By Lewis Kaye
by Jacqueline Wallace
Through an analysis of craftivism’s feminist roots and a series of illustrative examples, this study elaborates mobility as a conceptual frame, knitting and purling it with the craftivist movement and questions of urban space, networks, assemblages, and mobile media and technologies.
This paper focuses on the Tunisian Revolution that occurred in January 2011. The revolution was dubbed by many on television, on the Internet, and in the blogosphere, as the “Twitter Revolution.” I focus on how social media serves as an effective tool in the political climate of Tunisia, but in analyzing critiques of the Twitter title in conjunction with survey responses from 50 Tunisians, I argue that the “Twitter” title is Orientalist as it emphasizes the role of Western-made technologies, rather than the role of Tunisians themselves.
This article explores the ambivalence between use and non-use through the notion of “default users”. “Default users” are users “by accident” who have access to the necessary technologies and possess the skills to make Places work. They have no particular interest in Places per se, but they still use it because of its availability as yet another tool for socializing.
If you are an established filmmaker living in downtown Halifax, Nova Scotia, or Saskatoon, Saskatchewan, you have probably already produced and/or directed more than fifteen projects of your own. Some may be award-winning; several have likely been produced or distributed with major Canadian media players, such as the National Film Board of Canada and the Canadian Broadcasting Corporation. Having established your credentials over the past decade, you seek funding for your next documentary project but cannot secure the support needed by pursuing traditional industry sources.