social inequality

By Daniel Johanne…, 15 June, 2021
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Abstract (in English)

 

2020 marks the 25th anniversary of the “digital divide.” Although a quarter century has passed, legacy digital inequalities continue, and emergent digital inequalities are proliferating. Many of the initial schisms identified in 1995 are still relevant today. Twenty-five years later, foundational access inequalities continue to separate the digital haves and the digital have-nots within and across countries. In addition, even ubiquitous-access populations are riven with skill inequalities and differentiated usage. Indeed, legacy digital inequalities persist vis-à-vis economic class, gender, sexuality, race and ethnicity, aging, disability, healthcare, education, rural residency, networks, and global geographies. At the same time, emergent forms of inequality now appear alongside legacy inequalities such that notions of digital inequalities must be continually expanded to become more nuanced. We capture the increasingly complex and interrelated nature of digital inequalities by introducing the concept of the “digital inequality stack.” The concept of the digital inequality stack encompasses access to connectivity networks, devices, and software, as well as collective access to network infrastructure. Other layers of the digital inequality stack include differentiated use and consumption, literacies and skills, production and programming, etc. When inequality exists at foundational layers of the digital inequality stack, this often translates into inequalities at higher levels. As we show across these many thematic foci, layers in the digital inequality stack may move in tandem with one another such that all layers of the digital inequality stack reinforce disadvantage.

DOI
10.5210/fm.v25i7.10842
Description (in English)

aimisola.net/hymiwo.po: a poemtrack for a yet-to-be-written dance piece departs from material produced by AIMISOLA, in respect to the project “voices of immigrant women,” and further research developed by Álvaro Seiça & Sindre Sørensen on immigration, Spanish immigration policies, cultural, social and political issues in Spain. The first-person poem addresses immigrant women in long-term unemployment living in Spain, and the social, professional, linguistic, and educational obstacles that they face. The poem intends to be a possible account and denouncement of immigration, migration, and dislocation aspects, in a broader global scope, though more specifically, in the European context: rootlessness, social and personal hopes, women’s rights, social, gender and sexual inequality and aggression.The poem starts with an onscreen display of keywords used to write the poem, some of which are hash-tagged. As the poem unfolds onscreen, displaying a fixed line at a set temporal interval, these recurrent keywords scrape real-time tweets. The resulting display is a poetic mash-up of collective text, composed of background and foreground. The combined text can act as textual and visual texture, or active multimodal reading. However, it functions as a timely snapshot of a certain collective consciousness or, perhaps better, it provides an update debate on topics related to the poem that are happening as collective discourse in social media.The coding mechanics create tensions by juxtaposing a fixed (non-)poetic text with an ever-changing social(-poetic) text, which might be further complicated by the way certain tweets contradict or amplify the lines, or even when the audience participates by inputting tweets as the poem is live performed. Furthermore, interactivity is keyboard-driven. Arrow keys control line display and the avatar (“silence”) progression, as well as a visual representation of duration. The reading progression through the language game questions modes and functions of reading, and roles and boundaries between viewer, reader, user, and player. The “intermezzo” game acts as a scene, or “poemscreen,” using the BSoD as glitch source. An error display screen, the side-scroll game thus critically dialogues with game mechanics, OS errors and factual ocean traversals in the Mediterranean Sea. The very act of reading/living continues only if the reader/player traverses the poemscreen.aimisola.net/hymiwo.po was originally written in Portuguese and translated into Spanish and English. The soundtrack is “Lighthouse” (2011), by the Swedish jazz band Tonbruket.Start work at http://aimisola.net/hymiwo.po 

(Source: Author's Website)

"Voices of Immigrant Women" is a digital project in which AIMISOLA project's members have developed digital poems written for the Web, based on the experiences of immigrant women in long-­term unemployment living in Spain. Their testimonies have been recorded as sound files, images, and videos. The work has been done in Portuguese, Spanish and English language.

This work was shortlisted for the New Media Writing Prize in 2016: http://newmediawritingprize.co.uk/past-winners/2016-shortlist/

(Source: Nina Kovolic)

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