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REVISED MIDTERM – Stitching, Bitching and Making Money – Etsy’s Role in Third Wave Feminism

Founded in 2005 by Robert Kaplin, Etsy has become the go-to online marketplace for all things handmade and vintage. Through Etsy, individual sellers can use the e-commerce site to sell anything and everything handmade or second hand. From art and quilts to furniture and second hand toys, if it’s cute, knitted or has a bow on it, you can find it on Etsy. However beneath the ruffled curtains and Oreo cookie shaped necklaces, Etsy has come to represent something much larger. It is a key technological tool in the third wave feminism movement, encouraging a new generation of women to start their own businesses and make their own money. Born in the 1990s third wave feminism was largely a reaction against some of the strict initiatives and movements created by second wave feminists during the 1960’s, ’70’s and ’80’s. It focused on broadening the term feminism, focusing on issues such as class, race, sexuality and femininity that previous feminist waves often ignored. Third wave feminists redefined what it meant to be a feminist, reclaiming old media crafts such as knitting and sewing that were viewed as hobbies of their mother’s generation by second wave feminists and no longer necessary to the modern woman (Offensend). With more and more young, empowered feminists turning to the creation of handmade goods to make an income, Etsy has created a space where the online selling of handmade goods is easier than ever and where women who may traditionally not have been able to work or make an income have been able to empower themselves and become successful business owners from their own homes.

In November 2013 (the last time Etsy posted their monthly statistics online), $147.5 million of goods were sold via the online marketplace. In that same month 1,318,666 new members joined the Etsy community and 2.15 billion page views were recorded on the site (Traub). What makes Etsy stand out from other competitive online marketplaces is, of course, it’s focus on the homemade, however upon examining the interface of the website there are a number of features that show why Etsy is so appealing as a platform for business owners and why it has made the process of selling online so easy.

As soon as you go the Etsy homepage, users are encouraged to sign up to in order to start browsing and buying goods. The sign up process is easy and requires no financial transactions upfront. Once users are signed in, the Etsy homepage displays galleries of items that are ‘trending’ or centre around a certain theme such as ‘halloween’, ‘weddings’ or ‘gift ideas’.

Image a - The Etsy homepage interface
Image a – The Etsy homepage interface

The interface (see image a) is clean and minimalist but with a feminine edge. The handpicked items from different stores displayed in the galleries all feature beautifully handmade goods and well photographed products. The items chosen by Etsy to display are clearly aimed at a female audience, from jewellery to cupcakes the website’s white layout lets the products speak for themselves, attracting the user with the beauty and attractiveness of the items on sale.

Studies have shown that 80% of usability problems on websites come from poor navigation design (Savaji, Downe, Fahmi Mazlan, Soo and Abdullah). With millions of diverse new products listed every month (Traub) it would be easy for Etsy to become an incomprehensible mess of unrelated handmade products. Etsy combats this problem through their use of categories. One of the first options on the homepage is to either search for an item or browse items by category. The key to good navigation is good information architecture; selecting the right labels and categories and laying them out in a way that attracts the user and reflects their own mental organisation of the information (Straub). Many of Etsy’s categories are very simple, appealing to users who may not be familiar with the website and just want to browse. The ‘Men’, ‘Women’ and ‘Kids’ categories make it easy for an Etsy beginner to start looking for something they might be interested in. The other categories appeal to the kind of user Etsy is most familiar with. Categories such as ‘Wedding’, ‘Jewellery’ and ‘Craft Supplies’ are clearly aimed at Etsy’s predominately female audience and serve as markers, telling you what to expect from the content of the website as well as making it easy for users to find exactly what they want. As an avid crafter myself I can advocate for how hard it is to find craft supplies for sale online, the immediate presence of that category on the Etsy homepage let me know I was in the right place as soon as I first visited the site.

One thing that makes Etsy so attractive to sellers is the store front interface (see picture b). Once you have clicked on a  particular user or seller the site directs you to their personal Etsy page. The layout of the pages is beautiful, users are given the chance to upload their own header image, create categories displayed in the side bar detailing the types of items they are selling and each user has a box in the sidebar with information about the shop owner. What strikes you most is how professional Etsy makes everything look. Many of the people selling are extremely amateur however due to the layout, each individual sellers page could be it’s own professional e-commerce site. The layout and the design immediately provoke trust in the buyer. You do not feel as if you are buying from an amateur but from a proper online shop with beautiful handmade items.

Image b - Etsy individual seller store front
Image b – Etsy individual seller store front

Etsy operates all their transactions through PayPal. Upon buying an item the user is redirected to Paypal where they can check out in a number of seconds with nothing but their PayPal login details. The seller never has to worry about handling the money, Etsy takes care of it all. The money is simply transferred from the buyer’s PayPal into the sellers PayPal and then the seller is sent the details of the order and the delivery address. PayPal may be a large part of why Etsy is so successful. A study regarding trust and usability elements in E-Commerce websites conducted by University Teknologi in Malaysia found that the usage of PayPal immediately increased the user’s trust in the transaction security of the website (Savaji, Downe, Fahmi Mazlan, Soo and Abdullah 221-226). The study also found that web site quality, ease of navigation and professional design also played a large role in making the user trust the site and feel more confident about spending their money (Savaji, Downe, Fahmi Mazlan, Soo and Abdullah 221-226). PayPal also serves as a huge attraction for sellers. What discourages a lot of people from starting their own business is worry about how they will operate it financially; processing payments and figuring out how to handle the money once it’s been received.

Another element of new media that makes Etsy so attractive to small business owners is photography. Jewellery designer Emma Mitchell owns an Etsy shop called Silver Pebble where she sells her handmade silver jewellery.  A necklace by Emma will cost on average $180 and to make each one costs Emma herself 50% of the selling price (Mitchell). Before Etsy, were Emma to have tried to sell her products she would have needed to sell them through a shop or a craft fair. This would mean making dozens of each product in the hope that they would sell (Mitchell). For a lot of people setting up their own business it is financially impossible to make a large supply of their items before having sold them and there is also always the risk that the items won’t sell and you will make a loss. The development of photographic technology has meant most people have access to high definition photography and a way of putting it online. This means Emma has to only make one of her necklaces and can then go on to make each one individually as each new order comes in. Etsy offers customisable delivery times meaning the seller can let the user know that they will be making the product upon receiving the order. For small business owners who do not have a lot of seed money, this aspect of the online marketplace is extremely important and almost completely removes all the start up risks involved with creating a business.

This transformation in potential business opportunities for crafters has also had a huge impact in modern feminism.  For a long time feminism and crafts such as cooking, knitting and any other act seen as ‘women’s work’ were considered two opposing forces. During the second wave of feminism in conjunction with the civil rights movement of the 1960s and 1970s, feminists rejected so called ‘women’s work’ in order to try and claim equality and to balance women’s lives with their male counterparts. Women all over the world put down their needlework, put on their trouser suits and crafts became associated with stay at home mum’s and an old way of viewing women (Offensend). However this very rejection of all things ‘girly’ goes against the idea that a central element to the feminist movement is choice. Feminism is about women having the freedom and equality to live the lives they choose without feeling dominated by men and the rejection of homely activities by second wave feminists exorcises this choice (Offensend). The 1990’s saw an explosive resurgence of knitting among young women, often stated to be centred around feminist and Bust magazine editor Debbie Stoller’s book Stitch ’N Bitch: The Knitter’s Handbook. In this, Stoller argues that it is time to rethink the position that girls doing traditionally male activities is feminist but girls doing traditionally female activities is not. There were also similar movements dismissing cooking and baking as non liberated, oppressive activities. As a feminist knitter and baker myself I feel cooking and knitting are extremely important activities. Having the skills to create something from nothing and being able to reclaim a skill like knitting and bring it into the modern age feels very empowering. While the 90’s resurgence of all things girly was extremely popular it was also very criticised. It centred around the idea that women who were already working or had some sort of financial stability should take up knitting or cooking as a hobby and many commented that only women in some sort of privileged position have the option not to do activities like these as a necessity but for pleasure (Gilley).

This is where Etsy becomes relevant, new media has created a place where this reclamation of the handmade among feminists has stopped being simply a way to make a statement but an actual way for women to create businesses and empower themselves with their own income. In 2001 the media began to pick up on a growing trend regarding young women’s interests in knitting and crafting. The New York Times and other newspapers published profiles on young women, typically in their 20s or 30s, who support themselves by making and selling handcrafted items. A newspaper in Portland described it as a ‘craft phenomenon’, profiling 33 year old Susan Beal who supports herself by sewing, quilting and embroidering (Stryker). When this movement first began most women were using craft fairs and independent boutiques to sell their goods, but with the development of Etsy most of them have relocated online. “In another era, I would have done this as a hobby, but the fact that I can earn my living with my creativity feels very feminist to me,” Beal says. “I don’t know if I would say it’s the new bra-burning, but I definitely think it’s a radical act…” (Stryker).

What the fight for equality for women has been known to dismiss is the real life complications of working for a lot of women. In 1998, feminist writers Judy Smith and Ellen Balka proposed the development of a Sex Role Impact statement that would be used just like the Environmental Impact Statement and would attempt to assess new technology on what the effect of it’s development would have on sex roles. The study involved seven questions that would need to be asked of every new technology by many public agencies before development decisions were made (Smith and Balka). The first two questions on the list are “Would it broaden or restrict women’s traditional options (Smith and Balka 113)?” and “Would it increase or limit women’s chances for economic self sufficiency (Smith and Balka 113)?” The answers to these seems obvious. Etsy has made it easy and effective for women to sell their handmade goods all over the world, entirely broadening the options of how far they can take their business’ and how much money they can make. “Would it decrease or increase the time needed for home and family maintenance (Smith and Balka 113)?”. Once again I feel the answer to this is positive. For women looking to work and maintain a family Etsy makes online selling quick, easy and brings it into women’s homes meaning they can work and look after their families at the same time. The next question “Would it reduce or increase women’s privatisation in the home (Smith and Balka 114)?” has a slightly more complicated answer as any form of online presence immediately slightly reduces the users privatisation, but in our modern technological world that is hard to avoid and there is nothing to show Etsy is less secure or private than any other trusted website. “Would this development be dangerous to women’s health (Smith and Balka 114)?” The answer to this I feel is no. Unless of course a women decided to sell something online that was dangerous to produce however this would be less Etsy’s fault than the women’s own lack of judgement. And finally “Would it make sex roles more interchangeable so that either women or men could do what needed to be done or would it re-enforce traditional sex role stereotyping and division of labor (Smith and Balka 114)?” This question is probably the most complicated on the list and addresses the majority of the points I have been trying to make throughout this essay. In many ways, Etsy does re-enforce traditional sex role stereotyping. The scenario I have evoked during this essay has been one of a women sitting at home knitting and looking after her children. And were I to ever hear someone say that women’s jobs were mothering, cooking and knitting I would probably scream at them until I lost my voice. But the reality of the lives of many women is that they do have to stay at home to look after their children, be it because they can’t afford childcare, have a child who is ill or simply want to stay at home while their children are young. What is amazing about Etsy is that it is truly beginning to subvert any stereotypes we may have of mothers, knitters and women who stay at home. My imaginary women, the one sitting at home and knitting is no longer without an income, her interests and hobbies are no longer outdated. Instead she is able to care for her children while running her own business from home. She is able to sell and make money from the beautiful things she makes. She is able to be part of a huge community of women like her, supporting each other, talking to each other, empowering each other. Etsy has become a symbol of third wave feminism. A place where women can choose to embrace ‘women’s work’ but transform it into ‘men’s work’. In conclusion, if you thought it wasn’t possible to do needlework and be a feminist, you were most definitely wrong (see image c).

Image c - Feminist needlepoint by Scarlett Curtis
Image c – Feminist cross stitch by Scarlett Curtis

WORKS CITED

Curtis, Scarlett. Girls Just Wanna Have Fundamental Human Rights. 2014. Cross stitch. London, England.

“Etsy homepage”. Etsy 2014. Authors screenshot.

“Elina Creations’ Etsy shop”. Etsy, 2014. Authors screenshot.

Gilley, Jennifer.Writings of the third wave: young feminists in conversation.” Reference & user Services Quarterly 44.3 (2005): 187-198. Print.

Luckman, Susan. “Gender, Craft and the Creative Economy.” The 3rd Global Conference on The Value of Work: Exploring Critical Issues, September 1st-3rd, 2013, Mansfield College, Oxford. Oxford, September 2013. Print.

Mitchell, Emma. Personal Interview. 10 October 2014.

Offensend, Elizabeth Gillette. Crafting a Space: A Feminist Analysis of the Relationship Between Women, Craft, Business and Technology on etsy.com. Diss. Portland State University, 2012. Web.

Sivaji, Ashok, Downe, Alan, Fahmi Mazlan, Muhammad, Soo, Shi-Tzuaan and Abdullah, Azween. “Importance of Incorporating Fundamental Usability with Social & Trust Elements for E-Commerce Websites.” Business, Engineering and Industrial Applications (ICBEIA), 2011 International Conference on 5-7 June 2011. Kuala Lumpur: IEEE, June 2011. Print.

Smith, Judy and Balka, Ellen, “Chatting on a Feminist Computer Network” Technology and Women’s Voices: Keeping in Touch. Ed. Kramarae, Cheris. New York: Routledge & Kegan Paul Inc, 1988. 111-131. Print.

Stryker, Krista, “Crafty Bitches.” Willamette Weekly Newspaper. Web. 3 Oct. 2007.

Straub, Kath. “Making it Findable.” Human Factors International. Web. April, 2005.

Traub, Michelle. “Etsy Statistics: November 2013 Weather Report.” Etsy News Blog. Web. 13 Dec. 2013.

Podel Castro: The Rise and Fall and Rise of Podcasts

Have you ever heard of Scott Aukerman? What about Marc Maron? Perhaps you have. Perhaps you’re not hip and you haven’t. But one thing is certain: you probably wouldn’t even know those names could be combined in those ways if it weren’t for podcasting. This innovative digital audio platform burst onto the scene in 2005. Well, “burst” may be a strong word. Not gaining much traction until The Ricky Gervais Show brought it into the mainstream, podcasts went from boring to exciting to so-last-year to what it is now. So how are podcasts doing now? Well they’ve definitely gained popularity, and for good reason. Podcasts have made careers for many successful individuals, make good business sense, and provide a respite from the your run-of-the-mill radio content.

Remember that Scott Aukerman fellow I mentioned before?  You may know his work as a writer on the Emmy nominated Mr. Show with Bob and David, or as the creator and director of Between Two Ferns with Zach Galifianakis. On May 1, 2009, he began doing a radio show based on a live stand-up show he hosted at the Upright Citizens Brigade Theatre in Los Angeles called Comedy Death-Ray Radio. He decided to start podcasting the show one Episode 2, and it grew into a podcast network and production company called Earwolf. This little radio show gave Aukerman great opportunities. Due to the podcasts success and the popularity of the live show in LA, Aukerman began producing short interview segments for the Independent Film Channel to air between their regular programming, with guests like Michael Cera, Seth Rogen, and Paul Feig. This lead to Aukerman getting his own sketch show on IFC, changing the name of the podcast and live show to Comedy Bang! Bang! to accommodate it. The show is currently in the middle of its third season, and has a forty episode pick-up for season four.

[youtube]https://www.youtube.com/watch?v=fDkIluEDqlA&list=UUXzSegaGejGCrxtaBCpFhZA[/youtube]

This is an example of what one might find on Comedy Bang Bang: The Podcast

[youtube]https://www.youtube.com/watch?v=Crpbo2A1hoM&list=UUAy4_9g22xCsEJBYkpq9jow[/youtube]

This is a bit from Comedy Bang! Bang! the television show.

Marc Maron has a similar story. Widely regarded as the premier comedy podcast, WTF with Marc Maron skyrocketed Maron from little-known, resentful, bitter stand-up comedian to one of the most well known and respected comics in the business. He since has had a stand-up special on Netflix called Thinky Pain and his IFC sitcom Maron is currently in its second season. Podcasts are an incredible way for talented people to display their artistic vision the way they want to, and can lead to more mainstream success. The ability of podcasts to have a both wide and very specific appeal is what makes the medium so diverse and important to today’s culture.

So hosting a podcast can get you a television show. Great. But can podcasts sustain themselves? Something like podcasting can’t possibly be profitable, right? Wrong. While podcasts seemed to hold little appeal in the beginning, much like anything, an audience has grown over the years. Tom Webster, vice president at Edison Research, told the Washington Post “Five years ago, podcasting was very much a hobbyist’s activity and many people weren’t making them to make money. But audience sizes have grown consistently, and each listener is listening to more shows as part of their weekly habit. That’s brought major producers to embrace podcasting.” I highly doubt that the embrace is due to artistic expression. The reason podcasts can be profitable is an intimacy. Podcast fans feel a connection to shows they are fans of in a way that is distinct from television or films, or even radio shows. Because of the vast podcast marketplace, one feels like they’ve discovered a gem when finding a good podcast. Unfortunately, this sort of attitude toward podcasting may be the reason why the industry may never become a giant business. According to Christopher Matthews of Time magazine, “The average Hardcore History listener… is protective of the show not only because it offers a unique product that can’t be found anywhere else. They’re also protective of the show, and even willing to back it voluntarily, because they know it might otherwise go away… For this reason, podcasting may never become big business in the classic sense of the term.” However, this is better for podcasting as a whole. Maintaining this smaller business model leaves far less risk of compromising the integrity of the show, which is part of the draw of podcasts, getting a product you wouldn’t be able to get elsewhere.

Because of the smaller market nature of podcasts, the majority of them have little to no overhead in terms of what they can and cannot release to the public. According to Scott Cornell of the Houston Chronicle, “Podcasting allows the creator greater freedom in terms of presentation.” This gives podcasters a big leg up against traditional radio. From a journalistic standpoint, it allows reporters to be completely biased free. Many news outlets are owned by large corporations, which can lead to dishonest reporting and, in turn, the betrayal of the purpose of new media: to inform citizens of the goings-on in government policy and behavior. From artistic point-of-view, content providers are simply more free to try out different styles and produce a more raw and pure piece of entertainment.

[youtube]https://www.youtube.com/watch?v=UE8m475Vhys[/youtube]

No one can explain the difference between podcasts and radio quite like the afformentioned Marc Maron. WARNING: Mild language.

While podcasts are seen as widely positive, some see it as just another fad. Critics compare it to blogging, saying that anyone can create a podcast, so there is no quality control. There is no way to determine whether or not a source is credible. But these are the exact same arguments that have sprung up when anything new on the internet happens. These issues have been disproven time and time again.

It seems that the rise of the podcast is not going to be leaving anytime soon, and I’m happy for it. Podcasts provide an exciting new entertainment and informational medium, that can give truly talented people a way to express themselves and put out content they truly believe in. They remain profitable in a small business venture, while maintaining integrity in their product. The great DVR for radio is going to stay relevant for a long time. Now, if you’ll excuse me, I have to catch up on mine.

 

Works Cited

“Paul Rust — New No No’s | Comedy Bang Bang | Video Podcast Network.” YouTube. Ed. Earwolf. YouTube, 25 Jan. 2013. Web. 17 Oct. 2014.

“Scott Aukerman.” On Earwolf. Earwolf Media, LLC, n.d. Web. 17 Oct. 2014.

“Comedy Bang! Bang! – Anna Kendrick Time Travel.” YouTube. YouTube, 22 July 2013. Web. 17 Oct. 2014.

“Maron – Podcast vs. Radio.” YouTube. YouTube, 9 July 2014. Web. 17 Oct. 2014.

Matthews, Christopher. “Despite Being Oh-So 2005, Podcasting Is Drawing Listeners and Advertisers Alike | TIME.com.” Business Money Despite Being OhSo 2005 Podcasting Is Drawing Listeners and Advertisers Alike Comments. TIME, 29 Aug. 2013. Web. 17 Oct. 2014.

Kang, Cecilia. “Podcasts Are Back – and Making Money.” Washington Post. The Washington Post, 25 Sept. 2014. Web. 17 Oct. 2014.

Cornell, Scott. “Pros & Cons of Podcasting.” Small Business. Houston Chronicle, n.d. Web. 17 Oct. 2014.

Stitching, Bitching, and Feminism – Etsy’s Role in Third Wave Feminism

Founded in 2005 by Robert Kaplin, Etsy has become the go-to online marketplace for all things handmade and vintage. Through Etsy, individual sellers can use the e-commerce site to sell anything and everything handmade or second hand. From art, food, quilts, knitted jumpers and second hand toys if it’s cute, knitted or has a bow on it, you can find it on Etsy. However beneath the ruffled curtains and necklaces in the shape of Oreo cookies, Etsy has come to represent something much larger. It is a key technological tool in the new wave feminism movement, encouraging a new generation of women to start their own businesses and make their own money. In this essay I will examine the new media methods that Etsy utilises to make selling online so accessible as well as the modern resurgence of popularity in handmade goods and old media crafts. I will then argue that these two movements have created a space online where women who may traditionally not have been able to work or earn an income have been able to empower themselves and become successful business owners from their homes. 

In November 2013 (the last time Etsy posted their monthly statistics online), $147.5 million of goods were sold via the online marketplace. In that same month 1,318,666 new members joined the Etsy community and 2.15 billion page views were recorded on the site (Traub). What makes Etsy stand out from other competitive online marketplaces is, of course, it’s focus on the homemade, however upon examining the interface of the website there are a number of features that show why Etsy is so appealing as a platform for business owners and why it has made the process of selling online so easy.

 As soon as you go the Etsy homepage, users are encouraged to sign up to in order to start browsing and buying goods. The sign up process is easy and requires no financial transactions upfront, they do not even ask for the details of a credit card of Paypal account. Once users are signed in, the Etsy homepage displays galleries of items that are ‘trending’ or centre around a certain theme such as ‘halloween’, ‘weddings’ or ‘gift ideas’. 

Etsy Trending Items
Image A – Etsy Homepage Interface

The interface (see image a) is clean and minimalist but with a feminine edge. The handpicked items from different stores displayed in these galleries all feature beautifully handmade goods and well photographed products. Users then have the option of searching for an item or a shop or browsing items by category. The category options give you an idea of the types of goods popular on Etsy; ‘art’, ‘home and living’, ‘craft supplies’ all focused around aesthetic pleasures and homespun delights. 

One thing that makes Etsy so attractive to sellers is the store front interface (see picture b). Once you have clicked on a  particular user or seller the site directs you to their personal Etsy page. The layout of the pages is beautiful, users are given the chance to upload their own header image, create categories displayed in the side bar detailing the types of items they are selling and each user has a box in the sidebar with information about the shop owner. What strikes you most is how professional Etsy makes everything look. Many of the people selling are extremely amateur however due to the layout, each individual sellers page could be it’s own professional e-commerce site. The layout and the design immediately provoke trust in the buyer. You do not feel as if you are buying from an amateur but from a proper online shop with beautiful handmade items. 

Etsy Store Front
Image B – Etsy individual seller store front

Etsy operates all their transactions through Paypal. Upon buying an item the user is redirected to Paypal where they can check out in a number of seconds with nothing but their Paypal login details. The seller never has to worry about handling the money, Etsy takes care of it all. The money is simply transfered from the buyer’s Paypal into the sellers Paypal and then the seller is sent the details of the order and the delivery address. This quick pay element of Etsy is a huge attraction for sellers. What discourages a lot of people from starting their own business is worry about how they will operate it financially; processing payments and figuring out how to handle the money once it’s been received. 

Another element of new media that makes Etsy so attractive to small business owners is photography. Jewellery designer Emma Mitchell owns an Etsy shop called Silver Pebble where she sells her handmade silver jewellery.  A necklace by Emma will cost on average $180 and to make each one costs Emma herself 50% of the selling price. Before Etsy, were Emma to have tried to sell her products she would have needed to sell them through a shop or a craft fair. This would mean making dozens of each product in the hope that they would sell. (3) For a lot of people setting up their own business it is financially impossible to make a large supply of their items before having sold them and there is also always the risk that the items won’t sell and you will make a loss. The development of photographic technology has meant most people have access to high definition photography and a way of putting it online. This means Emma has to only make one of her necklaces and can then go on to make each one individually as each new order comes in. Etsy offers customisable delivery times meaning the seller can let the user know that they will be making the product upon receiving the order. For small business owners who do not have a lot of seed money, this aspect of the online marketplace is extremely important and almost completely removes all the start up risks involved with creating a business. 

So how does Etsy relate to feminism? Well, for a long time feminism and crafts such as cooking, knitting and any other act seen as ‘women’s work’ were considered two opposing forces. During the second wave of feminism in conjunction with the civil rights movement of the 1960s and 1970s, feminists rejected so called ‘women’s work’ in order to try and claim equality and to balance women’s lives with their male counterparts. Women all over the world put down their needlework, put on their trouser suits and crafts became associated with stay at home mum’s and an old way of viewing women. (Offensend) However this very rejection of all things ‘girly’ goes against the idea that a central element to the feminist movement is choice. Feminism is about women having the freedom and equality to live the lives they choose without feeling dominated by men and the rejection of homely activities by second wave feminists exorcises this choice. (Offensend). The 1990’s saw an explosive resurgence of knitting among young women, often stated to be centred around feminist and Bust magazine editor Debbie Stoller’s book Stitch ’N Bitch: The Knitter’s Handbook. In this, Stoller argues that it is time to rethink the position that girls doing traditionally male activities is feminist but girls doing traditionally female activities is not. There were also similar movements dismissing cooking and baking as non liberated, oppressive activities. While the 90’s resurgence of all things girly was extremely popular it was also very criticized. It centred around the idea that women who were already working or had some sort of financial stability should take up knitting or cooking as a hobby and many commented that only women in some sort of privileged position have the option not to do activities like these as a necessity but for pleasure. (Gilley) 

This is where Etsy becomes relevent, new media has created a place where this reclamation of the handmade among feminists has stopped being simply a way to make a statement but an actual way for women to create businesses and empower themselves with their own income. In 2001 the media began to pick up on a growing trend regarding young women’s interests in knitting and crafting. The New York Times and other newspapers published profiles on young women, typically in their 20s of 30s, who support themselves by making and selling handcrafted items. A newspaper in Portland described it as a ‘craft phenomenon’, profiling 33 year old Susan Beal who supports herself by sewing, quilting and embroidering. When this movement first began most women were using craft fairs and independent boutiques to sell their goods, but with the development of Etsy most of them have relocated online. “In another era, I would have done this as a hobby, but the fact that I can earn my living with my creativity feels very feminist to me,” Beal says. “I don’t know if I would say it’s the new bra-burning, but I definitely think it’s a radical act…” (Stryker).

What the fight for equality for women has been known to dismiss is the real life complications of working for a lot of women. Many women have children and don’t want to go back to work in an office, or have children that are sick or disabled meaning they have to be home 24 hours a day. In 1998, feminist writers Judy Smith and Ellen Balka proposed the development of a Sex Role Impact statement that would be used just like the Environmental Impact Statement and would attempt to assess new technology on what the effect of it’s development would have on sex roles. The study involved seven questions that would need to be asked of every new technology by many public agencies before development decisions were made. The questions included statements such as ‘Would it broaden or restrict women’s traditional options?’ and ‘Would increase or limit women’s chances for economic self suffiencency?’. (Smith and Balka) Examining Etsy in terms of this study yealds overwhelmingly positive results. Historically, a site like Etsy might be viewed as an example of technology  that women would be expected to shy away from. Women are often seen as not being a part of the traditionally male dominated worlds of business and technology and Etsy embodies the two. However it is estimated that over 90% of Etsy users are women (Luckman). Etsy has become a symbol of third wave feminism. A place where women can choose to embrace ‘women’s work’ but transform it into ‘men’s work’. Women who would have traditionally had to stay at home looking after their children or are unable to work can now be seen all over the world, creating their own businesses, obtaining their own incomes and creating supportive global networks and communities. In conclusion, if you thought it wasn’t possible to do needlework and be a feminist, you were most definitely wrong (see image c). 

My Cross Stitch
Image C – Feminist Cross Stitch by Scarlett Curtis

WORKS CITED

Traub, Michelle. “Etsy Statistics: November 2013 Weather Report.” Etsy News Blog. Web. 13 Dec. 2013. 

Offensend, Elizabeth Gillette, “Crafting a Space: A Feminist Analysis of the Relationship Between Women, Craft, Business and Technology on Etsy.com” (2012). Dissertations and Theses. Paper 892.

Gilley, Jennifer, “Writings of the third wave: young feminists in conversation” (2005). The Alert Collector.

Stryker, Krista, “Crafty Bitches” Willamette Weekly Newspaper. Web. 3 Oct. 2007.

Smith, Judy and Balka, Ellen, “Chatting on a Feminist Computer Network” Technology and Women’s Voices: Keeping in Touch (1988) p. 66-70. Print.

Luckman, Susan, “Gender, Craft and the Creative Economy”.

The Power of Social Media

Through social media and public efforts, Invisible Children raised global awareness about Ugandan dictator, Joseph Kony. Invisible Children was founded in 2003 by three college students who went to Uganda to find and film a story. Instead of finding just a story, they found Joseph Kony’s movement. The three filmmakers realized that there was a war going on for over 20 years, led by warlord Joseph Kony and his rebel army. Befriending an escaped child soldier named Jacob, the trio learned his gut-wrenching story. Jacob and his brother were captured by the army and forced to fight for Kony against their will. The Lord’s Resistance Army (LRA) murdered Jacob’s brother, and scared for his life, Jacob ran away from the LRA. The three filmmakers promised Jacob that they would stop Kony and end the war. Prior to Kony 2012, Invisible Children had already produced 11 films about the war in Uganda and gained a loyal following, which set them up for Kony 2012 to become one of the fastest spreading Internet sensations of all time. The campaign to find Joseph Kony was created to pressure the Ugandan government and United States advisers to find Joseph Kony. Young and in touch with society’s desires, the three filmmakers recognized that social media has the power to illuminate specific political injustices and catalyze global efforts. Through Youtube, Facebook, and Twitter, the Stop Kony movement gained millions of worldwide followers in just a matter of days. Invisible Children’s use of social media to convey their point led to increasing worldwide awareness about Kony and even affected policy. Kony 2012 transformed my view and the world’s view about the power of social media and consequentially led to a global social media movement that eventually led to other campaigns such as the ALS Ice Bucket Challenge.

With the release of Invisible Children’s Kony 2012 video, the power of social media prevailed with the video reaching 100 million views in six days-the fastest campaign yet. As the founder of Invisible Children, Jason Russell, says in the video, “the game has new rules. But in order for it to work, you have to pay attention” (Kony 2012). Through Youtube and Vimeo, the video created it’s own rules and shattered all previous records for 100 million views. Once it gained recognition within the United States and other European nations, Invisible Children tweeted:

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In order to increase their worldwide following, Invisible Children utilized the power of communication and translated their message so millions more people could understand the importance of Kony 2012 movement.

Following the release of the Kony 2012 video, there were millions of shares on Facebook and Twitter. As Russell proclaimed, “our goal is to change the conversation of our culture, and get people to ask ‘Who is Joseph Kony?’” (Kony 2012). Revolutionizing charity campaigns, Invisible Children aimed to raise global awareness about Joseph Kony. By sharing and liking the Kony 2012 video, more and more people become aware of the brutal reality that Joseph Kony is a part of.

Cutting their message down to 140 characters, Invisible Children capitalized on their young following by creating engaging tweets, such as the one below.

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By creating engaging hashtags and provocative points, Invisible Children appealed to their massive fan base and propelled their campaign further than ever before. With young people using social media as the primary means of communication, Twitter was ripe with conversation about Kony. Isaac Hepworth, who works for Twitter, released a graph showing the amount of times Kony was mentioned on Twitter since the beginning of the month. There are nearly 10 million mentions during the month of March 2012.

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In a public call to action, Invisible Children relied on some of the nation’s celebrities with a large base of followers to share the video and get the word out. Celebrities such as Oprah Winfrey, Ryan Seacrest, and Kim Kardashian all tweeted about Kony.

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Through the viral movement, people could sign up to receive “action kits” with Joseph Kony posters, stickers, and buttons to participate in “Cover the Night” events on April 20th. Facebook groups were made and then created specific meeting places where groups where go into their town at night and cover it with Kony posters, such as the one shown below.

Invisible Children started Kony 2012 as a social media campaign, but it transformed into a global movement. Eventually the Kony 2012 campaign became such a massive force that the United Nations was forced to confront it. Radhika Coomaraswamy, the UN secretary-general’s special representative for children and armed conflict, thought that the Kony 2012 campaign would have been better off if it had focused its efforts on reintegration of the child soldiers rather than the capturing of Kony (Les Roopanarine). Creating a conversation about the way to handle Joseph Kony, Invisible Children’s social media campaign had launched a full-scale international debate.

Nationally, the Kony 2012 movement gained attention from Congress and the House of Representatives even made a resolution supporting the mission to disband Kony and the LRA (Jim McGovern). Demonstrating the power of a social media movement, Kony 2012 captured the world’s attention and created policy changes, an amazing feat for an internet sensation. One of the first of it’s kind, Kony 2012 was unique in that it became an issue that millions of people cared about and thus Congress and the UN were forced to address it. Going forward, this is what I will use to create campaigns. You want everyone to care about the issue so it has to be addressed because Congress cannot ignore its constituents or the members will not be reelected.

Kony 2012 was successful in that it created an international dialogue about Joseph Kony. However, the Internet led to the collapse of the Kony 2012 movement when Invisible Children was scrutinized for its questionable spending practices. A 19-year-old college student looked into Invisible Children’s spending and found that it only spent 32% of the 8 million raised in 2011 on direct efforts (Chris Roper). Invisible Children still maintains these claims are false, but it does not undo the damage done to their reputation. Millions of people read about the controversy and the nation’s spark to catch Kony diminished with the questioning of Invisible Children. Another downfall of the Kony 2012 campaign was Invisible Children’s oversimplified message to capture Kony. Invisible Children chose to stand by their belief that capturing Kony would stabilize northern Uganda. Once Kony was gone, Invisible Children believed, or rather conveyed to the mass public, that the children soldiers would have no one to follow and then would disband. However, this ignores the engrained, fighting attitude that these children grew up with. You can disband an army, but you cannot undo the mental tendencies towards fighting that these child soldiers learned from such a young age. Joseph Kony is just one person that these children could follow. Who is to say that another Kony could not just come along and use these child soldiers for another war? Additionally, Invisible Children offered support to the Ugandan dictator, Museveni, in order to catch Kony. This tunnel vision of capturing Kony could have ended up strengthening Museveni and creating other problems with an empowered dictator like Museveni. Finally, Invisible Children ignored the fact that Joseph Kony was not in Uganda, nor had he been for six years (Anthony Kosner). His army was dwindling in numbers, and although the LRA was still causing suffering, millions of misinformed people are not able to help with such an engrained and complicated situation. Invisible Children’s oversimplified message was devised to engage people over social media, a platform where one only has 140 characters or a post to convey a point.

Although Invisible Children’s message was oversimplified, the idea of using social media to bring about change is a brilliant one. Sharing a video is simple and many viewers were happy to be helping just by spreading the information. As Allison Fine, a social media and activism writer, said, “[Invisible Children] [is] deputizing all of us to click this guy away” (David J. Goodman). Invisible Children struck a chord with viewers and allowed them to feel like they were making a difference by sharing the video. The success of Kony 2012 was that the campaign utilized social media as a means to present a global issue in a way that the average person can relate to.

As one who does social media for many companies, I found Kony intriguing because it demonstrated the power of social media. Kony proved to the world that the world can listen. Both Kony 2012 and the ALS Ice Bucket Challenge represent the ways in which an organization used social media to generate revenue.Going forward, I can use the techniques that Kony 2012 taught me, such as raising mass awareness, which then generates profit, to grow companies into huge entities. I heard you Kony 2012 and I am listening.

 

Works Cited:

Goodman, J. David, and Jennifer Preston. “How the Kony Video Went Viral.”The Lede How the Kony Video Went Viral Comments. New York Times, 09 Mar. 2012. Web. 11 Oct. 2014.

 

Khan, Belal. Digital image. Leechon. N.p., 19 Mar. 2012. Web. 13 Oct. 2014.

 

 

“KONY 2012.” YouTube. YouTube, 05 Mar. 2012. Web. 12 Oct. 2014.

 

Kosner, Anthony. “12 Lessons from KONY 2012 from Social Media Power Users.” Forbes. Forbes Magazine, 09 Mar. 2012. Web. 12 Oct. 2014.

 

McGovern, Jim. H. RES. Ll (n.d.): 1-7. United States House of Representatives. Web. 13 Oct. 2014.

 

“Our Story | Invisible Children.” Invisible Children Our Story. Invisible Children, 2014. Web. 12 Oct. 2014.

 

Roopanarine, Les. “Kony2012 Funds Would Be Best Spent on Former Child Soldiers, Says UN Official.” The Guardian. Bill & Melinda Gates Foundation, 20 Mar. 2012. Web. 8 Oct. 2014.

 

Roper, Chris. “Kony 2012: Taking A Closer Look At The Social Media Sensation.” Konrad-Adenauer-Stiftung. N.p., 22 Mar. 2012. Web. 9 Oct. 2014.

 

 

Violence and Video Games

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When someone says the words “video game”, what comes to mind?  For many, images of kids in basements playing violent first person shooters or of friends online hacking away at goblins come to the forefront and indeed these types of experiences are common in games and greatly shape the way they are perceived by the general public.  It seems that whenever there is a horrific act of violence, someone finds a way to blame video games.  Not only are such claims largely erroneous, but they detract from more concerning issues in society such as depression and various other mental health issues that much more commonly lead individuals to infamy.  Further still, it is believed that a vast majority of gamers are young men when in actuality the Entertainment Software Association (ESA) has found that women make up approximately 48% of the gaming population and that the average age of a gamer is thirty-one.  If even the average gaming demographic is not well known, how then can complex psychological dilemmas that surround the medium be understood?  Society has yet to progress enough to see games as they exist today: as an art and a form of media comparable to film, television, and literature.  As a result of this misconception, along with conflicting and misleading studies, video games are believed to increase violence in those who play when the correlation between the two is minimal at best.

Footage of Doom gameplay featuring the game’s head designer and one of gaming’s first celebrities, John Romero.  In 1999 Doom was famously blamed for being part of what spurred Eric Harris and Dylan Klebold to murder their classmates in the Columbine Massacre, though claims the two had created levels resembling the school for “practice” were later proved to be false.

An important way to dissect the nature of how violence in games affects the player is to study how the player interacts with a game and the thoughts they ascribe to the experience.  When someone sits down to play a game the goal is often to become immersed in a world more interesting and fantastic than our own.  Just because of this fact, however, does not mean that the in-game actions and morals of the player speak of the player’s nature.  When I decide to choose an evil action over a righteous one it is nearly always the case that I am looking to find out how the game reacts to that choice, other times it’s simply to fit the character of the game’s protagonist.  Just because I’m a moral person playing as Darth Vader doesn’t mean he’s suddenly a nice guy.  The very fact that a game is in a world other than our own removes it from the everyday, “…the deliberately outrageous nature of violent games, though disturbing, makes them easily discernible from real life and suggests that the interactivity could potentially make such games less harmful”(Cooper).  Cheryl Olson, co-founder of the Center for Mental Health and Media writes, “young people know [the ridiculous nature of video games]: as one 13-year-old said during a study I conducted at Harvard, ‘With video games, you know it’s fake.’

Taking a step back, it helps to look at overall trends in the nation.  From the 1980s to the present, games have exploded in popularity, with some well established franchises and developers making up to one billion dollars in a single day of sales, and the overall market earning far more than Hollywood (Lynch; Sherry 2).  With the increase in the popularity of games, many would be led to believe that real-world violence should follow suit, however that is not the case.  As Jonathan Freedman, Professor of Psychology at the University of Toronto, asks in his work Media Violence and Its Effect on Aggression, “If violence in the media causes aggression, how can real-life violence and crime be dropping?”(Freedman 8).

This graph shows the rapid growth of the video game market in billions of dollars between the years
This graph shows the rapid growth of the video game market in billions of dollars between the years 1996 and 2008.  Source: Entertainment Software Association.
The graph shows a general downward trend in homicides involving a firearm from 1993-2011.  Source: U.S. Department of Justice Bureau of Justice Statistics
The graph shows a general downward trend in homicides involving a firearm from 1993-2011. Source: U.S. Department of Justice Bureau of Justice Statistics.

Some argue that without violent games crime rates would drop even faster, but then why not eliminate violent forms of media altogether? After all, wouldn’t it be for the betterment of mankind?  That line of thinking, though logical in some respects, is not only unreasonable culturally but narrow-minded as well.  Looking outside the United States we find many other countries with similar gaming cultures and far fewer shootings.  Japan, when corrected for the population difference, has a similar market for video games compared to the U.S. (Tassi).  When compared with the amount of firearm related homicides, however, the U.S. has around eighty-five times the amount of Japan (Planty 1; Tassi). What Japan does have are significantly stricter gun laws (gunpolicy.org).

What then can be made of the claims that vast amounts of research have concluded that violent media does in fact lead to violent behaviors?  Organizations such as the American Academy of Pediatrics (AAP) claim that over 3,500 research studies have examined this correlation and of that number only eighteen found no connection between violent media and violent behavior.  The numbers sound quite intimidating, but in actuality there have been nowhere near that many studies. “If an organization of economists asserted that there were economic problems in 150 states . . . no one would bother asking for their statistics, since if they were so sloppy as to think there were that many states, who could possibly trust the rest of their statement?”(Freedman 9)  As seen with many such research organizations it seems as if people want to believe that violent video games and other forms of media make people violent, but with current findings, that correlation is simply not true.

Violence_in_Videogames_1_by_Ravenhart
An add for Playstation that speaks to the other-worldly nature of the medium.

In 2011 the Supreme Court backed up this assertion.  A law in California was struck down that was to make the sale of mature video games to children illegal.  In his majority opinion Justice Antonin Scalia stated that, “Like books, plays and movies, video games communicate ideas . . . [there is] no tradition in this country of specially restricting children’s access to depictions of violence . . . Grimm’s Fairy Tales, for example, are grim indeed”(Savage).  Rather than banning the sale of explicit games, many suggest a more simple method of keeping violent games from kids: parental oversight.  The Entertainment Software Ratings Board (ESRB) rates every game that is released on a scale from Early Childhood to Adult Only (though most games fall between “E for Everyone” and “M for Mature”).  These ratings are clearly labeled on every game and the ESA has found that 88% of parents of gamers find these ratings helpful when choosing games for their kids.  In the same manner that parents control what their children see on TV, they may monitor what kinds of games are played.  As a kid growing up with games I remember the constant struggle to get more and more mature games, the problem in my case, however, was not that I wanted to play such games for their violence, but rather I was drawn to their stories and to the technology that brought them to life.  Just as many of the most realized and well-produced television shows, Game of Thrones, The Wire, Breaking Bad, tackle mature themes, the best games are often the most violent.  But my parents understood this correlation and did a fine job finding great games that fell outside that trend.  As more and more people like myself, individuals who have grown up with or around video games, become parents, there will be a similarly greater understanding of video game content.

The real problem with video games and their relation to real world violence is the dearth of conclusive information available. Though there have been many studies on the subject, their conclusions are often conflicting (Sherry 1).  “We know virtually nothing, for instance, about how youths who are already prone to violent behavior, such as those exposed to violence at home and in their neighborhoods, use these games. Do they play them differently from the way other children do?”(Olson)  Such questions show that the amount of variables included in conducting  research make it very difficult to come to a reliable conclusion.  It is only from personal experience, from growing up alongside friends who had troubled homes that I can even begin to unravel this Gordian knot.  The handful of kids that I knew who grew up in dangerous neighborhoods or had access to violent games from a young age are well-adapted, productive members of society.  Two of these friends played games like Resident Evil and Grand Theft Auto from the time they were six, but now one is pursuing a business degree and the other a degree in computer science.  Though I have not conducted any formal tests these friends are some of the most happy-go-lucky people I know, but the question remains: how can we possibly know if those who cite video games as inspiration for violent acts were not already predisposed towards such actions and would have committed them regardless of  weather or not they were exposed to violent media?

Though a majority of games feature violence in some form, there are many that convey an impactful experience void of bloodshed.

Despite the fact that the general statistics lean towards discounting any kind of correlation between violent media and actual acts of violence, until more conclusive studies are completed it can not be said for sure which side is right.  There have in fact been isolated events in which perpetrators of violent crimes have cited games in their inspiration (Leung).  Indeed, it is easy to understand where claims denouncing violent games come from as many games feature grotesque violence, it seems natural then that this violence should have a severe impact on behavior.  Certain studies support this theory:

A lab experiment showed that individuals low in violent video game exposure [VVE] behave more aggressively after playing a violent video game than after a nonviolent game, but that those high in VVE display relatively high levels of aggression regardless of game content . . . repeated exposure to video game violence increases aggressive behavior in part via changes in cognitive and personality factors associated with desensitization. (Bartholow)

Other studies however, disagree entirely.

This back and forth of who is right or wrong makes it very difficult to discern the truth, especially as new studies are completed daily, but think of your friends.  When gamers are compared with non-gamers is there much difference in temperament?  And even if there is, how is one to know if violent media leads to violent behavior or if those who are predisposed to violent actions are simply drawn to violent games?  Such are the questions that leave research unclear and make it difficult to come to a conclusion.  From years of playing games, from the hyper-violent to the educational, I find myself to not only be a more understanding and well rounded individual, but someone capable of appreciating the many facets of game design.  Many friends I have made in the industry not only play games but instruments as well.  Many code, but more love to read, and though many games do portray graphic acts of violence, the men and women behind the games are passionate individuals, driven by an artistic fire, not a violent one.  By looking at the concrete information that is available, the best conclusion that can logically be made is that though video games may be startling in their violence, there is ultimately no reliably proven connection between them and any large scale impact on society’s aggression.

Works Cited:

Cooper, Roanna, and Marc Zimmerman, Ph.D. “Do Video Games Influence Violent Behavior?” Michigan Youth Violence Prevention Center. Michigan Youth Violence Prevention Center, 24 Aug. 2011. Web. 10 Oct. 2014.

Freedman, Jonathan L. Media Violence and Its Effect on Aggression: Assessing the Scientific Evidence. Toronto: U of Toronto, 2002. Print.

“Game Player Data.” The Entertainment Software Association. The Entertainment Software Association, 2014. Web. 10 Oct. 2014.

Leung, Rebecca. “Can A Video Game Lead To Murder?” CBSNews. CBS Interactive, 17 June 2005. Web. 12 Oct. 2014.

Lynch, Kevin. “Confirmed: Grand Theft Auto 5 Breaks 6 Sales World Records.” Guinness World Records. Guinness World Records, 8 Oct. 2013. Web. 10 Oct. 2014.

Olson, Cheryl K. “It’s Perverse, but It’s Also Pretend.” The New York Times. The New York Times, 27 June 2011. Web. 10 Oct. 2014.

Planty, Michael, Ph.D., and Jennifer Truman, Ph.D. Firearm Violence 1993-2011. Rep. no. NCJ 241730. United States Department of Justice, May 2013. Web. 10 Oct. 2014.

Savage, David G. “Supreme Court Strikes down California Video Game Law.” Los Angeles Times. Los Angeles Times, 28 June 2011. Web. 10 Oct. 2014.

Sherry, John L. “The Effects of Violent Video Games on Aggression: A Meta-Analysis.” Human Communication Research, Perdue University 27.3 (2001): 409-31. Web. 10 Oct. 2014. <http://www-bcf.usc.edu/~kwanminl/courses/comm631/readings/Sherry%282001%29_Effects%20of%20Violent%20Video%20Games%20on%20Aggression_HCR.pdf>.

Tassi, Paul. “The Numbers Behind Video Games and Gun Deaths in America.” Forbes. Forbes Magazine, 12 Dec. 2012. Web. 10 Oct. 2014.

Midterm Assignment : Device Narratives

Device Narrative

https://wp.nyu.edu/licastro_fall14/?p=513

In your “Digital Literacy Narrative” you explored the writing technologies that have shaped your literacy practices. For your midterm, you should identify one tool from your timeline to investigate on a deeper level. In order to do this, you should focus on the wider impact of this technology in terms of political and social issues. Consider, for example, how Jason Ponti isolates instances when interface design shaped writing practices in “How Authors Write.” Ponti uses historical examples (such as Baker’s use of footnotes) to argue that modern writers are not embracing the potential of new media. Similarly, in “The Geology of Media,” Jussi Parikka exposes the environmental impact of digital devices through the lens of new media evolution. It is your goal to develop an argument about the technology you are investigating through research and critical thinking.

Potential lines of inquiry include:

  • Labor
  • Gender/race
  • Environmental impact
  • Planned obsolescence
  • Cognition/attention
  • Privacy/surveillance
  • Anything you find interesting (and have evidence to prove)

As you are reading Kevin Kelly while composing this piece, I want you to imagine your audience to be the typical Wired magazine reader. Therefore, your reader already has an interest and familiarity with new media, but wants more information than a basic Google search can provide. Your audience seeks a balanced approach: intelligent critique in a relatable, digestible voice.

Our library visit will help you structure your research process. I require you to use at least three sources, properly cited, and archived in our Zotero group library.

You will post your draft on 10/14, and bring in a paper copy on 10/15. You must post the revised digital version on our site on 10/17. Heed Ponti’s advice, and think about using our digital medium to your advantage when composing your piece (for examples see: http://digitalmateriallabor.org/final-project/)

This project is worth 100 points, and will be graded on the following criteria:

 

RHETORICAL ELEMENTS [1]
Purpose The author establishes a purpose of the overall story early on and also maintains the focus on that purpose throughout the work. As in print-based composition, the purpose may be stated or implied.
Audience The choice of different media assets as well as how they are organized and presented shows that the student is aware of the audience/viewer. When asked, the student can describe how the subject matter and the selection, organization, and organization of the media assets fit a particular audience. The piece is written with a clear sense of the audience with a tone that will suit that audience; other media assets also appropriate and effective from an audience point of view.
Organization The overall structure of the story/argument and placement of assets in that structure are effective. There is a good beginning, middle, and end. The amounts of time and emphasis given to different parts or issues make sense.
Logos, Pathos, Ethos The work is intellectually significant, emotionally engaging, or appealing to the audience in other ways—based on its subject matter and purpose.
CONTENT
Subject matter Content is engaging — viewer is left with thought-provoking ideas.
Written elements The student worked diligently in drafting, revising, editing, and proofreading the piece with a particular focus on conciseness and precision. The “story” or subject matter of the piece is not only interesting/significant in itself but also reflects that the student has learned the content of the course.  The text serves as a logical framework for the rest of the media. The student has integrated external information, cited sources, and fulfilled other requirements of the assignment.
PROCESS
The student has been diligent with planning the project, doing research on the subject, creating or finding appropriate media assets, drafting and revising/editing their writing, effectively integrating media assets, appropriately referencing external source within the text and documenting them at the end of the work, and if the work is supposed to be presented before class, his or her presentation or performance is effective. If the work is done in groups, members of the group have each worked effectively in planning, coordinating, and contributing to group’s work.
MEDIA
Music and sound effects Voiceover, background music and other audio assets are layered effectively so that one medium is heard most clearly at a time. They are rhetorically effective; meaningfully integrated with other media; and have an effective volume, tone, and tempo.
Still images Images create a distinct atmosphere or tone that matches different parts of the story. The images add rhetorical effectiveness and symbolic and/or metaphoric meaning to the work.
Transition and other visual effects Transition and other effects created through editing of media do not just produce “cool” effects but are done meaningfully. The effects are seamless and unobtrusive.
Video Videos used in the work contain recognizable and meaningful images and movements, support the meaning of the story logically as well as aesthetically, do not take unnecessary artistic license, do not have distracting or unwanted visual information or background, are paced appropriately, and do not compromise relevance for the sake of interest or for technical reasons
Pacing and economy The media are presented neither too fast nor too slow; there is rhetorically effective increase and decrease of speed in the presentation of materials. Since digital “stories” should be short, the student has saved time and communicated the message in a precise and concise manner. No words, images, or sounds are redundant or rhetorical out of sync.
SYNTHESIS
Coherence All the elements and parts of the work rhetorically fit together and are effectively presented within the overall logical framework. For instance, images and sound effects that are meant to illustrate and enhance a verbal statement do not conflict with the text or with each other.
ACADEMIC CONVENTIONS
Credits The student has cited external sources in the voice over and in any visually represented text or media. There is a citation page at the end.
Language issues The student has paid sufficient attention to grammar, spelling, mechanics, and other linguistic issues in the voiceover, captions, and other places where verbal language is used.

 

 

[1]Adapted from: http://www2.bgsu.edu/departments/english/cconline/winter2013/digital_s/rubric.html