 I'm gonna start my timer here as well. I'm gonna do my best to also stick to eight minutes that we have plenty of time to talk. And I apologize, I've never presented on a screen that looks anything like this. You'll have to excuse some wordy, difficult to read slides, but don't worry, I'll talk it through. And I wanna thank the organizers and all of you for being here today. I'm very excited to be a part of what I understand starting these conversations in design media arts. I'm gonna focus primarily today on the kind of pedagogical end of what I do here at UCLA and conclude a bit by talking about the research I'm just beginning for my dissertation, which does take up some of these issues as well. But what I'm arguing primarily today is that focusing on pedagogy on both, I'm gonna be talking mostly about formal pedagogy in the classroom with undergraduates, but that focusing on pedagogy is a key aspect of social justice work and that teaching critical data literacy, along with other kind of digital literacy skills is a key part of what we need to do. So I'm gonna talk about two different courses. The first is one that I've proposed but have not yet talked on gender, sexuality and digital culture. And the kind of idea for this course came from kind of my own interest and engagements with kind of ideas on the feminist internet, as well as teaching, I was a TA in the intro to LGBT studies class and we got to the end and realized that we really hadn't done much with digital culture and is it really a responsible kind of an effective engagement with our undergraduates to talk about what being LGBTQ means or the potentialities for kind of LGBTQ identity and life today without talking about the digital. And I've also found related to that, that talking about the digital is a very powerful way to talk about social justice with undergraduates. It already has a key kind of relevancy to their everyday lives and it can make some difficult concepts easier to grasp in that way when there's already at least some kind of level of understanding and engagement, it also heightens the kind of importance of doing that work. So this course takes on a number of key questions, thinking about what it means in the digital age to think about gender and sexuality, both how notions of identity and embodiment change with the digital, how those notions of gender and sexuality don't change with being digit on how those translate into new forms of media. And so I wanna give you a couple of examples from each of the classes I'm gonna talk about of some of what happens there. So this is just one of the units but I'm particularly interested in, this will become clearer when I talk about my own research as well, but I'm particularly interested in how sexuality translates onto the internet and how ideas of embodiment work in a digital space. And I think that this unit of the course focuses on how the digital affects our feelings and relationships as documented in digital technologies and how those digital technologies might alter, augment or distance the way people relate to one another and how the internet intervenes into the provenance of the body. Topics in this section include of course online dating and relationships, pornography, research on sex on the internet, both what we can kind of learn about sex and sexuality from what people are searching in particular. There's really fascinating kind of big data work on what you can learn from what people are searching about their interests, desires, et cetera and what you kind of can't learn, how those truths are reflected or not in a digital space. This section of course deals also with the implications for how dating and relationships look different on the internet, the possibilities for community and as well as issues, you'll see here, there's an article as well on kickstarting trans thinking about the potential for crowdsourcing and how that might engage people in different kind of communities and identity practices that they were not engaged in before or expanding those communities in new ways. The other course I wanna talk briefly about is one that I'm teaching right now to 30 undergraduates. It's one of our core courses or one of our three courses offered to undergraduates in information studies. It's a GE course, so it's open to any undergraduate. We don't have our own major at the moment in information studies. Our department has an explicit social justice mission and it's one of the reasons that I think many of us as students and faculty are drawn to this department and to this discipline. But this course takes a very explicit focus on social justice to investigate the political, the economic, the legal and the technological aspects of the way in which information is created, access used, controlled, discarded and destroyed. And it draws on a huge interdisciplinary set of literature from information studies and related fields. And it focuses particularly on the digital and on contemporary events to explore issues of information and power. So again, I wanna talk briefly here about kind of one unit of the course. So whether or not there are, in fact, digital divides and who might be, is divided in a useful way of conceptualizing differential access. Is internet access a human right? And if it is, how do we actually enact that? And how do we think about issues? Faye Ginsburg work focuses particularly on the kind of use of indigenous communities to rethink and to explore in new ways their own identities and to give people access to kind of indigenous knowledges. This unit also, I had the privilege of bringing in two of my fantastic colleagues who are doing a very important project on police data practices. And their work is able to talk, to give an important instance of what critical data studies are. And I think critical data studies are a particularly important segment of this, excuse me, that larger project of teaching social justice because we live in a world where data is constantly being collected about us. We're constantly creating data, but we don't always think of data as something that has a point of view and a perspective from design onward. And I'm hoping that by educating a set of undergraduates we can create a kind of more critical set of designers, users, educators, and those engaged with technology. So I think there's a number of reasons why doing this work really matters for students. I see this as part of my own engagement in social justice concerns. I think for students to actually be able to interrogate issues of power and information, they need to understand and be literate in data and thinking about issues like the other two presenters have already talked about the kind of biases of the technologies they're engaging with. I also think that enhancing their understanding of the roles of data information in the digital more broadly and giving them access to a different set of kind of disciplinary knowledge can inform their intellectual lives, their personal lives, their lives as kind of citizens in a kind of globalized world and thinking about how such education might impact their identities and their own reflections on social justice work. All of this work is aimed at giving them kind of a critical vocabulary and perspective on these concerns, introducing them to the idea that search engines have biases. They all use search engines, but most of them have never thought critically about them as a tool. So this is a really exciting possibility too and you get them to think critically about the structures that are often too invisible in their daily lives. I also wanna talk very briefly and we can talk more about this in the Q&A about my own project. This is my third year in the department so I am developing my dissertation project this year which is very tentatively titled Your Nostalgia is Killing Me. And this project takes its title from the poster you'll see here which is by two activists, artists, Vincent Chavillier and I am Bradley Perrin. In the setting for this poster, it's designed to look like a teenage bedroom, usually the bed there in the center and the images are of course those of AIDS cultural productions from the 1980s and 1990s. You'll see out the window, there's an act up political funeral closer to us. On the left there's some other act up images. You'll notice the Keith Haring drawing on the other wall just as a few examples. And there is of course on the other side, Justin Bieber wearing inexplicably an act up T-shirt. And images of corporate campaigns for AIDS, activism. And these emblematic signifiers, through the emblematic signifiers, the artists assert that the nostalgic focus on AIDS up the past results in an important neglect of the contemporary nature of the AIDS crisis and therefore prevents critical lifesaving actions from being initiated and put into place. This poster for me and my project I should note is centered in critical archival studies. So this poster generated a lot of, they were actually put up in three different cities and then put up online. They generated a lot of discussion, a lot of intergenerational discussion, particularly amongst those interested in AIDS, activism and art. And so those conversations extended into the archive and of course some of these images are still obtained through Google archival images. And so I'm interested in how in the three decades since AIDS was first identified and entered the realm of public discourse how it has become far more than a biomedical event. The HIV AIDS crisis as I see it is a fundamentally cultural phenomenon as well that has generated a vast body of representation, even greater collection of experiences, affects, knowledge and cultural activism. And an important part of that current cultural activism it can be argued is being imperative to build an archive of AIDS knowledge that would otherwise be neglected, marginalized, suppressed or forgotten. And so as a result I'm gonna be looking at just a couple of the archival projects that have been developed globally to collect, preserve and make accessible political, artistic and medical knowledge. And so I'm deeply interested and engaged in the issues of kind of how archives can capture or relate to kind of human experiences that are difficult to document, whether those are embodied experiences or feelings. And so for me this project will be about what the work of nostalgia does or doesn't do and how it shapes the experiences, understandings, commodification and memory of HIV AIDS through the archives and its activist movement. So I'm happy to talk more about that project during Q&A but I wanted to kind of bring together those two and so thank you.