digital identities multimodal inteventions pedagogical implications
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April Conway
Digital Identities, Multimodal Interventions, and Pedagogical Implications
The high stakes of digital identities were once again made clear in the past month with
the rollout of the United Nations Womensad campaign on Google search results. The creative
team from Memac Ogilvy & Mather Dubai used Googles auto-complete feature on March 9,
2013 to find out how the search engine would respond to searches beginning with such phrases
as women should and women need. The top four results for each of the four phrases, now
permanently documented in the ads, are all sexist. A brief report about the ad campaign found
on unwomen.org states, For UN Women, the searches confirm the urgent need to continue
making the case for womens rights, empowerment and equality, a cause the organization is
pursuing around the world.This high profile spotlight on one, ubiquitous form of digital
representation signals an international issue demanding local and international intervention.
Though the UN Women campaign is an important contribution to the conversation and
intervention of digital identity representation, the scholarship on this phenomenon is not new. In
1994, for example, Cynthia L. Selfe and Richard J. Selfe, Jr. published an article reflecting on
cultural information politics as they write about computer interfaces as maps that enactamong
other thingsthe gestures and deeds of colonialism continuously and with a great deal of
success (482). Throughout the article, Selfe and Selfe address the privileged discourse, class,
race, and professional cultures digitally represented at the time. When studying more current
scholarship its unfortunate to see little has changed and perhaps faulty understanding of
problematic digital identity representations has become even more entrenched.
For example, in a 2012Bitch magazine article based on her dissertation, Dr. Safiya Noble
dissects the myths, practices and policies related to search engine companies and searches,
focusing in particular on the digital representation of women and girls of color. In the article
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Noble writes, These search engine results, for women whose identities are already maligned in
the media, only further debase and erode efforts for social, political, and economic recognition
and justice (38). The article is expertly written to address how capitalism influences computer
programming choices and corporateidentity-constructing practices, but it also explicitly asks the
reader to imagine how a young black girl would respond to the derogatory results that appear
when she types in search terms that are supposed to yield results that accurately represent her.
The fact that the internet is ubiquitous in much of the world and that as result a majority
of people are notseeing themselves accurately represented or even at all recognized on digital
platforms is a critical problem that needs the consistent attention and intervention from global
policy powerhouses like the UN to grassroots communities and academic circles. From multi-
disciplinary scholars like Noble to rhetoric and composition scholars like Selfe and Selfe, there
aremultiple voices contributing to the conversation and intervention of digital representation.
Rhetoric and composition scholars, in fact, are being called on to contribute to these sites of
discussion and action by colleagues in the discipline. In a recent Council Chroniclearticle, Adam
Banks discusses both the need for higher education to actually look like America in all its
range, its diversity with respect not only to race but ability/disability, sexuality, and gender (qtd.
in Aronson 16) and the need for digital literacy to become the business that we (composition
scholars) are in (qtd. in Aronson 17). Part of this digital literacy Banks addresses is being able
to analyze and evaluate the frequently problematic nature of identities represented digitally, but
more crucial is the need to know how to change these discriminatory representations. This is a
charge that Noble, rhet/comp cyberfeminists, Self and Selfe and other rhetoric and composition
scholars, as well as online authors, offer through the very medium that so often creates such
negative expectations of marginalized groups: digital, multimodal projects that talk back
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(hooks). Thus, this essay briefly explores the often problematic nature of digital representation,
but will spend more time exploring opportunities of digital literacy practices as well as fostering
multimodal interventions for misrepresented online identities.
To return briefly to some of the systematic and specific examples of problematic digital
identity representation, I turn again to Noble who explicates contemporary reasons for this issue:
At the moment, U.S. commercial search engines like Google, Yahoo!, and Bing wield
tremendous power in defining how information is indexed and prioritized. Cuts to public
education, public libraries, and community resources only exacerbate our reliance on
technology, rather than information and education professionals, for learning. But whats
missing in the search engine is awareness about stereotypes, inequity, and identity. (38)
Throughout the article Noble holds corporate giants and regional predilections responsible for
the hierarchy of assumed preferences of how we view and understand each other and
ourselves. However, she is also quick to dispel the myth of the democratizing nature of search
engine results, arguing instead that discrimination is embedded in algorithms built by
programmers and that money moves links and websites to the top of the search result pile. What
is also important to note in Nobles writing is a concern for the de-humanization (in a face-to-
face manner) of education, thus leaving a vacuum for technology to fill; this concern echoes
Banks call for digital literacy, a literacy that is and should be facilitated, according to Banks, by
rhetoric and composition scholars.
One such scholar is Samantha Blackmon who in her article But ImJustWhite
explains the exigency of her pedagogical choices to explore discourse communities and
intersectional identities located in online spaces. Blackmon includes reflections from some of
her African-American freshman composition students who felt that neither African Americans
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as a whole nor they as young African Americans were correctly portrayed on the World Wide
Web (93); rather, these students noted that they were often represented as being associated
with rap and sports (93).In addition to these students reflections, as well as a white male
studentsreaction (from which the title stems), Blackmon highlights erasures of difference that
can occur in cyberspace and issues with access in regards to technology (95-96). Blackmons
overarching argument is to be both proactive and reactive to the alienation many students feel
when online, or when facing a lack of access to the technology that would allow them online.
To zoom out, so to speak, from the classroom into the realm of popular American culture,
there is a recent, particularly troubling example of digital representation, one that has been
circulated widely in multiple forms, and that has been remixed and responded to in equal
measure via digital platforms. This is the infamous Miley Cyrus MTV Video Music Award
performance where Cyrus, and I contend, by extension her duet partner Robin Thicke (no
stranger to problematic representation choices) exploit black womens bodiesand perpetuate
both the trope of denying women sexual agency and the trope of sexualizing women within a
patriarchal entertainment industry. Many critics of Cyrus were outraged at the graphic sexual
nature of her performance, and many defenders argued against this slut-shaming discourse.
More insightful, to me, were the critics who called foul on the intersections of racism and sexism
in the performance. A Google search (and I do recognize the irony) reveals some of these critics
to beJezebelbloggers Korra and StrangerCate,Racialiciousguest contributor Jacqui Germain,
andHuffington PostSenior Editor for Mobile and Innovation Kia Makarechi.When reading these critical responses online a number of thoughts cross my mind. For
one, I consider my own identity in relation to Cyrus, and though we are worlds apart in terms of
economic class, and of a different age by more than a decade, to say nothing of other cultural
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differences, we are both white women and thus racially privileged. To see another white woman
treat black women in such a way is infuriating. To read some white feminist female authors
defend Cyrus while completing missing the racist overtones (Why Miley Cyrus Is a Feminist
Icon byHuffington Postblogger Jincey Lumpkin is one such example) or marginalizing these
overtones is both infuriating and embarrassing. Then, I think about how widely circulated the
performance was: for those who did not watch the VMAs live, Cyrus performance immediately
went viral; again, a quick Google search reveals countless ways to access video clips of the
performance. The criticism also continues to appear digitally and thus I am lead to consider how
my students may have responded to this performance, whether without any critical reflection, or
not knowing how to articulate their criticism, or wishing they knew how to speak back, or
knowing how to speak back but hyper-conscious of a largely non-supportive society beyond their
immediate communities. Did any of my students feel as though their identities were misaligned
in the initial performance and then repeatedly misrepresented as the digital circulation began full
force? Because of these possible reactions, I consider the pedagogical practices that Smithermon,
Banks, Selfe and Selfe and others call for and enact in regards to digital literacy and digital
representation. In other words, I consider how I might foster students critical thinking and
construction of others and their own digital identities.
Some pedagogical decisions can be informed by Blackmon who leads her students
through a series of assignments and activities throughout the semester that allow them to explore,
engage with, and reproduce aspects of the discourse communities (race, class, gender, sexual
orientation orx-factor) (97) they identify with, primarily in online forums. There is also
Selfe and Selfe who emphasize educators and their students become technology criticis as well
as technology users (496) as means tocontribute to technology design (497-498), and to re-
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conceive the map of the interface (499-500). What these scholars help me with is preparing for
teaching digital literacy: to discuss how and what it means to see and create representations of
people in online spaces, and to begin to enact the creative aspects these scholars call for.
Other pedagogical decisions are informed by such rhetoric and composition scholars and
cyberfeminsit educators (44)Kristine Blair, Katherine Fredlund, Kerri Hauman, Em Hurford,
Stacy Kastner, and Alison Witte who in their article Cyberfeminists at Play discuss the goals
of teaching girls and young women how to enjoy and work with technology. Some of these
goals include creating Low risk environments (to) facilitate playful sites within which girls and
young women can take on the role of technological agent and Connecting digital practices and
personal interests (as) central to helping girls position themselves as digitally literate users and
producers (44). The practices outlined in this article make a number of things regarding digital
literacy clear: to start young, to focus on girls (and other marginalized groups), and to empower
through play, self-confidence, and rhetorical and material technological training. What I can do
as a composition instructor by considering these practices is to have students create the content
they want to see of themselves and their communities through strategic technological skill
building. This is work I can build off of from the work of Blackmon and Selfe and Selfe above.
Another particularly relevant text when considering pedagogical implications and
interventions around such cultural digital representations as the Cyrus debacle is Adam Banks
Digital Griots.Not only does Banks forward the idea that technologies themselves are
rhetorical in nature but his book is centered on the intersections of African American culture
and technologies (14).One thing that is critical to me about Backs book is that it shifts the
entire framework of how to discuss technology, rhetoric and culture to a culture frequently
misrepresented online (as in the case of Smithermons African American students) and that is
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underrepresented in the worlds of corporations and computer programming, words that are
designing the false reality we see online. Sharing Banks book with students could potentially
be an act of reorientation, in a cultural rhetorics sense, to discussions of these crucial concepts
around digital identity and culture.
Another place to turn to for pedagogical inspiration is to queer rhetoric and composition
scholar Jonathan Alexander and Jacqueline Rhodes who propose queer multimodality as a way
to represent ones own queerness(188) and to explore the gestures of queer critique that draw
our attention to and challenge normative identity, and that probe the intermingling of sexuality
and power in the West (202). After introducing to students to queer theory as a means of
critiquing more than sexuality but rather normativity of any kind, I find the second quote by
Alexander and Rhodes to helpful when critiquing instances of popular culture that is hugely
problematic in terms of power dynamics that lie along an axis of sexuality, such as in the Cyrus
case. As Alexander and Rhodes demonstrate in their article, queer multimodality, or
multimodality without the queer lens, offer opportunities for critique and for digital intervention.
To forward my own pedagogical idea I offer the digital, multimodal open letter. I began
thinking about the open letter as a means of intervention and creation in the wake of the Cyrus
fallout when I noticed some of the most widely-circulated responses were in fact open letters.
Sinead OConnor and Sufjan Stevens letters are perhaps the most cited on the internet.
However, I find the letters from these musicians to be problematic because neither of them
address the racist aspects of the performance, and though tongue-in-check it may be, Stevens
letter seems to in fact perpetuate racist assumptions by correcting Cyrus grammar in her lyrics;
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grammar that to me and to someJezebelcommunity members, is representative of African
American Vernacular English1.
These celebrity and other patronizing exceptions aside, other, more productive open
letters have appeared. Full of emotion and astute argumentation, these letters step in line as part
of a long and rich rhetorical tradition. What is obvious, though, from reading these artifacts is
that contemporary open letters are frequently composed and published online; therefore, these
letters are frequently multimodal as the alphabetic text is accompanied by GIFs, full-length
videos, photographs or illustrations, or other forms of hypertexts. Multimodality is an important
rhetorical consideration when considering digital and cultural intervention because it allows
authors to present visual and aural evidence to support their claims, or to talk back as bell
hooks name this argumentative strategy against racist, sexist and other discriminatory practices.
In her book Talking Back: Thinking Feminist, Thinking Blackness,hooks writes, Even in the
face of powerful structures of domination, it remains possible for each of us, especially those of
us who are members of oppressed and/or exploited groups as well as those radical visionaries
who may have race, class, and sex privilege, to define and determine alternative standards, to
decide on the nature and extent of compromise.The open letters I have read by African
American women, and articles that float similar ideas as these letters, declare alternative
standards in relation to the discourse that either congratulate or defend Cyrus on being hyper-
sexualized but failed to address her racist practices. The open letters, though, and most of these
articles do notseem to offer compromise as an option. Rather, they speak back from discourses
stemming from personal experience, academic logic, and a savvy rhetorical understanding of
digital multimodality and digital circulation.
1Or, given Miley's general trends lately, is this just a delightful little letter from one oblivious white
person who doesn't realize that that the other white person is simply misappropriating a cultural dialect
not her own? Violet Baudelaire,Jezebel14 Oct. 2013
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For example, one open letter byJezebelblogger Korra includes a GIF of black Caribbean
artist Rhianna looking either bored and/or quietly simmering as Cyrus parades onstage in front of
her at VMAs. This inclusion of making her letter multimodal by including the GIF could be
interpreted in multiple ways, including the decision to show a multimillionaire black woman who
was not buying into the world of black-women-as-props that Cyrus reinforced. An article about
the Cyrus debacle by fellowJezebelblogger StrangerCate cites and links to Korras letter, thus
performing a powerful move in the politics of citation that Sara Ahmed writes about (para. 2).
Additionally, StrangerCates article in heavily multimodal with numerous photos, videos, screen
shots of tweets, and hyperlinks to other articles that talk back to Cyrus and other critics
incorporated into the webpage on which the article appears. This article which supports Korras
open letter is a rich multimodal text that offers multiple pieces of visual and aural arguments to
supplement the arguments made via alphabetic writing.
What these two cultural and popular digital writers can offer me and my students are a
plethora of pedagogical considerations. These authors demonstrate n crystal clear rhetorical
awareness of audience and context, and are strong examples of when and how to use personal
experience as evidence in ones own compositions. They demonstrate, again, the power of
citation in terms of reinforcing your own argument with those of similar opinion, and perhaps
more importantly, supporting others, especially marginalized people, by citing their work,
especially in a way where their work, and ones own work, can be circulated widely and quickly.
These authors also show clear examples of how to mine the internet for examples of people to
speak back to, as well as how to mine the internet for visual and aural materials that can be used
to support ones own position.
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Though clearly teaching does not have to revolve around popular culture, popular culture
is where so many students are drawn to when they enter online spaces. Additionally, it is so often
popular culture that portrays identity and culture in problematic ways. Therefore, using digital,
multimodal assignments such as the open letter offers a way not only to practice digital literacy
in terms of analysis and evaluation of digital artifacts, but it also offers a way to produce digital
artifacts that talk back to and create representations of identity in digital spaces and with digital
means. And even when students do not come across or seek out viral instances of identity
misrepresentation such as the VMAs there can be problems. Seemingly simple search engine
experiences that set out to discover information about personal or scholarly interests, interests
that most likely are reflective of aspects of students identities, more often than not will be
problematic. Therefore, as a rhetoric and composition teacher I understand my charge to be, from
the many other scholars and online writers cited here, to foster digital andcultural literacy for
my students so that they can not only more fully articulate problems they see in representations
of their identities, but they can talk back with digital and cultural sophistication.
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Works Cited
Ahmed, Sara. Making Feminist Points.Feministkilljoys.com.WordPress.com. 11 Sept. 2013.
Web. 25 Nov. 2013.
Alexander, Jonathan and Jacqueline Rhodes. Queerness, Multimodality, and the Possibilities of
Re/Orientation. Composing(Media)=Composing(Embodiment) bodies, technologies,
writing, the teaching of writing.Kristin L. Arola and Anne Frances Wysocki, eds. Logan,
Utah: Utah State University press, 2012. 188-212.
Aronson, Deb. Tectonic Shifts, Turbulence, & Opportunities: Adam Banks on How CCCC Can
Help Re-vision Higher Education. Council Chronicle.Vol. 23, No. 2 (Nov., 2013), pp.
16-17. The National Council of Teachers of English.
Banks, Adam.Digital Griots: African American Rhetoric in a Multimedia Age. Carbondale and
Edwardsville, IL: Southern Illinois University Press, 2011. Print.
Blackmon, Samantha. But ImJustWhite or How Other Pedagogies Can Benefit All
Students.Teaching Writing with Computers: An Introduction. Pamela Takayoshi and
Brian Huot, eds. Boston: Houghton Mifflin Company, 2003. Print. 92-102.
Blair, Kristine, Katherine Fredlund, Kerri Hauman, Em Hurford, Stacy Kastner, and Alison
Witte. Cyberfeminists at Play: Lessons on Literacy and Activism from a Girls
Computer Camp.Feminist Teacher. Vol. 22, No. 1. 2013. Print. 43-59.
Germain, Jacqui. Miley Cyrus, Feminism and the Struggle for Black Recognition.
Racialicious. Racialicious. 28 Aug. 2013. Web. 10 Nov. 2013.
hooks, bell. Talking Back: Thinking Feminist, Thinking Blackness.Cambridge, MA: South End
Press, 1999. Print.
Korra. Dear Miley, Keep Your Fucking Hands to Yourself.Jezebel. Jezebel. 26 Aug. 2013.
Web. 10 Nov. 2013.
http://groupthink.jezebel.com/dear-miley-keep-your-fucking-hands-to-yourself-1201998015http://groupthink.jezebel.com/dear-miley-keep-your-fucking-hands-to-yourself-1201998015http://groupthink.jezebel.com/dear-miley-keep-your-fucking-hands-to-yourself-1201998015 -
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Lumpkin, Jincey. Why Miley Cyrus Is a Feminist Icon. The Huffington Post.The Huffington
Post. 14 Oct. 2013. Web. 10 Nov. 2013.
Makarechi, Kia. Miley Cyrus Brings Her Race Problem To The VMAs. The Huffington Post.
The Huffington Post. 26 Aug, 2013. Web. 10 Nov. 2013.
Noble, Safiya Umoja. Missed Connections: What Search Engines Say About Women.Bitch
Magazine.No. 54, Spring 2012. pp. 37-41.
Selfe, Cynthia L. and Richard J. Selfe, Jr. The Politics of the Interface: Power and Its Exercise
on Electronic Contact Zones. College Composition and Communication, Vol. 45, No. 4
(Dec., 1994), pp. 480-504.
UN Women Ad Series Reveals Widespread Sexism. UN Women. unwomen.org. 21 October
2013. Web. 9 Nov. 2013.
ZombieCate. Solidarity is For Miley Cyrus: The Racial Implications of her VMA
Performance.Jezebel. Jezebel. 26 Aug. 2013. Web. 10 Nov. 2013.
http://groupthink.jezebel.com/solidarity-is-for-miley-cyrus-1203666732http://groupthink.jezebel.com/solidarity-is-for-miley-cyrus-1203666732http://groupthink.jezebel.com/solidarity-is-for-miley-cyrus-1203666732http://groupthink.jezebel.com/solidarity-is-for-miley-cyrus-1203666732http://groupthink.jezebel.com/solidarity-is-for-miley-cyrus-1203666732