Our move into cyberspaces and cyber networks warrant higher digital footprints and our dependence on digital affordances engenders further stakes in dialogues of effective and appropriate representation of our non-virtual selves. These discussions necessitate questions on and the problematics of the virtual representation of otherness online. My research situates itself at the intersection of Big Data and digital activism movements in the Southern Hemisphere, particularly in the Indian context, whose focus posits the struggle of the queer subaltern against the government as an institution that misrepresents democracy and other institutions with postcolonial, patriarchal and heteronormative notions and concepts of citizenship. My focus for the research is the recently eliminated colonial, anti-homosexuality law, Section 377 of the Indian Penal Code in India and the public, private and political discourses surrounding the issue. This study examines Big Data, particularly Twitter Data collected and filtered through queries of queer digital activism on the social media platform in the form of hashtags #Section377, #decriminalize+homosexuality, #Article377IPC among others in the understanding of an accurate virtual representation of the queer population that is engaged in the struggle and in the effective gauging of the problematics of intersectionality of representation. Is the data representative of the subaltern; is data racialized, gendered and inclusive or is it merely a depiction of the intent of an ideal of inclusion, queer empathy, and support as a part of a larger movement of progressivity and voice of the subaltern within digital movement uprisings in India? Is it too optimistic to posit sufficiency in the argument of the internet and digitized spaces as a form of Fraser’s (1992) counter-public spheres that combat authority, dominant narratives and/or structures and challenge the status quo? These are some questions that this research addresses.
For archiving I made a couple of screenshots of this rare occasion. German director Alexander Kluge interviewing Natascha Drubek in June 2016. The whole film (45') can be found when you follow the link below: “Von den Ikonen zum russischen Stummfilm”:
“Russisches Licht” hieß eine mondäne städtische Beleuchtungsart, zuerst in Paris erprobt, die das Gaslicht ablöste. Natascha Drubek nimmt dieses “Licht der Moderne” als Metapher, um die tiefgreifende Beziehung des Lichts in den russischen Ikonen mit dem Licht in den einmaligen russischen Stummfilmen zu vergleichen, die ein Stück Klassik in der Filmgeschichte darstellen. Das gilt nicht nur für die legendären Filme von Eisenstein, Vertow, Pudowkin und anderen Meistern der 20er Jahre, sondern vor allem auch für den Stummfilm der Zeit bis 1917: Filme wie DÄMMERUNG EINER FRAUENSEELE von Jewgeni Bauer.
Das “Russische Licht” von vor 140 Jahren leuchtete in den Großstädten nur kurz. Seine Faszination aber erstreckt sich etwa 20 Jahre länger als die Filmgeschichte: heute wäre “Russisches Licht” (in der Gestalt großer Glaskugeln, der Ikonen des Stummfilms) ein Anknüpfungspunkt für jede Erneuerung des Films (der durch Hollywood-Abbildrealismus und die Medien totgequatscht ist). (A. Kluge)
Imagine a humanities network with the sharing power of Academia.edu, the archival quality of an institutional repository, and a commitment to using and contributing to open source software. Now imagine that this network is not-for-profit. It doesn’t want to sell your data or generate profit from your intellectual property. That’s Humanities Commons. Run by a nonprofit consortium of scholarly societies, Humanities Commons wants to help you curate your online presence, expand the reach of your scholarship—whatever form it may take—and connect with other scholars who share your interests. This webinar will show you how you can make the Humanities Commons platform work for you. You'll walk through tailoring your profile, sharing your work with groups, and more.
Gives a short history of Aslib, which was from 1924 to 2010 an independent membership organisation for special librarianship, technical and commercial information work, and latterly for information management, It was highly influential in the development of documentation and information science, in the UK and worldwide. Its activities included research and consultancy, training, professional development, publishing, and technology development. Aslib was for many years the de facto UK centre for information research, especially information and library management, information orgnaisation and computer applications. It has had several names, being at times the Association of Special Libraries and Information Bureaux, Aslib, the Association for Information Management, and ASLIB. In 2010, ASLIB became a part of Emerald Group Publishing, and activities ceased in 2016.
First setting of "Jesu Redemptor" for four voices (originally for SATB, in this recording for SSAT) by Portuguese composer Filipe de Magalhães (c.1571-1652), from his "Cantus Ecclesiasticum" print of 1698. Recorded by the Schola of Ensemble Eborensis in the commemorating concert of the foral of Aguiar, Paroquial Church of Aguiar, June 10, 2016.
Antiphon "Asperges me" by Portuguese composer Duarte Lobo (c.1566-1646) for four voices (originally for SATB, in this recording for SSAT) from his 1621 Liber Missarum. Recorded by the Schola of Ensemble Eborensis in the commemorating concert of the foral of Aguiar, Paroquial Church of Aguiar, June 10, 2016.
A "Adoração dos Pastores" com Glória Angelical (pormenor) data de c.1595, encontrando-se actualmente no Museu de Évora. Este quadro tem proveniência no mosteiro cisterciense feminino de S. Bento de Cástris, Évora. Nele encontra-se uma cena de anjos músicos, representando vários instrumentos de sopro e de corda, como um aerofone de palheta dupla, viola d'arco, viola da gamba, cordofone dedilhado (alaúde?), harpa. www.orfeus.pt