism yet clarity its core principles. We settled on this definition because it is BROAD AND ELASTIC ENOUGH to encompass the diversity within intersectionality

yet provides some guidance on some important BOUNDARIES around intersectionality."

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From Haraway & Wolfe interview, p. 206: "CW: 'One of the fascinating things to me about the "Manifesto" -- and I am not exaggerating when I say this -- is that I'm not sure I can think of any single document in my academic life that has been taken up more variously, let's just say (laughs), by MORE DIFFERENT AUDIENCES (just staying within academia), for more different purposes, than the "Cyborg Manifesto." And in that way, it's a document with a different kind of life in many ways from the "Companion Species Manifesto." And that's also a product of when the piece was published and famously tracing -- you're right, at that moment -- those BOUNDARY BREAKDOWNS that you identified."

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FREEWRITES

1) What did you learn from other people's work you interacted with in Workshop 1 that you have not yet had a chance to acknowledge?

2) If your best friend had been/was there to see YOUR work, what would they have learned from it that you are proud to have shared?

3) What advice would that best friend give you NOW that will make your work for Workshop 2 better in ways that YOU value?

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Experience Set Three culminates in Workshop 2: everything we do until then is to create our projects for this second Workshop. Start now: 

• Worlding: keeping our planet going, caring for flourishing and justice 

 Tuesday 15 November:

“Worlding” is inspired by "Care - maintenance, repair and mending in a time of post-industrialism," a symposium at Umeå Institute of Design," 12-14 June 2016. "How do we practice care as we relate to feminist new materialisms and posthumanities, which recognise partiality and situatedness and actively encourage collaboration across disciplinary boundaries?" The main organisers were Kristina Lindström and Åsa Ståhl, postdocs at Umeå Institute of Design, Umeå University and co-authors of Patchworking publics-in-the-making: http://muep.mah.se/handle/2043/16093 Together they are working now on a project entitled Hybrid Matters together with Nordic artist and scholars: http://www.hybridmatters.net/pages/about

For Worlding you will create either a paper (with enough handouts for each member of the class) or a poster, and document it with digital pics (which determined by lot earlier, whichever one you did not do for Change is Happening). You may work on these individually or with a partner.

With the help of Haraway & Collins (you must show how you worked with these texts), and referring to Gibson-Graham & Keating, and also to two of the recommended texts, you will analyze feminist processes of worlding as activist actions. You will either begin from • 1) the most urgent feminist issue you care about, exploring activist practices that might speak to it; or you will begin from • 2) your own most valued activist actions, and analyze their possibilities for the feminist values you most care to embody. ALWAYS make a point of connecting projects to class readings, activities, and discussions. ALWAYS use a standard model for citation and bibliography, even on posters. You may also want to use the web to follow-up or look in greater detail at the kinds of worldings feminisms explore today and ways all of these are promoted in popular and scholarly media.

During the first part of class on workshop day, we will meet during class time to share our projects, displaying posters and handouts on the walls of our room, walk and talk one-on-one with each other, share questions, observations, excitements! In the second part of class time we will continue to work with the energy generated by our interactions, collectively coming up with reflective analysis and more ideas for what comes next!

Full credit for this assignment requires: • having begun work several weeks ahead of time, • writing and postering in several drafts, • displaying paper & handout or poster during worshop and • actively participating in interactions and reflections, • turning in electronic copies of poster pics or paper and handout to Katie’s gmail account, • and documenting each piece of the assignment as completed in your logbook, which must be turned in electronically with everything else by the evening after the workshop for credit. If for any reason whatsoever you miss any piece of this, you will need to document that in your logbook, with explanations, and perhaps notes of any discussions you have with Katie about it all. If you miss any workshop, you will need to arrange with three fellow students your own little mini-workshop, where you all meet together outside class to share your work and discuss it, and you write a two-page report on your meeting and discussion. 

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Come on Time Today! Sign In as you arrive as either Poster or Paper person or team

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Sign in as you arrive in class on either POSTER PEOPLE sheet or PAPER PEOPLE sheet.

If you are a team, put all team members names TOGETHER as first member signs in: add your signature to team list as all arrive.

NUMBER YOUR sign-in beginning with 1)

THEN IMMEDIATELY CREATE YOUR SPACE: 
=pick out a wall space for your display: either handout or poster
=bring your own tape to fix to wall
=if creating a station with laptop, pull a desk next to wall and use that

CREATE ROOM around the walls so everyone can see everything easily! Move seats around as you need to.

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next week and Experience Set 3 AT A GLANCE

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TIMELINE: 

From 4-4:25 
1) SIGN IN
2) SET UP STATION
3) everyone SILENTLY looks at all stations and takes notes for interactions and later discussion. (tips for note taking HERE)

4) half of class displays and other half walks around (which determined by kk from sign-in sheets)
INTERACTION IS KEY! SHORT BRIEF COMMENTS, THOUGHTS, OBSERVATIONS, QUESTIONS
TWEET AT EACH OTHER!

From 4:25-4:55, first interactions:
PART A – workshop 1 – first half

From 4:55-5:25, more: 
PART B – workshop 1 – second half

From 5:25–5:30: Break

From 5:30-6, 
ENTIRE CLASS DEBRIEFS AND DISCUSSES

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images: 
notes: http://www.timwoods.org/2011/09/20/taking-great-notes/
twitter: http://www.socialmediatoday.com/images/alltwitter-twitter-bird-logo-white-bluepng-9
reflect: http://youthengagementalliance.org/the-scary-world-of-the-debrief/
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From NOW to WORKSHOP 1!

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• TODAY: Tu 4 Oct: What counts as intersectional? two chaps Keating, one Take Back
• NEXT WEEK, NO CLASS FOR YOM KIPPUR BUT THERE IS WORK! one chap Keating, two Take Back (finishing it up) -- think individualism 
• >>>NEXT TIME WE MEET: TWO WEEKS FROM TODAY: YOU MUST BE PRESENT FOR WORKSHOP ONE! 

• >>>BRING TO WORKSHOP: 
• TO TURN IN: hard copy of paper & handout or print out of poster PLUS LOGBOOK! 
• TO DISPLAY and pass around: ENOUGH HANDOUTS FOR ALL STUDENTS IN CLASS (30) plus one of paper and handout to post on wall of classroom; poster to post on wall of classroom. BRING TAPE OR ANYTHING ELSE YOU NEED TO SHARE YOUR PROJECT AND POST IT! 
• If for any reason you are not present or are missing anything YOU MUST STILL TURN IN LOGBOOK ELECTRONICALLY WITH EXPLANATIONS THAT EVENING! 

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>>>Tu 18 Oct Workshop1: Change is Happening!
Try to have read as much of Keating & Take Back as possible
DUE: attendance with research poster & pics or paper & handout

"Change is happening" is inspired by "The Diseased Posthuman" workshop, part of a seminar series organized by the Posthumanities International Network. Formed in partnership between The Posthumanities Hub at the Linköping University; Centre for the Humanities at University of Utrecht; Digital Culture Unit of Goldsmiths, University of London; and Centre for Interdisciplinary Methodologies at the University of Warwick, PIN brings together scholars invested in post-conventional humanities and provides a flexible platform for further research and collaboration. The workshop took place at Linköping University, Sweden, 6-7 June 2016. The Program is located here: https://www.dropbox.com/sh/fvj51bq6kyc2j7b/AABAVoDYQQMhaVli11OhNCLTa/PIN%20symposium%20programme.%20June%206%20-7.pdf?dl=0  [Katie's presentation is HERE]

For Change is Happening you will create either 

• a paper (with enough HANDOUTS for each member of the class: 30) or 
• a poster (and document it with digital pics): which one determined by lot early in the semester. You may work on these individually or with a partner.

With the help of two books (Gibson-Graham's Take Back the Economy & Keating) and your research among our recommended texts and appropriate web sites,

>>>you will map out what current changes you find yourself affected by:  

that is,
• how changes can be understood from the point of view of
1) yourself individually,
2) yourself and groups you identify with or work with, and
3) yourself with others you do not know, who perhaps are even forces, animals, objects, events.

We will explore what feminists mean by "affect," "agency" and "identity." 

ALWAYS make a point of connecting projects to class readings, activities, and discussions. ALWAYS use a standard model for citation and bibliography, even on posters.

During the first part of class on workshop day, we will meet during class time to share our projects, displaying posters and handouts on the walls of our room, walk and talk one-on-one with each other, share questions, observations, excitements! In the second part of class time we will continue to work with the energy generated by our interactions, collectively coming up with reflective analysis and more ideas for what comes next!

Full credit for this assignment requires: • having begun work several weeks ahead of time, • writing and postering in several drafts, • displaying paper & handout or poster during worshop and • actively participating in interactions and reflections, • turning in electronic copies of poster pics or paper and handout to Katie’s gmail account, • and documenting each piece of the assignment as completed in your logbook, which must be turned in electronically with everything else by the evening after the workshop for credit.

If for any reason whatsoever you miss any piece of this, you will need to document that in your logbook, with explanations, and perhaps notes of any discussions you have with Katie about it all. If you miss any workshop, you will need to arrange with three fellow students your own little mini-workshop, where you all meet together outside class to share your work and discuss it, and you write a two-page report on your meeting and discussion.

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Tu 4 Oct: What counts as intersectional?
• Keating, choose 2 Chps
• Take Back, choose 1

Intersectional is a term used differently by a range of feminists. 
How have you used it up to now? 
How do you see your uses as overlapping with those of Keating and Take Back collective? 
What differences appear too? 
How do people feel about this term? 
How do you feel? 
We will discuss relationships between emotions, feelings, affects as explored in feminist theory.

Your history with intersectionality includes (grey-blue)

=how you have used it in the past (orange)
=how you see it used now, can notice differences if pay careful attention (blue)
=how you might use in the future as your needs for this term shift (tan)

Uses of the term by various others for their purposes, meanings shift and alter
(green) (yellow) (brown) (rust red)

CAN YOU DO A SIMILAR ANALYSIS WITH TERM "INDIVIDUALISM"? TRY IT ON YOUR OWN: 

Tu 11 Oct: NO CLASS YOM KIPPUR but you do have reading, What is individualism?:
• Keating, choose 1 Chp
• Take Back, choose 2

• Look up individualism on the Wikipedia and see just what it might have to do with the readings for this week. 
• Come in with specific ideas and some quotations from the books to share. 
• What experiences do you have with individualism? 
• What are contradictions among different versions? 
• How does it connect with affect and agency?

YOU CAN PLAY WITH THIS GRAPHIC IF YOU WANT TO DOWNLOAD IT:  ===

Color JellyBo by Katie King on Scribd

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BOUNDARY OBJECTS (Bowker & Star 1999: 297-8)
"Boundary objects are those objects that both inhabit several communities of practice and satisfy the informational requirements of each of them. Boundary objects are thus both plastic enough to adapt to local needs and constraints of the several parties employing them, yet robust enough to maintain a common identity across sites. They are weakly structured in common use and become strongly structured in individual site use. These objects may be abstract or concrete.... Such objects have different meanings in different social worlds but their structure is common enough to more than one world to make them recognizable, a means of translation. The creation and management of boundary objects is a key process in developing and maintaining coherence across intersecting communities.” [kk emphasis] 

FEMTECHNET’S BOUNDARY OBJECTS THAT LEARN (Juhasz & Balsamo 2013) 
"Drawing on contemporary work in feminist science and technology research, we are working with an expanded notion of a “learning object” to incorporate insights about “boundary objects.” This theoretical reframing asserts that the “object” participates in the creation of meanings: of identity, or usefulness, of function, of possibilities. The concept of a “boundary object” was promoted by the late Susan Leigh Starr (a prominent feminist scholar in science/technology studies) to assert that objects (material, digital, discursive, conceptual) participate in the co-production of reality. At base, the notion asserts that objects perform important communication “work” among people: they are defined enough to enable people to form common understandings, but weakly determined so that participants can modify them to express emergent thinking.” [kk emphasis]

ON GROWTH AND DEATH OF BOUNDARY OBJECTS (Star 2010: 613-4)
“Over time, people (often administrators or regulatory agencies) try to control the tacking back-and forth, and especially, to standardize and make equivalent the ill-structured and well-structured aspects of the particular boundary object.” [kk emphasis]

LOCAL TAYLORING AS A FORM OF WORK (Star 2010: 607)
[different forms of materiality, gaps between formal representations and back-stage work] “subtly influenced the development of boundary objects in the sense of understanding local tailoring as a form of work that is invisible to the whole group and how a shared representation may be quite vague and at the same time quite useful.” [kk emphasis]

• Bowker, G. C., & Star, S. L. 1999. Sorting things out: classification and its consequences. MIT.
• Juhasz, A. and Balsamo, A. 2012. "An Idea Whose Time is Here: FemTechNet — A Distributed Online Collaborative Course (DOCC)." Ada, a journal of Gender, New Media & Technology, No.1. http://adanewmedia.org/2012/11/issue1-juhasz/
• Star, S.L. 2010. "This is Not a Boundary Object." Science, Technology & Human Values, 35/5: 601-617.

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