 Okay, well, it's it's about 101 so I think we can go ahead and get started since we have so much to do in the next 90 minutes. So welcome everyone, it's great to see you all and thanks so much for being here for our spring 2021 research talks. I'm Rebecca Cummings the digital matters librarian, and I'll be introducing our speakers for today and moderating Q&A. Now before we start the research talks I'm going to start this event with a land acknowledgement. To acknowledge this land, which is named for the Ute tribe is the traditional and ancestral homeland of the Shoshone pie you go shoot and you tribes. The University of Utah recognizes and respects the enduring relationship that exists between many indigenous peoples, and their traditional homelands. We respect the sovereign relationships between tribes states and the federal government. I welcome the University of Utah's commitment to a partnership with native nations and urban Indian communities through research education and community outreach activities. Now to our fabulous slate of speakers for today. I'm going to briefly introduce all six of them now so that we can go straight from presentation to presentation. Our first speaker today is going to be Sarah Sinwell who is a digital matters faculty grantee and assistant professor in film and media arts. Second will hear from Ashley Cordes a digital matters faculty grantee and assistant professor in the Department of Communication. Our third speaker is Jacqueline right a digital matters exhibition and performance faculty grantee and assistant professor of photography and digital imaging. After our faculty grantees we're going to hear from our digital matters graduate student fellows, starting with john Flynn who is a joint digital matters American West Center graduate student fellow and a PhD candidate in the department of history. Our fifth speaker is Daniel uncaffer a digital matters graduate student fellow and PhD student in creative writing. And last but not least we're going to hear from Danielle waters who is our digital matters exhibition and performance graduate student grantee and is currently finishing her masters in arts and teaching fine arts. Since we have six speakers today I do ask that each presenter limit their time to 10 minutes and for the audience to reserve your questions until the end of the talks. So with that, I am now going to turn the mic over to Dr. Sarah Sinwell. Hi, I'll give me one moment while I share my screen. Can everyone see that. Great. Okay, so thanks for coming so many people so exciting that all of you are so interested today. I want to start by thanking the people at digital matters for giving me this grant and allowing me to present on Elsa multiple times. Hopefully this is going to be new for those of you have heard me talk about Elsa before today's because I've done a lot of work since I last gave a talk. And I also want to thank my graduate research assistant Mitch Gardner who helped me gather some of these materials create the slideshow create some of the imagery you're going to see today. So the title of my talk today is representation matters mapping gender race and sexuality on Twitter and you can see the image here of Elsa's profile was created by Mitch as an image I'm hoping to use as part of a future. So this is my second book project, possibly also a digital companion to my second book. And what this kind of imagery shows and I'll talk about this start the presentation today is some of the tweets for give also a girlfriend which is one of the tweets I'm studying in the process of writing this book. I'm going to provide you with a little background to start so this is my second book project, and it focuses on how audience and fans of blockbuster films and franchises such as Star Wars the Force Awakens black Panther and frozen use Twitter hashtag to create a space for alternative forms of representation and popular media. And I'm especially interested in mapping the intersections between gender race and sexuality on Twitter that's I've chosen a number of these of these projects as part of this, as part of this presentation today but I'll be focusing on Elsa and frozen just for today's presentation. Okay, so some of the other hashtag campaigns that I'm looking at our representation matters which is a larger campaign to think about forms of representation in the media. We need LGBTQ stories give Elsa a girlfriend from frozen. We need to have a girlfriend from Black Panther, make gray asexual from Star Wars the Force Awakens, keep Jughead asexual from Riverdale, and then recast that woman which was a campaign to recast Ruby Rose and that woman who of course since has left not only Twitter but also left that woman. So here are my research questions for what I'll be discussing today. How can gendered race and sexualized identities be articulated on Twitter. What is the scale and geographic spread of the relevant total hashtags, what kinds of languages are used in these campaigns, how do fans and anti fans use hashtags to create a space for their own identities. And here this is one of the questions that's come up as I've been working on this project the last few years is I've been told I have to answer what do we do with the haters. So today I'm talking about Elsa and no haters but within the larger project I will be talking about anti fans and especially how those anti fans reinforce whiteness and heteronormativity and campaign such as recast that woman and not my aerial. And then this other question of how does hashtag activism and draw attention to the need for more representation of marginalized communities within popular media such as Marvel and Disney. So here's my larger argument and then I'll be discussing how this fits into the Elsa campaign. So my larger argument talks about the ways in which these Twitter campaigns position marginalized identities and in between space. That's constantly vacillating between its hyper awareness of racial and sexual difference and it's a racer and again, this is one of the questions that I'm getting at by the campaigns that I've chosen is most of the campaigns I've chosen to draw attention to the need to represent race gender and sexuality on screen, but some of them are also erasing that representation. So this pushes up against the whiteness and heteronormativity of corporate sponsored media culture. It draws attention to the absence of people of color and LGBTQ characters within contemporary media and creates alternative possibilities for more inclusive media representation and visibility and as I've looked at these campaigns I've definitely seen the people who are posting on Twitter are really asking for corporations like Marvel and Disney and especially corporations that address the issues of children's media that they ask for more inclusive media representation visibility and also how this creates community across disparate geographies and transnational locations and we'll talk more about that today as well. So I want to give you a little background before I go into what I've been working on this semester so in summer 2020 I attended the NEH workshop understanding digital culture humanist lenses for internet research and I did some coding as part of this is I've never done any coding. I've been working on this project since I believe 2019 and I hadn't done coding when I started the project but now as a result of attending this workshop and as I'm working through this project this semester, I've been learning how to code and so I compiled data for the hashtags give Elsa a girlfriend and I have a girlfriend using anaconda and Jupiter. And then I worked on visualizing this data using coding and digital humanities tools like orange and get face so my essay on make great asexual and keep junk asexual has already come out in feminist and queer theory and intersectional transnational planning on expanding it since I didn't have these coding abilities nor the ability to visualize this data when I wrote that piece and then my essay on black Panther I have a girlfriend resisting black lesbian erasure on Twitter will be published this year in black Panther after Futurism gender black identity and never making a blackness and again, I didn't have this ability to code when I wrote that piece either but that's something that I'm looking forward to exploring more in this project is how does it expand on my arguments, if I have the ability to visualize some of this data and code it accordingly so that's what I've started doing this semester with the grant from digital matters. So here's the graphic again that Mitch my research assistant was able to create for me in consultation so as a result of that 2020 workshop, I compiled over 8,000 tweets of the hashtag give Elsa girlfriend. So from April 30 2016 when the hashtag was created to one week later and this was suggested to me by and each the people who ran the NEH workshop that you want to limit your data so it's not millions of tweets so they suggested getting between 2000 and 10,000 tweets so for that one week, I got 8,000 tweets, and I've analyzed those tweets accordingly both pre my ability to put them in an Excel spreadsheet and now, and these are some of the most popular ones in the graphic here. So as you see, you can see the desire to trend give us a girlfriend, you have people on Twitter saying dear at Disney speaking directly to Disney itself. They're talking about how all love deserves to be represented how sexuality is valid, how we need this in kids movies how it leads to acceptance, and all of these kind of modes of thinking about this so this is one of the images I'm hoping to use in the future project for you know within the book or as part of my digital companion, really thinking through these ideas of how we can represent sexuality in relationship to these Twitter campaigns. The other thing we did was look at a few other websites that gather data from Twitter one is talk walker calm social alert calm and hashtag a five. And these, these websites again are designed to visualize data and we, we came into some kind of interesting issues with these so I'm going to discuss that in a moment and then I'll discuss some of the other visualizations that we came up with as part of this project. So this was one of the things that we were hoping to design this is not the actual image that explains give Elsa girlfriend but this is one of the images we were hoping to design as part of this process to gather data to talk about all the different languages that have been used as part of the give Elsa girlfriend hashtag. But what we discovered is that the, for example, hashtag a five which we spoke directly to them that they do not gather data as far back as 2016. They only can gather data from the past week. So this was kind of a stopping point for us because we, we, I wanted to gather the same data that I gathered through the Excel spreadsheet from that week right after the hashtag started in 2016. So the concept here is we would think through all the languages that are being used as part of this hashtag, and then create this kind of digital map as you see here, but now we're going to have to rethink how to do that and in terms of gathering that data from 2016. The next image that we were able to do using hashtag is this one with all the related hashtags so after looking through those 8,000 tweets, I found some of the most popular additional hashtags are being used in addition to give Elsa girlfriend. And then Mitch was able to put them into this beautiful data visualization. And what you can see here is here the other hashtags I was interested in the darker the tone is the ones I was more interested in and then the bigger the box, the more it was being used so I think this is also an interesting conversation that terms like LGBTQ lesbians and gay are used the most followed by queer representation matters. And then the issue of tolerance inclusivity and homophobia also come up as part of that process so again, thinking through how all these hashtags work in relationship to each other is also part of my further project. And the last thing I want to talk about or what are my next steps and this is a I think I should have mentioned at the beginning this is an ongoing process I expected to take a few years to continue to continue to complete this book project. So my next steps are to find additional help from a data analyst or an engineer to help me. Again, visualize this data, possibly contact Twitter about collecting data from 2016 during the campaign's lifetime and I think some of you might be interested to know this if you're working on Twitter data. You can contact IRB and they told me that if the data is public, you do not need to get IRB permission, or go through that process so that might be good to know for other people that the process of IRB is not something you need to do as long as that data is public I'm not sure what happens if for some reason I were able to pay for that Twitter data or find it from somewhere else. So that my the rest of my project is continuing to do research and creating more of these graphics to help analyze these campaigns and ideally I'd like to make one for each one of those hashtag campaigns I mentioned earlier so I really look forward to hearing any of your thoughts on this thank you so much again for listening and I'm looking forward to hearing from you in the Q&A. Thank you so much Sarah. Ashley are you able to access the share screen button. I believe so. Okay. All right. Hi everyone I'm Ashley Cordes and a citizen of the CoQ nation and the DM project that I'm going to be sharing with you today is titled Indigenous cryptocurrency finance capital and the digital ghost of empire. My primary focus this term was to really work with some of the more out there ideas that I had had about Indigenous cryptocurrency but needed more of the full creative freedom and community and resources that this grant actually afforded. I'll share some of my progress thus far in applying Indigenous digital methodologies and engaging with a new theoretical terrain that fuses cryptocurrency with these large ideas of Indigenous technological afterlife as well as a reality and I want to thank my RA Micahuffer assisting me with this project. So first to back up I'm assuming that most people know what cryptocurrency is especially in this crowd but the gist is that they're digital peer to peer currencies or assets that are enabled via computer software and secured using cryptography specifically refers to the electronic record keeping system that stores that data and blockchain technology is generative because it's able to kind of decentralize control and perhaps increase trust in a system. So cryptocurrencies are being considered in Indigenous nations to potentially become less reliant on the US dollar and to honor their own financial philosophies rather than those that were just prescribed by settler colonial governments. So there have been a few that have come out one that's called MazaCoin and it came out around 2014 to serve the greater Lakota nation to resist colonialism but ultimately it had a pretty complicated story with media and had some problems baked into its underlying code. And OYX which is another one that has gotten media attention lately and due to COVID travel restrictions I of course only have textual secondary knowledge of it because I was unable to travel but it's really being framed as this you know resistance to Bolsonaro's government particularly in Amazonia and Indigenous people there who have suffered from COVID-19 and are not getting aid from that as well as environmental threats like deforestation and there are other Indigenous coins out there as well. Now cryptocurrencies underlying technologies have roots in prior Indigenous technologies that's for sure and those are millennia old so for example hashing which is this conversion of data into a unique string of text is really just the story of blockchain translated with numbers that actually build over time. So this is comparable to the picture on the right which is a rye and that's huge limestone disks that are used by YAPI's people to hold various forms of value and as more transactions occur the story kind of grows. And with blockchain it really generally requires a large community and has aspects of reciprocity and compensation built into the system that can have done correctly start to demonstrate aspects of community care. And blockchains like Ethereum they allow users not just to mark transactions per se but also use contracts and processes within them. So that means that many aspects or elements of blockchains are polymorphic in nature. So they build as simultaneously these transactions these contracts and these processes and there are a number of Indigenous technologies that do similar things. So for example on the left I have Wampum which was used in many different ways as belts as currencies as treaties as forms of identification as histories and sometimes all at once in this polymorphic fashion. So these are important because Indigenous digitality really honors prior forms of innovation and rather than see them as this kind of linear line past present future it sees them kind of spirals on a different kind of continuum. So to dig deeper, I used a few methodologies the most important one was a digital listening circle where I interviewed Indigenous cryptocurrency experts, mixed media artists, elders, computer scientists to kind of get to the core of what its underlying technologies are its connections to past traditions and its problematics and its potential use cases. And I also use a method of deep speculative imagining. And so that's something that's used a lot in Indigenous Futurism's research and it's a way for us to look at technology not from this kind of naive techno optimist perspective, but using Indigenous digitality. So this is informed by Indigenous thinkers like Grace Dillon and Jason Lewis who are who are really wonderful. And in terms of theories of technological afterlife it was useful for me to draw on conceptions of ghosts of haunting of apocalypse and I'll share just a few of those right now. So the first finding regards ghosts and how they have this specific politic in the settler colonial world of haunting so they have this haunting that ranges from terror or revenge or processes of restoration, but Indigenous scholars and I quote tuck and re suggest that haunting is the relentless remembering and reminding that we will not be appeased by settler societies assurances of innocence and recognition. So I do think that Indigenous crypto has been really tuned into this. So Mazakhoyne for example speaks back through its code to the US is a legal seizure of the Black Hills which were a spiritual land for the Lakota people and their creationist stories. And they baked that into the Genesis blockchain through a message. And also you can see on the left top there are these multimedia branding elements of Mazakhoyne, where they had these kind of ghostly or spiritual indexes of really important past Indigenous leaders who actually are there to kind of haunt settler histories that want us to forget that those treaties actually existed. So it kind of takes some excavation to find those. And for OYX. It's not a traditional crypto per se but more of this donation tool so it's tracked using blockchain. And this can perhaps reflect some of the spirits of gifting economies that exist. And at least it was said to be constructed to fight back issues like deforestation and climate change that are of course the ghosts of settler colonial praxis. I also engage with this concept of zombie media, which means media that have failed or are considered dead but they kind of linger in their ecosystem even in their assumed obsolescence so we could think of something like a cassette tape. But in terms of crypto, Mazakhoyne and other Indigenous currencies might be considered zombie media because they didn't do a particularly great job of bootstrapping widespread interest. So they had problems and their proof of work system didn't have enough vendors to accept the coin and were based on Zeta coin, which is a relatively unknown or unpopular coin. So there are problems there. And it's not that we shouldn't, I don't think, I think we actually should still study coins that are considered failed because they really are important to this history of innovation themselves. And there are actually like thousands of altcoins out there. And many of them are zombified and they really only digitally kind of reanimate when Bitcoin kind of dramatically increases in value like it did this year. So I'd like to share a quote from my friend and Oglala scholar Suzanne kite. She says a physical computing device created in a good way must be designed with the right to repair, as well as recycle transform and reuse. The creator of any object is responsible for the effects of its creation use and in its afterlife. So to me, Indigenous thinkers have been really brilliant about telling us how we need to be building our software and more ethical ways from the ground up. And with this preparation for either right to repair or a death cycle because if zombie media like Mazda exists, they could be causing various environmental harms by the immense amount of energy that's used in the proof of work system for mining. And there's also this connection with respect to apocalypse and futurity and Indigenous peoples have largely kind of acknowledged that we've already experienced this profound apocalypse with the genocide of our peoples for the onset, you know, of the past few centuries and with the mass extinction of plant and animal life and of course, you know, coincides with the onset of settler capitalism and entrepreneurial terror so I think if all currency like cryptocurrency does signal the capital END end of the traditional banking system, then we need to kind of understand that this destruction of course will continue in digital context if actions aren't actually being taken. So this includes of course that environmental harm that comes from the immense energy that blockchain uses. And that's not to say that brick and mortar systems and the transportation that it uses don't cause harms to but it's something that we need to think about a little bit more closely. And now there are a number of Indigenous generative uses for blockchain because remember Indigenous peoples have really always used currency in multiple ways and polymorphic ways. So I've been working through a list that we can perhaps share in the discussion later but of course could be used for cryptocurrency art, NFTs, tracing genomics, pairing with AI. And it's really kind of left me this with this wondering if blockchain could be like had this potential in the ghostly and the, you know, generative sense of the word of immutable of recording of kind of not letting settlers forget and to kind of building a different kind of future. So regardless of what blockchain projects are actually taken up, I think we do need to be paying a lot more attention to sustainability and relationality. And those are important and basically informed future design can learn lessons from zombie media and can kind of foster those better connections between humans digital non humans and the environment. So I still have a bit of time left in the fellowship to kind of play with those ideas more and get into those dynamics but for now thank you for listening and looking forward to hearing the rest of the presentations. Thank you so much. Jacqueline please let me know if you have any problems. Sure. Hi y'all. Let me just share my screen. So I'm going to start by providing some context for the development of my new work which I'm going to get to sort of towards the end of this 10 minutes. And really sort of talk about the work that sort of fueled the beginning of this project that is being supported through the digital matters grant. This is an extension of a larger body of work called our titled marked. And so I'd like to read a short excerpt from my statement on mark just to provide that context for y'all. Mark combines traditional photographic techniques with contemporary digital processes performance and installation. The title refers to a prominent birthmark on my neck which has drawn verbal and physical abuse from strangers. The birthmarks shape and color appear throughout the work. In marked I consider ways we are marked from birth specifically through gender. Birthmarks are like political boundaries on a map expressing the desire to include an exclude to mark belonging through exclusion and differentiation. The work explores the parallels between patriarchal attempts to subjugate and exploit the land and the body. This work took a pretty dramatic shift when I accepted my position here at the U and moved from Salt Lake or from Chicago to Salt Lake. Utah as you might imagine is wildly different from the Midwest. It is geologically diverse sitting at the convergence of the Rocky Mountains the Great Basin and the Colorado plateau. I've been particularly interested in the desert landscape. It is both beautiful and hostile and especially unique because of its proximity to the Great Salt Lake. As you probably know the West Desert is the piece of land that I 80 runs through if you're driving from Chicago to San Francisco. It is also the site of several of the works and a reference point for the images made in my studio, and this particular image will reappear and a few slides. The West Desert is managed by the Bureau of Land Management or BLM and is referred to as public lands. It is also home to the Dugway Proving Ground which you can see through the various pink areas, but particularly here, which is a US military owned testing site for biological and chemical weapons. BLM land or public lands as they are often referred to are frequently used for target practice off road vehicles hiking and other outdoor activities. While these lands are theoretically free to use significant acreage is leased to private extraction companies and cattle ranchers, both of which have a significant ecological impact on the land. The locations I focused on Stansbury Island and several locations in Skoll Valley are areas that people frequent to shoot guns, typically at the earth, which is perhaps a byproduct of their shooting at large household appliances and other non biodegradable objects. The remnants of these objects are typically left on site. As I spent more time in the desert I began to collect these objects and brought them into my studio to be photographed on a backdrop of their original location and then used that for a larger installation purpose. And in this image you can see the first image I showed which was taken from Skoll Valley. I found this time so this would have been late 2019. I created two body suits made of latex paint, one that exaggerated the gendered body and one that hit it. I have since made other another body suit and other costuming pieces, which you'll see in the new video work in a few, and a few slides. I found at the time that I made these body suits. I also was doing a lot of in camera collaging with four by five film. The work began to really reference eco feminism and the subjugation of the gendered body and the landscape. I'm not particularly interested in all aspects of eco feminism because much of it is rooted in dualism, which reinforces problematic binaries. The exploitation and subjugation of women prevailing in patriarchal societies can be associated with the domination and massive exploitation of nature by humans. This is rooted in the fact that the subjugation of women means devaluation of women who individually and categorically share historical, social and political identities with the natural world. This image and the previous image were taken on a single sheet of four by five film with in camera masking and the center sort of outline that you're seeing and both of these images is the reproduction of my birthmark. This next image was similarly made with a different masking technique. I began to incorporate the green screen, which reappears and the video work as well as a way to further explore how the gendered body could oscillate between visibility and invisibility. And as a way to address how the what the body particularly the white female body could be both marked and weaponized in effort to maintain power. Additionally, the desert is often viewed as the backdrop for activities, shooting guns, making art, hiking, framing as simply a backdrop or a green screen erases the significance and complexity of the land, its history uses and exploitation. The grid format or use of multiples that is included in several of the works references cartographic methods used for map making related to the idea of creating borders or boundaries as a method in which violence is built into the structure and often shows up as unequal power. This leads me into the work that I'm working on or creating for the digital matters grant. Here you can see a studio view with myself and one of my assistants from first of five production days. We haven't completed the production of the video, but I'm going to share various excerpts and clips and progress that has been made from the first several shoots. So the first few production days took place in the studio, which was used as a site to reconstruct the desert. The background used in this piece is a site on Stansbury Island where my assistants and I will be going in a few weeks, two weeks I think exactly to start the location portion of production. You can also see the new body suit that I created, as well as the clay pigeon bikini, both of which were constructed specifically for this piece. The American landscape is a trope represented through many photographic surveys. It is inextricably linked to a deep fascination with the American West, which can be seen through Westford expansion cowboy fantasies, the desire to secure resources, and the development of the Transcontinental Railroad, all of which use images as a form of propaganda. The photographs used as propaganda and in these surveys sought to document, aestheticize and colonize the lands viewed through the camera's lens. For example, photographs of the Transcontinental Railroad, which were created by many people, but particularly Andrew J. Russell were used to both document and develop the development of the railroad as well as encourage westward migration. The land was seen as an opportunity for mining and extraction, all in the name of progress and capital. And in the 1950s the Marble Man was used by cigarette advertisers, which speaks to the sort of cowboy fantasies. The West Desert continues to highlight these cowboy myths in the American West, which have generated macho and heroics in my barbarian mythologies, which is played out through the destruction and domination of the land and privileged ideas about what one's rights are. This piece was made in an effort to sort of contrast the previous clip. I do imagine this piece will sort of intersect with the previous slide in the final production or final sequencing of the video. So both location and studio based works reference the West Desert to critique contradictions regarding individual rights, access and land use and their relationship to capitalism manifest destiny and power. So I want to end with this piece which was a test shot from last fall, which is where we will be going my sister my assistants and I will be going in a few weeks to shoot the remaining footage. I intend for the production of the video work to be completed over the summer, and I look forward to sharing it, hopefully with you all. Thank you. Thank you so much. John. Let me just share my screen. Do you want to see the slideshow. Yes. And so my project is called Native Places, an indigenous Atlas of Utah and the Intermountain West. And as Rebecca said I'm a PhD student in the Department of History, and a joint fellow between digital matters and the American West Center. And first I want to give thanks to a whole lot of people because this was a pretty big project that a lot of people have worked on with me. The folks at digital matters for the funding as well as mentorship with some challenges that came up with this project, particularly to Justin Swanson who helped a lot with the technical aspect, and Jeff Turner who kind of laid the foundation for what I was able to do and was a crucial resource, as well as my advisor Greg smoke and Scott Morris my colleague who did a lot of the primary circle research. So what is native places. Essentially, it's a map, but it's this interactive map that works to restore indigenous place names to their original geographic features. So it's a map of Utah and the Intermountain West with these points across it. When you click on these points, it will prioritize the indigenous place name, as opposed to the settler colonists colonists or the USGS place name. And this map is a response to this history of settler colonialism across the American West, where Euro Americans and USGS surveys came and imposed their own place names on regions of the American West that already had cultures and histories and people associated with them. So how it works is we actually took this database from the Geological Survey, and we're working against it to provide the indigenous place names. So we downloaded this publicly available database from the USGS. And you can see that it's really massive it's 430 our geographic region now and started to use that as a backdrop to make our own data. So, we then did some primary historical research to find the indigenous place names, as well as consultations and collaborative groups of Utah to find the original place names for these regions. So what our spreadsheet started to look like was, if you see along the left side you'll have the category and the feature so rivers and streams big cottonwood, as well as the location, and then the language group, the dialect or local culture, and then the place name along with some citations. Once we started to build this up, and we have about 463 entries at this point. This was converted into a file, and we use RTS to map this. This is what the original map look like. It was divided in these five categories of Shoshone, Gosu, Navajo, Paiu, and you. And then the next step was developing this web app that is interactive where you can explore the data we have so I'm going to stop sharing so I can switch over to showing you the actual web map this point. And are you able to see this now. Yes. So when you land on the web app, you'll get this splash screen pop up that's an introduction, as well as a little bit of instructions on how to use it. Click OK. And if we zoom out a little bit, you'll see the spread across the American West of the locations of these place names. And like I said, these are interactive so you can click on any of these, and you'll have a pop up so if we look at the San Juan mountains, the first thing you'll see is the indigenous we wanted to prioritize this so this is what will appear at the top of these pop ups, followed by the language, the translation and sometimes some additional notes of where that name comes from. And then what we're calling the USGS name which is the contemporary name that people usually associate with these areas, and then the category so this is a mountain range. So if you look at a different one up here the Snake River. Same thing, you'll have the place name, the language, Eastern Shoshone, and then you see there's a little bit more information of the translation of where it comes from. So there's a lot of different ways to explore this map other than just clicking on these points. If we go up here to the top right. There's this view that will have every single entry all 463. And if you wanted to explore this way you can click and you'll see it'll highlight the area, and then you'll have that pop up as well. You can also go over here to a couple of different tools as well so of course we have a legend that will give you the breakdown of the color coding, how we've divided this. So if you wanted to do a little bit more intricate exploration. We have certain features where you can filter by certain types. So, if I'm looking for something specific, say I want to only see rivers and mountains, I can come up to this mountain icon, click on it. And I can filter by all the different geographic features. So I'm going to toggle on rivers and streams, and then both mountain ranges and mountain peaks. And what happens is, both the map itself updates, as long as over here on the right are list view updates so now everything that appears on the map is either a river stream, or something associated with a mountain. But we can go a step further say, I'm interested in rivers and mountains that have either a shoshone place name or Navajo place name so underneath that mountain icon is our languages. And we can toggle these on as well so let's do Navajo and shoshone. Again, you see that the map updates and our list view over here as well so everything that appears on this map is either a Navajo or shoshone spot that is a mountain or a river. Let's go ahead and clear that out. And I'm going to close this out as well. So, an additional way to search this is you can actually search for specific place names. So if we come down here to this magnifying glass. This is our search by place name. So if you have any options here you could either search by the indigenous place name if you know it or the USGS name so let's go ahead and look for an indigenous place name. You'll see you have this pop up prompt that says place name is blank and then here we'll just type in click enter. And it will zoom in on to this specific place name and give us that information there as well so zoom out so we can get a better idea. So we have the place name and then a description of where this name comes from. X out of that let's try searching by the USGS name. And let's go local and look at Antelope Island. And we'll see we zoom in on Antelope Island and have the information about that. Another feature that we have to help visualize where these areas are is if you click up here on the right on this layer list. You can actually look at a satellite imagery instead of a topographic one to kind of get an idea what these landscapes look like and now you can see that the Salt Lake is slowly draining and not looking too good over here. But if we X out of that, and let's go back to our topographic. So those are the ways to explore this map and see how there are a vast array of place stands that already exists across the Intermountain West. The last thing and one of our biggest challenges was how to make this publicly available and encourage engagement, not only with the public but specifically with native peoples of Utah because we have done historical research but the next step is to bring tribal leaders to help us to fill out this map more so ideally in the future, there will be way more dots than this on this map and so over here, and kind of the next steps on this would be in this icon would be a variety of resources of how people can suggest edits, make and give new place names get in contact with us the American West Center, and also download the data set itself and use for their own research purposes, but for the time being. I wanted to make the data itself publicly available because I feel like that is a way to kind of get around this problem of how to making this an open source and fighting against this idea of subtle colonialism by using a preparatory system. So if you come down here and click on this, let me bring this up a little bit higher, you'll be actually able to see our full data sheet, and there's a lot more information in here so if you come over here. So each area will have the place name, a little bit more information, the notes, as well as the citation so where this information comes from if it's either a historical source or Northwest bands showing data is the case for this particular one here. So we wanted to give as much information as we could and a really seamless and user friendly way so their first step is just the map, but there's a lot of different layers in how you can explore this and how you can learn about this. There are a lot of issues with that because we're trying to make this really easy to use. This be a fluid walkthrough for people so it's not exactly apparent that you can filter through all of these things and how to use this unless you sat through a demo kind of like this is. So that's our next challenge to address as well as how to provide kind of a technical walkthrough for people to explore this, but beyond that it is pretty easy to just get in and start clicking around and exploring. And the idea is that as people do this, they'll not only learn but they can make suggestions and edits and help us grow this list to fight against this long history of settler colonialism that has essentially reading out the entire American West. And so, thank you for, I'm going to stop sharing following along with that and I do look forward to any questions or comments that people have the end. Thank you john. Daniel you're up next. Wow, what tough acts to follow. But I'm learning so much and about half of what I've learned today is going to apply to my own work over the coming months so I'm excited to share. Let's see. So my project. Let's load up for a second here. It's still going for me. There you go now it's loaded. So my project is tentatively titled open wounds. And you know that it's a, as far as the title and how I even talk about some of this stuff. I'm still trying to figure that out as well you know the nuances of language are pretty important to me as a creative writing PhD students so anyone ever anyone listen to any of this has any suggestions for how to talk about some of this stuff not that it's that complicated other folks are working on much more difficult problems of language and I am but it's there. So, you know, for right now though I think open wounds is the driving metaphor of this project. And it's a two part project the first part is in mapping and the second part is in attempting to effectively narrative eyes. You toss visible geological damage using ArcGIS which john is using in story maps. An important part for me for this sake of this project really is the idea of the visible damage. It's about kind of an impression. And so I'm not necessarily looking at all minds, although that's kind of a starting point. I'm really looking at minds that dramatically define our viewing landscapes, you know the minds and the kind of tissue damage that you can see exposed against the sky. Capitalism is transformative from Kennecott's record setting open to mine and the ochres to the rainbow colored potash pawns Moab. Utah is uniquely beautiful. And as I've come to learn since moving here, uniquely sensitive landscape is visibly damaged by the effects of, you know, 133 plus years of statehood, plus another 50 years of settler colonial capitalism. And it is amongst all the places I've lived I'm from Mississippi I'm from the deep south. I've never lived anywhere with such extensive geological visible damage. There are reasons for that that might extend beyond the scope of mining for example like in the deep south we have tree cover, but it was enough to give me start on this project. And I hope to create a relatively simple representation. And then, because I do believe that narrative and language can be transformative, hope to push back against that destructive transformation capitalism in some way. Using us using a story map, which is a kind of platform technology offered by our GIS to tell a story through their own maps they work very closely with their map sets. So this project has been trying to map this visual damage, which involves a combination of existing maps. As John showed there, there are many layers and maps within our GIS that I USGS data for example that I've been able to access a lot of in the city, because there's a lot of places that I can access from the road still plenty of private land they don't really want you to get into government databases, and then that surprisingly important part of just field research which is just me driving around of course, and just seeing what I can see. And so I've just been marketing cataloging as many resources traction sites as I can and as are visible. And so this illustration on the right kind of shows you where I am right now. This is a bit of a appears is kind of gives you a sense of where the impression I'm trying to give the I'm going to go back a little bit. The southern half of this map is actually right now kind of cheating I'm using heat maps of coal mines, just to get to make sure as I pinpoint some more specific sites. So some of this is actually not really necessarily an accurate presentation of the way the landscape has been what I would consider disfigured, but the Northwest portion, very much is so the map itself also does have a set of mining data attached to it for example what was mine when I who, for example, and so this. Categories have kind of a risen in terms of, for me what I recognize as the major kind of disfiguring forces, Golden Silver is one and it's an early more historical. Example it seems to have really the golden silver mines really figured into the settling. So that's part of my story map now these illustrations on the writer just screenshots from the various parts of my story map I'm working on. Copper, of course, being the sort of primary product of the open pick and a cop mine is now a major concern for this piece. I've been looking at salt salt mining it's a little bit different than some of these other metals but the salt mining is also a way to look directly more at the ecology of the salt lake which, as John just actually gesture to is, and we're all pretty familiar with I'm facing a lot of problems and challenges right now including drying up more than drying up it is also partitioned and polluted to an arguable extent, depending on who you ask by these major mining conglomerations particularly magnesium. And then potash maybe is a little bit different than the other ones. It's a different kind of disfigurement but it's just too definitive to Utah's kind of visual landscape for me to ignore so these are, you know, some of these big, beautiful ponds, we have them out in Wendover. And then we also have a few out in Moab and I'm not really sure I'm going with this now so you can see I don't even have a slide really started I just have it in my story map. But I, you know, I wanted to mention it uranium and the war so these are we've also kind of moved chronologically through time through these categories to the history of mining. And in you know the 40s 50s and 60s, we have uranium mining and we have kind of this growth of test ranges, and the test ranges are a different kind of mechanism of damage. And so the uranium, because the uranium to me what I noticed when I was traveling in that area this is this would be, you know, the Red Rock desert where I was at least where I noticed this is that sensitivity of the landscape where just the, the old truck roads that the uranium miners took just permanently scarred the desert down there may not permanently but for a very long term have scarred that desert so you look out and you can see just crisscrossing tracks and lines. In the image you can see what appears to be a kind of bombing test site in the west of Salt Lake. So I'm also looking at that which moves more into maybe arguably the military industrial complex than my name specifically but those are sort of the five major categories that I've started through and the gold silver and copper are definitely because of some of the way they're the more visible ones. There's nothing like the open pick hopper mine of course that's kind of the, the greatest one of all but the rest of Utah is full of mysterious little mining operations as well so in the course of this project. I've encountered some things I've never heard before like a zoker right, which is mined around, I think, near helper and price. Just in that area or it might be in the you into base up some of these are, are kind of on both sides there. And it's, you know, kind of a kind of petroleum by product a waxy, like, like you'd make a record out of asphalt type rillium of course they they mine. Fossils I've been considering to what extent fossils are part of this kind of calculus of capitalistic resource extraction. The coal mines are so definitive and major, but they're a little bit tough because I the visible aspect shifts and and efforts of exploration, which is also part of the story to find the coal process a little bit more but I've also learned that some, some of the stuff I don't even think of as resource extraction like sand and stone for, you know, like building stone are actually some of the most major sources of for example mountains disappearing. So I have stuff to look at to and I'm, I'm still kind of working my way through this kind of list natural gas, I think is a, is a very problematic part of our history we have a big natural gas fields, north of nine mile canyon. So anyway, I'm running out of time I'm just going to zip through the last. The second part of this is just story mapping this, which is just we took graphically oriented presentation immediate tools basically slide shows guided map tours embedded audio and video. Tell this story. Narratively, this has been definitely provides some difficulties for me it's it's a new material for me as an experimental writer so it's a lot to think about in terms of how authorship works you know is it the cartographer is it me as our kind of organizer or writer or observer is it the minors themselves the people who affected this landscape or is it the landscape. Maps are flat but languages linear so how do, how can I push away from the linearity of language and into the sort of the hierarchize, at least in one arguable sense, a perspective of the map, which is something I've been struggling with my linear sense, my narrative is essentially still linear. It's also essentially chronological and historical it's kind of just that was the way it made sense to me to map this data was, how did we get here and kind of what happened next what happened next what happened next. And I would like to transition now to a more spatial and experiential narratives, maybe more based on my own authorship experiences of more photographic experience and less more more from the ground level from the top down, for example. And yeah so as I've kind of mentioned some of my time now just close here but these are all the issues I've brought up my own uncertainties and doubts going through this are kind of the things I'm still trying to close in now. And I feel a better sense of the underlying technology so now that I kind of have a sense of how to, how to make my spreadsheet collect my data map that data and then control that data, I can think a little more hard about some of these, these conceptual and research based questions, and about where this project begins and For example, I have been considering non mining geographical alterations because once you're trained to read the landscape for that kind of capitalistic damage. Transportation infrastructure, particularly because so many of the, the railroads are mining related that seem you know these big visible scars like the uranium tracks across the landscape. And then of course you start raising question about residential development because, you know carving the size out of these mountains, for example from here to Provo down along Lehigh and point of the mountain. That seems like it should be involved here as well but that wasn't necessarily the kind of calculus that I was the kind of impression I was trying to paint so my hope is that this project will provide a kind of you know easily readable and effective narrative to potentially galvanize people into action against doing whatever we can to reverse some of this damage, stop it it's still going on of course these winds are still operating Rio Tinto is bigger than ever. They, so it's not just a historical problem it's also a problem for the present day. I want to thank Justin, Rick and Marcin everyone's library and so incredibly supportive and my peers and John and Danielle and everyone as well so thank you so much everyone. Thank you so much Daniel, and our last presenter today is Danielle. Hi, I'm Danielle waters and my project is the youth activist art archive. So the, this is a website that showcases youth activist art from around the world, and we wanted it to be an open access digital tool that's a resource for both young artists and also adult facilitators and teachers who are interested in making art for social change. So I'm an art teacher I teach photography and it's been a really weird year for teachers. There's a need for more digital tools that can reach and teach young students. So we wanted this project to be able to reach a broad audience and eventually be a nationally supported archive and also be sustainable as a long term project so this will extend well beyond me and my project with digital matters. I'm in the master of fine arts teaching program and Beth Krinsky, the head of art teaching has been really supportive of this project and I've really been supported by her expertise in this so thank you Beth. Let's see so Beth and I were discussing and the thing is, art and activism have a really connected relationship and artists such a powerful tool for social change. But there are a lot of resources out there for artists who are interested in making art for social change but when it comes to young people specifically. There are as many digital tools and resources out there so we're hoping that this will fill a needed gap, specifically looking at young artists that are 26 years and under is the age range that we're looking at. It's the, it's the people that are younger than all of us here in the zoom call, like it's the group of young students, like elementary age middle school high school, young college like they have important things to say. And I think sometimes we forget that, and I'm a, I'm a teacher and I'm also a mom so I am, I spend a lot of time around people that are younger than me, and they are inspirational and passionate and when it comes specifically to activism, I think youth bring a lot of unique assets, like creativity, and the resiliency that's needed to make sustainable changes in society. Young people also like they have more energy and free time that a lot of us adults. So they, they end this like contagious amount of hope and inspiration in the world that makes them really good at activism. And I think having more of a platform and more resources for young artists who are interested in art for social change is so important and I'm really excited about this project. Okay, so I'm just diving into like my research this was phase one which started last semester and I just started by researching what projects are already out there so what art mediums and social issues are young people, making art. Making art about, and I found a lot of large scale organizations and nonprofits who are making big projects that are involving youth but I also found individual artists who are making art that about a variety of social issues that they're interested in. So I just started gathering. Almost 100 entries of just what projects exist out there. And then I went through and was trying to narrow down what social issues we're going to cover. So what archive will have these eight main social issues and then we have subcategories for each issue like for environment. Climate change recycling pollution animal rights that would all be underneath that category. And in my own art and photography I like adding text with my images, and I do some art with label makers so I made these like little label maker things with my for like our design and then for these eight categories. So that was a fun process trying to think of like the branding and the feel of the website. And this is the actual website, it's not completely finished and not like live yet but the art and art history department ended up helping us a lot which was so great we're so grateful so this is going to be our main landing page, and you'll see there's resources and research, both for young artists and also for facilitators and teachers we're going to have lesson plans on here for educators that want to facilitate art projects about social issues. And then so submission page, and then you can see it like clicking on here where you can browse the social issues, or if you click on the archive tab right here. So that will take you to a separate site which is the actual archive. And this part is through the library and Rebecca helped me a lot with this which was really great and Anna, and everybody at the library. They knew of a Mecca which is a digital exhibit tool so this is hosted through a Mecca through the library, and it's just a different exhibit link. So this is the actual archive, and we made everything be searchable by the various categories so health racial justice environment gender all the different social issues you can search through and look at art just by that issue or you can also browse through based on the art medium so if you're like, Oh I just want to see what exists out there in 3D art or photography you can search specific for that medium. So just a little bit on the back end of the Mecca, I want to show you so this is, we have the item sets, and this is one of the items and Nate, Nate Milch made this he's a art art teaching student at the university. You can see this is his piece that we uploaded a photograph of, and the tags for this are mixed media 3D, and then the social issues are gender and LGBT. And I just want to read you this little description of this art because it's so great. It says, named after the toy, a mall Santa suggested when he heard a five year old boy asked for a Barbie Hot Wheels was based on the shame boys with feminine interest feel when they are socialized to feel as such a baby blue coffin is the final resting place for a collection of disfigured dolls and mournful symbol of bearing one's feelings to conform. So this is a great gender social issue that he made in response. But we'll have a variety of sculptors murals paintings photographs that will all be in the archive, and it's going to continue to grow and grow which is also really exciting. So right now the main thing that we're doing is looking for submissions, trying to find more people to reach out to, and we're contacting artists and educators to submit so this is our submission page and this page is live so I'm going to share it in the chat. And you feel free along with a flyer and you can pass it around to anybody that you think might be interested. We ran into a couple of hangups with the legal stuff for permissions because we're looking at our demographic is youth and so they're protected minor and so they need like parental permissions for in a lot of cases if they're under 18. So when we did the submission page, you can see that they can upload it right here into the box and it comes straight to us. And we needed to create a submission form and a legal permission form so these are the two forms that they have to fill out to submit to the archive. And you can see that we're letting the artists choose these tags so like they will click on which medium apply and which social issue they feel like apply. And that's the tags that we're going to use in the archive so you can search, search through. So this is the flyer that we're passing out we're looking right now, more locally, and then we're hoping to expand nationally and then internationally. Right now we were sending out emails to you have you students and local art educators, and then we're going to be sending out a national email to get submissions later on. So thank you to digital matters the library and art and art history department Beth and Nate, and it's been a really wonderful project has been really inspiring and hopeful for me to work on this project. And thank you. That's it. Thank you so much. Okay, let's take a minute just to thank all of our speakers in any way that you do actual clapping clap emojis. Good job everyone. That was fantastic. Yep, I love the jazz hands. And I just I just want to say, this has been a tough semester for everyone. And to see what you have all accomplished has been truly inspiring for me as well so well done everybody. So we are going to open the floor up to questions now for all of our speakers. I did have one announcement. Several people have asked me if we're going to hold digital humanities Utah symposium this year. Dhu is what we often call it. We do a symposium every year in Utah we go from university to university hosting. This was the year that BYU was going to host it, and we met together as a planning committee and decided we are going to hold off until spring 2022. And for those of you who are interested in showing your work, please do plan on, you know, presenting at Dhu and attending in spring 2022. Okay. Oh, and Danielle just shared a file and that link in the chat box for anyone who's interested, or no people who might be interested in submitting to the youth activist archive. Okay, and with that. What questions do we have for our speakers. I have a question for Danielle. So Danielle I'm with the Utah Education Network. So my question for you is, you mentioned the permissions for uploading content. Thank you for anticipating that. My question is regarding the content itself. Are there specific guidelines. And the reason why I'm asking is that if we publish this out to the K 12 space. Through us, there's always those questions about filtering and concerns and stuff so just would love to know what if there's any parameters around the content that I should be aware of. That's a great question. I think that we're, we're definitely gearing it towards youth so that's a good thing to keep in mind I don't know if I thought about necessarily, do you mean filtering the content as far as like the images and the artwork that will be receiving because we are curating the archive not everything that will be submitted will be accepted. Yeah, you know so you know the artist in me is like let it rip, but you know, you, you, and, you know, we, we hear squawking from all over if like there's even a little side boob. So, so that's really I'm just kind of wondering when I'm thinking about what markets I would share this information with. I want to curate that care in consistent with with the kind of content you foresee, wanting to support. Yeah, yeah that's a good that's a good thing we'll have to keep in mind I think we are. I hadn't like nudity hadn't crossed my mind honestly but I think we're gearing it towards you so that is something that we would definitely keep in mind and and be careful about good question. I'll email you offline for more. I have a question for the entirety of the panel. That's okay Rebecca. Yes, hi David. So, I wonderful presentations I liked just how there's so much resonance between all the presentations and they seem to be in conversation with each other. They're all making kind of connections between history art and the environment for largely social and cultural change right and this is kind of a pretty optimistic view of technology is bringing about that change. So, I want to kind of switch positions here and I want to ask the panel to address the counter argument of the pitfalls and dangers of digital methods and told if you see any things that were you traps to avoid if you've given any thought to how things could go awry. I can actually speak to that because I dealt with this a lot last year at the workshop that I attended. It was a week long workshop, and we're supposed to be in Florida but due to COVID. It was essentially nine to five every day workshop for a week and I was very interested in the fact that ethical issues were probably half of what we discussed like I was mostly there to learn the tools. And with every tool and with every, everything that we discussed for that entire week. We dealt a lot with the ethical issues and especially a lot of us were working on Twitter at that event and what I learned in the interim time that actually has impacted me a lot which people here might be interested to know. I published the piece on Riverdale. It's called Star Force Star Wars Force Awakens in 2019, but I obviously had sent that in like two years earlier so that means I started working on this in 2017. And since then, everyone who's working on Twitter does not directly cite the Twitter usernames. And it's really interesting how this process has changed because I have a piece published where I do cite the usernames, but since then we, everybody says please don't cite the usernames because they don't want that negative effect of trolling to happen to those people even though technically those tweets are public, there can be real life consequences if someone finds out the, the real person that's connected to that Twitter username right. And a lot of the discussion that I had in 2020 was, and again that piece was published in 2019 in 2020 was, I really have to change a lot of my project because a lot of my project was about directly citing the Twitter, Twitter quotes and directly citing those usernames and now the discussion among everybody who's working on Twitter is you should avoid that as much as possible, you should get permission to directly cite those Twitter users and of course that's not possible when you have 8,000 tweets right so this is something that I'm definitely directly addressing because of the ethical consequences and the real life consequences of posting this public data so I'm trying to, I'm realizing I have to do an entire section that's what people are doing. I have to do an entire section of my book about the ethical use of Twitter data. I can take this one with regards to cryptocurrency and I always think about media scholar Gretchen Soderland who really nicely and poetically talks about how digital media dispossesses just as much as it empowers. And with indigenous cryptocurrency there are tons and tons out that are that are basically totally predatory ones that are using basically poverty point porn techniques of putting poor people on front of their images and saying that it's going to help the world itself has actually nothing to do with those with those particular outputs that they want. So it takes a lot of critical skills in order to figure out which ones are bad and which ones are good, and also just remembering that indigenous people, you know, have this profound digital divide where broad bad internet, for instance it's even close to being as equal as it is throughout the entire US and the underlying technologies that you might need to use these crypto might not even exist and Merse Duarte and a lot of great scholars talked about that as well but yeah it really important not to just take a techno optimistic, you know view of everything because at the end of the day humans Thank you. Sorry, go. Sorry, I think I interrupt somebody. I'm just going to pop. I love your question because it's, I've just been thinking about a lot and trying to think of a million different thoughtful ways to respond. And because I've been having that difficulty with media in general as well particularly I mean when the digital space you're kind of an immediate I think maybe maybe definitionally a little more than you are in the physical space, you know, and zoom it's a media of video audio and an image and so a map potentially can can form a new type of perspective or story time but it can also, especially once you marry it with more linear media, just replicate a misunderstanding and a hierarchy that kind of allowed us to create these massive structures in the first place and destroy our landscape. So, for me the question is really particularly to what is language actually powerful or transformative, or is narrative transformative and his language powerful powerful enough at least to go up against, you know, 100 ton diggers and and what what have you out there and 200 billion dollars with capital and Rio Tinto and everything like that so I think that's a question that very much pushes to the heart of narrative as well and media a little bit more generally, which just gets elevated in this digital context. I have a very practical question actually for Jacqueline, I loved your work and I loved your slides and I'm wondering if you're planning on showing doing a larger exhibition of your work that we could go see either virtually or in persons at some point. I hope so. I actually recently just two weeks ago shared at SF San Francisco camera work, the progress that I've made on this particular project, and they've asked me to do a lecture once I've actually completed the video piece. So hopefully I'll be giving a lecture and showcasing it through San Francisco camera work sometime over the summer. And then I've also been submitting it to open calls in various ways of sort of showing it. The video piece in addition to thinking about installation tactics particularly sort of recreating that desert landscape with the various sort of artifacts and remnants from site. To have this in conversation with one another. So yeah hoping that that will happen sometime in the fall but definitely through SF camera work, probably over the summer. So yeah. Well, if you want to have help publicizing that please do let us know what digital matters. Sure. Yeah, thank you. Max you have a question. I was going to ask john. I mean since a lot of the work you're doing is sort of like is inflected by the fact that you're trying to be linguistically, you know, like honest to some of these place names and use the original names in these different languages I was curious about like technically if you ran into problems like using those place names and how that works on sort of like the back end if they're at a technical problems that actually came from using non English names and the data and how that was all get any things that you had to work out with that. Yeah, that's a good question I mean how to divide it was a really crucial first step because there's a mix of understanding that's how groups self identify and then this like anthropological and like several colonials view. So we're trying to be really conscious of these political and cultural divides. As far as the technical aspects. We were really concerned because we're using the Navajo alphabet and we weren't sure if those characters we're going to translate because you know we're we have a couple different steps from data sheets CSV files and then actually like the back into the map. Luckily, it works pretty well with any keyboard so we were able to do that pretty seamlessly. So technically it wasn't a challenge is more conceptually how to divide up these categories and we're still kind of working with that because we're trying to be sensitive to a lot of different issues of how to like, you know, we're doing these big umbrella terms. So there are a lot of implications and problems with that while we are trying to create this decolonize the map so that was like our biggest challenge actually. Do you have a question. I do so this is for all the presenters. I don't know how long ago you wrote your proposals to digital matters but you know when we write proposals we all say we're going to do this thing and we expect certain outcomes I'm curious at this point. Back, what are some of the things or thing that that have been poignant for you that you have come across or learned or realize that you had not expected to. I'm not I can go first. One thing I mean this is the work that I'm working on has I started before I came to Utah and of course it's it's very seriously change as a result of being here. And I think the more that I sort of investigated the deeper I sort of go and only recently have I really began to think about the sort of mythology of cowboys in the American West which seems like, you know, sometimes I think about it like that's such an obvious connection when I'm like using all of these objects that are totally obliterated in the desert that sort of speak to the trauma and the history of colonialism, particularly in the West. So that's been a sort of interesting discovery that I have only recently started doing more research on and only happened as a result of really getting into this and creating this video piece. I was just going to say, like, I think everything just takes longer than I think it's going to just generally like one day, I ended up spending hours just making sure I was using the correct language and I had to do a lot of research of just that that day and there were a lot of unexpected things where like time, time was strange but that's a good question Beth. I can say I, I was really interested in like what my when I first met with my research assistant Mitchell I think I believe he asked me what do I want my images to look like and I ended up saying I know what they don't want what I don't want them to look like. But because some of the images that I came up with at the, at the event that I attended last summer. They looked I showed them to people things like word maps and things like that where people are like we've been doing this for decades I was that new. And I was thinking and so that's been one of my struggles is how do I this is my first time doing anything with data visualization I have no experience beyond this one week event that I attended. So, I'm still struggling to find what do I want it to look like so I'm feeling like there's a lot more trial and error than I expected as part of the process some things aren't working. The images that I've seen in other books about hashtags I don't want to replicate those because I don't find them as useful as other places so that's that's something I didn't expect. For me, digital matters as a group has been very inviting in terms of like you shoot for the stars, maybe shoot for the moon and maybe land on, I don't know, Everest or something. And that in that I think for myself particularly I really don't have a meaningful background in the kind of technology I'm trying to use. But that you know I was still invited to do this and so I've encountered kind of natural problems along the ways in which well I don't even know how to do what what even I don't know how to code for example, but I need a little bit of code here. But that's just been for me at least that hasn't really been an issue because everyone has just allowed me to just kind of give me the advice I need and keep playing along so I would agree with Daniel that it doesn't mean a little bit of a time extension for me maybe I but I was too but I really appreciate that that impulse to to allow us to kind of maybe dream a little bit beyond our initial capabilities and then let those capabilities catch up. And that's just what Daniel said to I found the extension of time really helpful because there's a lot of different people that helped me out that came from very different backgrounds that things I would never have noticed like I think Greg pointed out accessibility of people are colorblind the way our map appears to the sensitivity of these language language groups from people American Westerners so there's a lot of different people that help me. That really showed how this interdisciplinary nature of digital matters is very helpful to kind of shape these, you know, the crossover of humanities and digital tools. Okay, if we don't have any other, you know, presenters weighing in on challenges we probably have time for maybe one more question. One other question. This is for Sarah with regards to her Twitter project or try to research. I wondered if you have thoughts about the Snyder cut being released and how toxic fandom has been rewarded through this mechanism and if that troubles you at all with regards to the hashtag activism. Yeah, so this is this is my ongoing problem with this project is every time I give a talk about it, everyone wants to hear about the haters. And I, I'm so ever I tried that because I did give a talk on the bat woman, we cast that woman hashtag and it was really hard on me because and investigating all those negative trollers. It's so toxic that I was immersed in it for so long that I'm really I'm truly struggling with that but I, I feel like it's certainly a necessary part of my project I'm hoping when I get to the editor's stage of this project that will be okay with that it's one chapter out of four that they won't make me make two chapters out of four about the haters but I definitely, I, I, I certainly value having to talk about it and there's a lot of work on anti fandom. That's being done that's really helpful for making my arguments in that context but for in terms of we've talked about this in other places with digital matters like in terms of thinking through your projects to be in that negative space of the project, it's, it's, I want to, I, I, I'm still tempted to only focus on the people who are trying to create social change and not the, and not the, not the toxic fandom but I'm definitely going to have to address that every time I give a talk about it everyone wants to talk about it so yeah. Sarah did you see Anna's comment I like the subsequent campaign to release the Z-moke. Yeah, I mean that's the thing once the trollers come then there's, there's other people that respond that say, well no we need another version of Ariel that's not just a white girl right like. So there, it's a really interesting kind of give and take I mean part of I guess what I'm arguing is that there's more intersections and you would think between those two things to I think. Okay well we are right up to the end of our time so I wanted to take one more chance to thank everyone for coming today and especially to thank our presenters for sharing all of your important work. And yet, and I see a couple more comments coming. And everyone just stay safe out there and I hope that we get to see some of you in the fall at least socially distanced and with masks but very excited to to connect especially with the people I never got to meet in person this semester so thanks to everyone. Stay safe.