Virtual Library

Digital space has provided an important platform for women by enabling them to defy religious and patriarchal values while rendering their demands more visible in the public sphere. By analyzing the stories of 3349 murdered women, consulting 57 activist‐published materials, studying 37 protest‐focused videos, and using digital ethnography, this article explores Turkish women's struggles against femicide. I propose the emancipatory and democratizing counterpublics as an analytical concept to demonstrate how women challenge epistemic injustice and male violence. To this end, I investigate the struggles of women by studying their use of digital space as a means of breaking the silence on femicide, creating data, disseminating knowledge, and seeking justice. This article highlights the essential role of new media technologies in empowering vulnerable groups through the generation of new forms of knowledge, the formation of collective memory, and the elimination of epistemic injustice in opposition to the ruling authorities. The present study contributes to our knowledge of the sociology of epistemic injustice by demonstrating how digital space plays a limited but critical role in the efforts of activists living under authoritarian regimes to defend their fundamental rights to survive and prevent femicide, which has a devastating impact on the lives of millions of women.

From the early 1990s when the EZLN (the Zapatistas), led by Subcommandte Marcos, first made use of the Internet to the late 1990s with the defeat of the Multilateral Agreement on Trade and Investment and the anti‐WTO protests in Seattle, Quebec, and Genoa, it became evident that new, qualitatively different kinds of social protest movements were emergent. These new movements seemed diffuse and unstructured, yet at the same time, they forged unlikely coalitions of labor, environmentalists, feminists, peace, and global social justice activists collectively critical of the adversities of neoliberal globalization and its associated militarism. Moreover, the rapid emergence and worldwide proliferation of these movements, organized and coordinated through the Internet, raised a number of questions that require rethinking social movement theory. Specifically, the electronic networks that made contemporary globalization possible also led to the emergence of “virtual public spheres” and, in turn, “Internetworked Social Movements.” Social movement theory has typically focused on local structures, leadership, recruitment, political opportunities, and strategies from framing issues to orchestrating protests. While this tradition still offers valuable insights, we need to examine unique aspects of globalization that prompt such mobilizations, as well as their democratic methods of participatory organization and clever use of electronic media. Moreover, their emancipatory interests become obscured by the “objective” methods of social science whose “neutrality” belies a tacit assent to the status quo. It will be argued that the Frankfurt School of Critical Theory offers a multi‐level, multi‐disciplinary approach that considers the role of literacy and media in fostering modernist bourgeois movements as well as anti‐modernist fascist movements. This theoretical tradition offers a contemporary framework in which legitimacy crises are discussed and participants arrive at consensual truth claims; in this process, new forms of empowered, activist identities are fostered and negotiated that impel cyberactivism.

This paper examines public opinion and media coverage surrounding four important events which affected the development of homosexual rights in Maine in the 1970s: the birth of a homosexual student group on a University of Maine campus and the conference it organized; the adoption of a gay rights plank in the election platform of the state's Democratic Party; revisions to the state's criminal code which decriminalized homosexual activities; and a second conference organized by the student group. Only the first event aroused major public outcry. We describe these events in detail, examine how the media covered them, and analyze why some were more controversial than others. Our analysis shows how differing levels of control over the media affect the rise and resolution of public issues.

Israel's occupation has been transformed in the social media age. Over the last decade, military rule in the Palestinian territories grew more bloody and entrenched. In the same period, Israelis became some of the world's most active social media users. In Israel today, violent politics are interwoven with global networking practices, protocols, and aesthetics. Israeli soldiers carry smartphones into the field of military operations, sharing mobile uploads in real-time. Official Israeli military spokesmen announce wars on Twitter. And civilians encounter state violence first on their newsfeeds and mobile screens.

Across the globe, the ordinary tools of social networking have become indispensable instruments of warfare and violent conflict. This book traces the rise of Israeli digital militarism in this global context—both the reach of social media into Israeli military theaters and the occupation's impact on everyday Israeli social media culture. Today, social media functions as a crucial theater in which the Israeli military occupation is supported and sustained.

In Poetic Operations, artist and theorist micha cárdenas considers contemporary digital media, artwork, and poetry in order to articulate trans of color strategies for safety and survival. Drawing on decolonial theory, women of color feminism, media theory, and queer of color critique, cárdenas develops a method she calls algorithmic analysis. Understanding algorithms as sets of instructions designed to perform specific tasks (like a recipe), she breaks them into their component parts, called operations. By focusing on these operations, cárdenas identifies how trans and gender-non-conforming artists, especially artists of color, rewrite algorithms to counter violence and develop strategies for liberation. In her analyses of Giuseppe Campuzano's holographic art, Esdras Parra's and Kai Cheng Thom's poetry, Mattie Brice's digital games, Janelle Monáe's music videos, and her own artistic practice, cárdenas shows how algorithmic analysis provides new modes of understanding the complex processes of identity and oppression and the intersection of gender, sexuality, and race.