digital media | Platypus

Recipes of Resistance: Global Digital Gastro-solidarity for Palestine

 Ashley Thuthao Keng Dam  March 26, 2024

From the North in Safad (where my father is from) and Galilee to the South East in Al-Lydd (where my mother is from) and down to Jerusalem and Gaza, the food differs but is united at the same time, through love and history… Palestinian food is found in the home. That is where it all begins. (Joudie Kalla, Palestine on a Plate, 2016) Food is the most precious part of Palestinian heritage. For Palestinian food not to go extinct, the young have to learn from the old. (Aisha Azzam, Aisha’s Story, film forthcoming 2024) Around the world, millions have taken the streets in support of a free and thriving Palestine in the face of active genocide and the continuance of settler colonial violence. Visible on the streets and all over social media feeds, scattered among flags and keffiyehs, are images of the vibrant watermelon. This trinity of nationalist symbols bear a shared honoring of an ancient yet enduring cultural intimacy with Levantine lands. A cursory search about the history of the Palestinian flag’s colors (black, white, red, and green) leads one down many possible origins and mythologies behind the green portion of the flag. These include but are not limited to representing influential Arab dynasties, peace, Islamic faith, as well as a deep love and appreciation for the olive trees which bloom across the landscape. The keffiyeh, a traditional scarf, embodies similar sentiments entangled in its design. Within its iconic weave, visual histories of Palestinian trade pathways, robust fishing culture upon the Mediterranean sea, and once again, the olive trees. Last is the watermelon, which was used as a covert placeholder for the flag during a period of occupation when the display of the flag itself was forbidden. In essence, at the core of these symbols are Palestinian foodways and culture. (read more...)

A Vocabulary for Junk in Four Movements

 Rebecca Carlson, Emil Rieger, Sarah Thanner  July 6, 2023

 Listen to a reading of this post.

It was really a miracle that he was able to function. He had accumulated so much shit, it was starting to get concerning, or would have, if there had been anyone to be concerned. As it was, all he was, was being practical. Weirdos hoard shit for god knows what reasons but he was keeping a collection of spares. Admittedly, there was a tight line one approaches when one, for example, collects spares for other spares or if you’re missing the very thing to donate parts for in the first place. But he was aware of that. Each time a new thing came into the house, he would reflect on that line. It was a dotted line, like those where you’d put your signature or tear along. Which one it was, that’s an open discourse, to be negotiated anew. As of right now, there was a more practical concern. The (read more...)

A Failure in Capture: An Experiment in Multimodal Interactive Ethnography where ‘Nothing Happens’

 Kara White  June 29, 2023

The video below this text is interactive. To view, click play and follow the instructions you see on the screen. As you watch, look for areas that you can click with a mouse (or tap with your finger, if on a mobile device) or see what appears when you mouse over different areas of the image at different times. What do you see? This multimodal content, due to technological limitations, may not be accessible to all. If the multimodal experience is not accessible to you, please visit the text based version for visual and audio descriptions and full-text transcription or listen to the audio narration: Audio Narration by Kara White On mobile devices, we suggest viewing the page in landscape mode and selecting “Distraction Free Reading” in the top-right corner. This is an interactive video. This video is designed to get the viewer or reader to “search” the image for (read more...)

Neoliberal Morality: Shame and Self-Improvement as Control over Young People’s Digital Productivity

 Jennifer Krueckeberg  September 9, 2021

“Put your phone away!” “Why are you always on your phone?” “Being on your phone this much isn’t healthy!” These are words we all have probably heard before or said (in a well-meaning way) to friends, family members, or partners. While people of all ages spend increasing amounts of time with digital media, notably due to the COVID-19 pandemic, young people are especially scrutinized for doing so. (read more...)

Like, Share, Comment, and Follow: Labor and Capital on Instagram

 Lakshita Malik  July 14, 2021

Social media content creator Ishita Mangal (@ishitamangal) uploaded a post with multiple slides on her Instagram page. The first slide is entitled “an apology letter to my audience.” In the rest of the slides, she highlights a “barter collaboration” gone sour. The collaboration entailed the digital creator featuring four Indian kaftans (a type of clothing) brands on her Instagram page in exchange for keeping the outfits that she would feature. One of the brands was singled out, with their Instagram handle mentioned in the caption for viewers of the post to easily access. The brand was accused of harassing the digital creator; walking back on the terms of the agreement; asking for the garment in question back after “absorbing maximum benefits of all the posts on various platforms.” The digital creator proceeds to tell the tale of harassment and “extortion” she experienced at the hands of the luxury brand owner. (read more...)

Days of Their Lives: The Limits, Possibilities, and Parallels of Media-Ted Research during a Pandemic

 Sreenidhi Krishnan  June 17, 2021

On a regular day, a Hindi soap opera production set in Mumbai is home to upwards of 100 artists and technicians – production associates, actors, make-up artists, costume artists, lighting technicians, assistant directors, creatives, and spot boys. Their collective efforts ensure that audiences have new episodes to look forward to daily. Come rain, hail, or shine, through collaborations and conflicts, together they build melodramatic worlds that entertain millions of households in India. But what happens when the meaning of “regular” is redefined? What happens when even two become a crowd? When the first wave of COVID-19 hit Mumbai in March 2020, it brought, among other things, the Hindi soap opera industry to a halt. Daily production activities of soap operas across channels were abruptly paused. Sets had to be abandoned in haste when a citywide lockdown was announced. The absence of film work meant that workers would go without payments (read more...)

Indian Food Delivery Networks During the COVID-19 Pandemic

 Nirupama Jayaraman  February 5, 2021

Over the past decade, the concept of the gig economy has gained momentum in academic discourse. Often linked to temporary employment created by multinational technological corporations through digital platforms, the gig economy has transformed conventional discourses of labor and economy. It brought to the fore the increased precarity in employment, transformed modes of mobilization, fueled workers’ unionizing efforts, and produced new vocabularies (Vallas and Schor 2020; Khreiche 2018). In India’s dynamic economic landscape, these changes are particularly visible. One can argue that the use of digital technologies has reached a new peak in the ongoing global pandemic–as we have observed the changes in techno-bio-political regimes associated with COVID-19-tracking and increased reliance on mobile applications (Battin 2020; Segata 2020). In this light, focusing on India in the times of the COVID-19 pandemic becomes especially useful considering the narratives of hegemony and precarity often associated with gig labor within this geographical context, (read more...)

Technologies of Representation: Possibilities of Social Media in Tarlabaşı, Istanbul

 Alize Arıcan  February 6, 2020

“Every week somebody comes here to take photos of our laundry and put it up on the internet. Today, I took one and put it up right here. It’s not our laundry, but it’s a bear. This might be a dump, but this is my dump, and I care about what goes on the internet about it.” (read more...)