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CMS friends! I’m writing to share this wonderful essay in the fall issue of FMH by our very own Diana Flores Ruiz, “<a href="https://online.ucpress.edu/fmh/article/10/4/10/203491/RematerializationAnticolonial-Collective-Memory">Rematerialization: Anticolonial
Collective Memory through Latinx Digital Art</a>,” which is now available for free streaming thanks to UC Press. More details on this special issue below. Circulate at will and enjoy. Cheers, JB
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<p style="margin: 0;"><a href="https://online.ucpress.edu/fmh/issue/10/4" originalsrc="https://online.ucpress.edu/fmh/issue/10/4" shash="P9XrPCAJeoDf+jNAfcip+ZDXVeFGb6Nt6NscHO+3BLf7y3so/WaWG5ZNJvnOmtVEEbQltm+irRGZ5lCwBD8THajbltcA1M8g+585P4g58hvD0rdXNhp9PugLy9ghumq9GnEc62vlfvGypXQtGbEM0NRECNtG1VceA7eHPXjxpVM=" rel="noopener noreferrer" target="_blank" style="font-weight: bold; font-family: Verdana, Geneva, sans-serif; color: #0000FF; text-decoration: underline; font-style: normal;">CURRENT
ISSUE</a></p>
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<p style="margin: 0;"><span style="color: rgb(255, 255, 255); font-family: Verdana, Geneva, sans-serif;">TRANSNATIONAL LATINXS AND DIGITAL MEDIA</span></p>
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</p>
<p style="margin: 0;"><span style="font-family: Verdana, Geneva, sans-serif;">Vol. 10 No. 4, FALL 2024</span></p>
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<p style="margin: 0;"><span style="font-size: 12px; color: rgb(255, 255, 255); font-weight: bold; font-family: Verdana, Geneva, sans-serif;">FEATURED ARTICLES</span></p>
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<p style="margin: 0;"><span style="font-size: 12px; color: rgb(255, 255, 255); text-decoration: underline; font-weight: bold; font-family: Verdana, Geneva, sans-serif;">EDITORIAL</span></p>
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<p style="margin: 0;"><a href="https://online.ucpress.edu/fmh/article/10/4/1/203486/IntroductionParadoxical-Relation-Latinx-America" originalsrc="https://online.ucpress.edu/fmh/article/10/4/1/203486/IntroductionParadoxical-Relation-Latinx-America" shash="yb11kmBamF3wQQnOxtemX+lO1X7LH+jAQ7pRMGfscQ6CnCLu9c6Z40UPBgO9zAl9b6MkC2GsVbUFP0mQi1GifvZgF57ByWgSpkJubfe1EHObXdrpKihePMASG0QEVb6N8uQ04ocpanVzbSgOsCEHYXrIXBvq49YKYUQRLZV3w/k=" rel="noopener noreferrer" target="_blank" style="font-size: 12px; color: blue; text-decoration: underline; font-family: Verdana, Geneva, sans-serif; font-weight: bold; font-style: normal;">Paradoxical/Relation:
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<p style="margin: 0;"><span style="font-size: 12px; color: rgb(255, 255, 255); font-family: Verdana, Geneva, sans-serif; font-weight: bold;">Rematerialization: Anticolonial Collective Memory through Latinx</span></p>
<p style="margin: 0;"><span style="font-size: 12px; color: rgb(255, 255, 255); font-family: Verdana, Geneva, sans-serif; font-weight: bold;">Digital Art</span></p>
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<p style="margin: 0;"><span style="font-size: 12px; color: rgb(255, 255, 255); font-family: Verdana, Geneva, sans-serif;">LUISA GONZÁLEZ</span></p>
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<p style="margin: 0;"><span style="font-size: 12px; color: rgb(255, 255, 255); font-family: Verdana, Geneva, sans-serif;">BERNARDITA LLANOS M.</span></p>
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<p style="margin: 0;"><span style="font-size: 12px; color: rgb(255, 255, 255); text-decoration: underline; font-family: Verdana, Geneva, sans-serif; font-weight: bold;">INTERVIEW</span></p>
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<p style="margin: 0;"><span style="font-size: 12px; color: rgb(255, 255, 255); font-family: Verdana, Geneva, sans-serif; font-weight: bold;">“I Am a Meme”: Interview with Gad Yola, Drag Artist</span></p>
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<p style="margin: 0;"><span style="font-size: 12px; color: rgb(255, 255, 255); text-decoration: underline; font-family: Verdana, Geneva, sans-serif; font-weight: bold;">TRANSLATION</span></p>
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<p style="margin: 0;"><span style="font-size: 12px; color: rgb(255, 255, 255); font-family: Verdana, Geneva, sans-serif; font-weight: bold;">Black Feminist Activism in Times of Digital Technology Immersion and Surveillance Capitalism</span></p>
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<p style="margin: 0;"><span style="font-size: 12px; color: rgb(255, 255, 255); text-decoration: underline; font-weight: bold; font-family: Verdana, Geneva, sans-serif;">FUTURE ISSUES</span></p>
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<p style="margin: 0;"><span style="font-size: 16px; color: rgb(22, 22, 22); font-family: Calibri, Helvetica, Arial, sans-serif;">Dear colleagues,</span></p>
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<p style="margin: 0;"><span style="font-size: 16px; color: rgb(31, 31, 31);">We are pleased to announce the Fall 2024
</span><span style="font-size: 16px; color: rgb(31, 31, 31); font-family: Calibri, Helvetica, Arial, sans-serif;">issue of
</span><a href="https://online.ucpress.edu/fmh" originalsrc="https://online.ucpress.edu/fmh" shash="gmsfvdkqxNEXZ9dzR8hbkv4y6Ke6sqbaaZbJcJC2WXnDzcfn2PVCJJBxF+x14hAveUCzv9UZlRVlgTXr7efrfH1DJz2XXN72e7fKfJzY0ChOvSphzG9MYWNyGTIHQHyTWOxrGAbfPogzUN0nVysyZu3w+1lH2MLVeW+FLVKUkTo=" rel="noopener noreferrer" target="_blank" style="font-size: 16px; color: rgb(6, 47, 250); font-family: Calibri, Helvetica, Arial, sans-serif; font-style: italic; font-weight: normal; text-decoration: underline;">Feminist
Media Histories</a><span style="font-size: 16px; color: rgb(31, 31, 31);">, a special issue on Transnational Latinxs and Digital Media,</span><span style="font-size: 16px; color: rgb(31, 31, 31); font-family: Calibri, Helvetica, Arial, sans-serif;"> guest
edited by</span><span style="font-size: 16px; color: rgb(22, 22, 22); font-family: Calibri, Helvetica, Arial, sans-serif;"> Frances Negrón-Mutaner and Orianna Calderón-Sandoval.</span></p>
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<p style="margin: 0;"><span style="font-size: 16px; color: rgb(0, 0, 0); font-family: Arial, Verdana, Helvetica, sans-serif;">Please b</span><span style="font-size: 16px; color: rgb(0, 0, 0);">e sure to follow us on </span><a href="https://www.facebook.com/FeministMediaHistories" originalsrc="https://www.facebook.com/FeministMediaHistories" shash="QbBrXu4sGzY33YcmCj3JUkEqo64X9BJFh71CwdHGl4FSyfWOgEPStwkOJGbHzJhctMh7VEQvNxpH/9ZBHl8LIhnC59xHwXODAtgVbjkhHxvWRKOyrbOVi7QvKPRQPkeNoGPLJg42ZOFr2/ExTJ+xE0rhaCdv1vz6likxbhbmlNE=" rel="noopener noreferrer" target="_blank" style="font-size: 16px; color: blue; font-weight: normal; text-decoration: underline; font-style: normal;">Facebook</a><span style="font-size: 16px; color: rgb(0, 0, 0);"> and </span></p>
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<p style="margin: 0;"><span style="font-size: 16px; color: rgb(209, 107, 4); font-weight: bold;">Editors' Introduction – Paradoxical/Relation: Latinx+America, Feminisms, and Digital Media</span></p>
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<p style="margin: 0;"><span style="font-size: 24px; color: rgb(0, 0, 0);"></span><span style="font-size: 16px; color: rgb(0, 0, 0); font-family: Arial, Verdana, Helvetica, sans-serif;">This special issue of
</span><span style="font-size: 16px; color: rgb(0, 0, 0); font-family: Arial, Verdana, Helvetica, sans-serif; font-style: italic;">Feminist Media Histories</span><span style="font-size: 16px; color: rgb(0, 0, 0); font-family: Arial, Verdana, Helvetica, sans-serif;">
arises from pressing questions about a historic convergence with significant political consequences: the joint rise of digital technologies and feminisms across hemispheric Latinx+ America. In contrast to even two decades ago, an increasingly plural feminism
is </span><span style="font-size: 16px; color: rgb(0, 0, 0);">now one of the most extensive social movements in the region, producing new political forms, knowledge, and subjects.</span><span style="font-size: 16px; color: rgb(0, 0, 0); font-family: Arial, Verdana, Helvetica, sans-serif;">
In addition, the people(s) of</span></p>
<p style="margin: 0;"><span style="font-size: 16px; color: rgb(0, 0, 0);">Latinx+ America are—although unevenly—one of the most networked in the world. While in the United States an estimated 80 to 91 percent of</span></p>
<p style="margin: 0;"><span style="font-size: 16px; color: rgb(0, 0, 0);">Latinxs are connected to the internet, as of 2021 there were over 500 million Latin American users, and the region’s internet incursion reached 78 percent, surpassing China’s, at 74 percent.</span><span style="font-size: 16px; color: rgb(0, 0, 0); font-family: Arial, Verdana, Helvetica, sans-serif;">
Latinx+ Americans are also among the</span></p>
<p style="margin: 0;"><span style="font-size: 16px; color: rgb(0, 0, 0);">most politically effective deployers of digital technologies.</span><span style="font-size: 16px; color: rgb(0, 0, 0); font-family: Arial, Verdana, Helvetica, sans-serif;"> A striking
example </span><span style="font-size: 16px; color: rgb(0, 0, 0);">is the 2019 viral “Green Wave” mobilization to protest violence against women staged in Chile that spread worldwide, in part due to digital recordings of a performance by the art collective
LASTESIS, “El violador en tu camino” (The Rapist in Your Path). As scholar Myra Mendible has summarized,</span></p>
<p style="margin: 0;"><span style="font-size: 16px; color: rgb(0, 0, 0);">“Today’s Latinx feminist activists are . . . using technologies not available to earlier feministas. Most have access to social media and other digital platforms that broaden their audiences
and extend their transnational reach.”</span></p>
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<p style="margin: 0;"><span style="font-size: 16px; color: rgb(0, 0, 0); font-family: Arial, Verdana, Helvetica, sans-serif;">Building on the work by Mendible, Mary Beltrán, Mirasol Enríquez and Marisa Revilla Blanco, among other scholars, this special issue
asks: How are Latinx+ American feminisms, including borderlands, Black, Indigenous, diasporic, and queer, among others, using digital media and to what ends? How do hierarchies based on class, race, Indigeneity, gender, and sexuality shape
</span><span style="font-size: 16px; color: rgb(0, 0, 0);">media makers/users and to what effects? In what ways do the Latinx+ America digital arts and the region’s long avant-garde artistic tradition differently “in-form” feminist politics in the region? What
are the implications of a state-sponsored and racial capitalist digital visuality for the region’s political present and future? Ultimately, what histories—</span><span style="font-size: 16px; color: rgb(0, 0, 0); font-style: italic;">herstories</span><span style="font-size: 16px; color: rgb(0, 0, 0);">
and </span><span style="font-size: 16px; color: rgb(0, 0, 0); font-style: italic;">theirstories</span><span style="font-size: 16px; color: rgb(0, 0, 0);">—might feminist media scholars write of the digital age when Latinx+ America and its users/makers are
placed at the center of the discussion, and how may these enable a more just and joyful present?</span></p>
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<p style="margin: 0;"><span style="font-size: 16px; color: rgb(0, 0, 0); font-family: Arial, Verdana, Helvetica, sans-serif;">Titled “Paradoxical/Relation,” the issue engages with and broadens these questions through ten interventions, organized in four parts—peer
reviewed research articles and an essay, short takes, an interview, and a translation, which respond by engaging paradox, in two of its core meanings. If a paradox is a situation or context that combines “contradictory features or qualities,” the work gathered
here pays particular attention to the paradoxical dimensions of the relationship between Latinx+ America, feminism, and digital media praxis. At the same time, the contributors embody the etymological
</span><span style="font-size: 16px; color: rgb(0, 0, 0);">roots of the term </span>
<span style="font-size: 16px; color: rgb(0, 0, 0); font-style: italic;">paradoxa</span><span style="font-size: 16px; color: rgb(0, 0, 0);"> as a “statement contrary to accepted opinion,” performing a robust critique of neoliberal coloniality and hegemonic understandings
of media. Drawing near the notion of paradox with writer Édouard Glissant’s notion of “poetics of relation,” or the view that social relations are co-constitutive, and “that our contemporary reality is one of accelerating multiplicity,” the special issue also
proposes the notion of “paradoxical/relation” to consider the ways that paradox is not external to ourselves, our concepts, our movements, or technologies, and therefore fundamental to feminist politics.</span></p>
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<p style="margin: 0;"><span style="font-size: 16px; color: rgb(0, 0, 0); font-family: Arial, Verdana, Helvetica, sans-serif;">Accordingly, the special issue brings to the fore the vibrant epistemological diversity or “el abanico diverso y disperso” (“the diverse
and dispersed spectrum”) in the words of activist Agustina Cepeda, characteristic of the region’s feminisms. Importantly, this diversity is not a simple matter of
</span><span style="font-size: 16px; color: rgb(0, 0, 0);">“inclusion.” Instead, the issue argues that such diversity—which here includes</span></p>
<p style="margin: 0;"><span style="font-size: 16px; color: rgb(0, 0, 0);">Black, queer, ecofeminist, Indigenous, Caribbean, drag, and trans—is a conceptual</span></p>
<p style="margin: 0;"><span style="font-size: 16px; color: rgb(0, 0, 0);">and political necessity.</span><span style="font-size: 16px; color: rgb(0, 0, 0); font-family: Arial, Verdana, Helvetica, sans-serif;"> The region’s histories of coloniality, including
</span><span style="font-size: 16px; color: rgb(0, 0, 0);">enslavement, genocide, and mass displacement have generated a range of critical perspectives that emerge from struggles against differentiated but articulated structures of power which have distinct
genealogies, concepts, and effects, and are not reducible to each other. Indeed, these diverse frameworks and knowledge(s) often conflict in their methods or conclusions, as they do in other
</span><span style="font-size: 16px; color: rgb(0, 0, 0); font-family: Arial, Verdana, Helvetica, sans-serif;">political arenas. Yet, by staging this conversation, “Paradoxical/Relation” suggests that each of these perspectives lays bare a different systemic
dimension, enables greater analytic complexity, and allows for a broader and richer politics.</span></p>
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<p style="margin: 0;"><span style="font-size: 16px; color: rgb(0, 0, 0); font-family: Arial, Verdana, Helvetica, sans-serif;">[...]</span></p>
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<p style="text-align: left; margin: 0;" align="left"><span style="font-size: 14px; font-weight: normal; font-style: italic;">Feminist Media Histories
</span><span style="font-size: 14px; font-weight: normal;">publishes original research, oral histories, primary documents, conference reports, and archival news on radio, television, film, video, digital technologies, and other media across a range of historical
periods and global contexts. Inter-medial and trans-national in its approach, </span>
<span style="font-size: 14px; font-weight: normal; font-style: italic;">Feminist Media Histories
</span><span style="font-size: 14px; font-weight: normal;">examines the historical role gender and sexuality have played in varied media technologies, and documents the engagement of women and LGBTQ communities with these media as audiences, users and consumers,
creators and executives, critics, writers and theorists, technicians and laborers, educators, activists, and librarians.
</span></p>
<p style="text-align: left; margin: 0;" align="left"><span style="font-size: 14px; font-weight: normal;"></span></p>
<p style="text-align: left; margin: 0;" align="left"><span style="font-size: 14px; font-style: italic; font-weight: normal;">Feminist Media Histories</span><span style="font-size: 14px; font-weight: normal;"> is published quarterly by the University of California
Press. </span></p>
<p style="text-align: left; margin: 0;" align="left"><span style="font-size: 14px; font-weight: normal;">More information is available </span><a href="http://fmh.ucpress.edu/" originalsrc="http://fmh.ucpress.edu/" shash="gM6TKPr/lUyI8BXL0JG+ZWJPRhwz+zNDvpwMZ0oezSo0nuuLozwBfJqAJK1wlzEyXKgLNwTCjoUFLlVXQIQ2vY0GMcfkbG5tQocb9VptAW6/hUmTd3doinMdnRffCozfqm2Pq/wn008ZVM5GBuR4lvKHbQySHcrpDy76UW0nnis=" target="_blank" style="font-size: 14px; font-weight: normal; color: #0000FF; text-decoration: underline; font-style: normal;">here</a><span style="font-size: 14px; font-weight: normal;">.</span></p>
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