All Talks :
Beyond Story: Situating an Online Community Manifesto (Workshop)
Visible Evidence, 2019
After Marriage Book Series Event
Panelist, CLAGS, CUNY Grad Center.
Fake News Poetry Workshops
Margaret Rhee’s Harvard University class presentation about Fake News Poetry Workshops with Chet’la Sebree.
Excavating Feminist Film Histories: Early Productions from Women Make Movies
NYU, Cinema Studies Department, panelist.
Documentary Across the Disciplines
Grad Center, CUNY, American Studies Program. Panel with fellow Brooklyn College professors.
Fake News and Performative Writing Poetry Workshop
NYU Performance Studies Department with Barbara Browning.
Advance Screening: Native Son, panel moderator
Advance Screening: Native Son for CUNY. Moderator.
Film and Inter-Disciplinarity
Respondent to Vinicius Navarro.
AIDS Video Activism: Women and Incarceration
A video program for Metanoia
Programmed with Katherine Cheairs.
The NY Lesbian, Gay, Bisexual & Transgender Community Center
Nothing is Unwatchable for All
NYU Art Department.
I’ve Left Documentary Entirely
“I’ve Left Documentary Entirely,” on Fake News Poetry Workshops
Decolonizing the Imagination, Moderator
Brooklyn College, Hess Scholar, Jose David Saldivar in conversation with poets and writers. March 2019.
Topics: 2018-2019: Recent Work |
AIDS activist video as TV
Presentation on AIDS activist video for Television History class.
Algorithms as Pets and Politicians
Fake News Poetry Video Workshop with Orr Meniron and Kyle Booten at Dartmouth College Digital Humanities and Social Engagement Center.
Union Docs, Program Moderator. How and why practices subvert the formal and political logics of character-driven storytelling. One response to “Beyond Story.”
Tribute to Jump Cut #1
Columbia University, “DiAna’s Hair Ego Remix.”
Princeton University: Gender, Sexuality and Media
Session on my activist queer writing/media; Princeton University, November 2018.
Fake News Video-Poetry Workshop, New Haven
The second Fake News Video-Poetry Workshop occurred on November 3, 2018, in New Haven.
Fake News Poetry Workshops as Radical Digital Media Literacy
Interfaces are the central instruments in the new economy of signs. They are both tools and discursive frames. Interfaces, insofar as they are instituted as an order of discourse, are transitive and mediating. Post-truth is the term coined to define a linguistic regime in which objective facts are less influential in the formation of public opinion than appeals to emotion and personal belief. This phenomenon can be analyzed as a specific system of interfaces where a whole set of communicative, technical, social, political and economic issues converge.
University of Barcelona, Spain. Presentation on Fake News Poetry Workshops. November 2018.
AIDS, Media and Memory
Panel Chair, AIDS, Media and Memory: Legacies and Contestations in the Ongoing Emergency of the AIDS Crisis, ASA, November 2018.
American Studies Assoc: AIDS, Media and Memory
Legacies and Contestations in the Ongoing Emergency of the AIDS Crisis, Panel Chair, November 2018.
Fake News Poetry Workshop, Poets of Course
The eleventh Fake News Poetry Workshop occurred on October 2, 2018, in Manhattan NY, led by Cathy James working with ten or more poets in the group “Poets of Course” (formerly Poets of Corsi).
Media Labour, Keynote address
My VHS AIDS Archives: Confessions from the Field of Queer Feminist Media Praxis.
Video and powerpoint of talk available here: https://aljean.wordpress.com/2018/11/17/my-vhs-archives-confessions-from-the-field-of-queer-feminist-media-praxis.
Independent Film Project Week: What’s Now
How Do We ReFrame the Conversation on Gender and Intersectionality; featured speaker, September 2018.
Columbia Seminar, Film and Inter-Disciplinarity
On VHS Archives, September 2018.
Emerson College Faculty Day: Invited Presentation on Diversity and Pedagogy
With Claudia Rankine, September 2018.
Union Docs: Workshop on Feminist Film
Whitney Museum, Visual Arts and the AIDS Epidemic Symposium
This symposium develops out of an oral history project of the same name undertaken by the Smithsonian’s Archives of American Art, focusing on memories of the AIDS crisis in the 1980s and ’90s and features conversations with artists, activists, and oral historians. July 2018.
MDOCS: Skidmore College, Surveillance, Archives and Memory
BAM, The Watermelon Woman and Imitation of Life
The Watermelon Woman and Imitation of Life, May 2018.
Cartographies of Erasure: A #100hardtruths-#fakenews Poetry Workshop
Lynne DeSilva-Johnson, Occidental College, May 2018.
Feminist Poetics, Emergent Pedagogies
On Fake News Poetry Workshops, May 2018.
DIGITAL engAGEment: Media. Literate. #activist.
Fake News Poetry Workshop, with Orr Menirom, May 2018.
Race in the Media: A Poetry Workshop
Margaret Rhee and Chet’la Sebree, NY, May 2018. Supported by Poets & Writers Grant.
NYU: Cinema Studies @50
Featured Graduate, on Fake News Poetry Workshops, April 2018.
NYU: Class Visit to Grad Symposium on Television Studies
LaGuardia Community College, 3 Fake News Poetry Workshops
With Lisa Cohen, April 2018. Supported by Poets & Writers Grant.
The National Gallery of Art, Avant-Garde to Underground
Outliers and American Vanguard Art, April 2018. Screening of The Watermelon Woman.
Brooklyn Bazaar, Fluid 0
In conversation with Shu Lea Cheang after films screening, March 2018. A fundraiser for MIX.
Feminist Film Week, Anthology Film Archives
Q & A, The Owls, Watermelon Woman, and Filmmakers panel, March 2018.
SCMS: Workshop on Sisters In the Life Book Publication
Devil’s Dyke Network, Brighton UK
Fake News Poetry Writing Workshop, March 2018.
University of Sussex: Fake News Poetry Writing Workshop
With Sam Soloman, March 2018.
Occidental College, Fake News and Digital Humanities
Residency and talk, March 2018.
Get Lit, fake news poetry workshop
LA, March 2018.
Ammerman Technology and Arts Symposium
Fake News Poetry Workshop with Kyle Booten, February 2018. See poems and other materials here: http://fakenews-poetry.org/ammerman-list.html.
Upside Film Festival
How does queer + black film transform viewers, February 2018. Screening of The Watermelon Woman
Manifesto: A Moderate Proposal
Art Exhibition, Pitzer College Art Galleries, #100hardtruths-#fakenews Companion, January 2018.
Union Docs, Past Present Future
The Ongoing AIDS Epidemic in Four Documents, January 2018. Screening of We Care.
Smithsonian Institution, Archives of American Art
Visual Arts and the AIDS Epidemic. Interviewed December 2017 by Theodore Kerr. In 2015, the Archives of American Art received support from the Keith Haring Foundation to produce a series of in-depth oral history interviews with key witnesses to the AIDS epidemic and its impact on the visual art community. In selecting these narrators and their interviewers, the Archives worked with an advisory committee comprised of artists and advocates familiar with and active in the New York art community during the height of the AIDS epidemic. Subjects are primarily New York City-based.
AAA: The Anthropology of Media and Journalism in a Post-Truth Era
CUNY IT Conference: Digital media literacy in the face of fake news
The Broad, LA: “We Care”
Home Video: Media Art and AIDS, December 2017. Screening of We Care. Presented by Electronic Arts Intermix.
NYU, Art & Public Policy Class
Poetry workshop, #100hardtruths, November 2017.
CUNY, Queens College, Media Studies Colloquia
“#100hardtruths-#fakenews,” October 2017.
The East New York Film Festival
Guest speaker, August 2017.
Supper Club Dinner on AIDS
8th Floor Gallery, hosted by Sur Rodney Sur and Elia Alba; invited participant, August 2017.
Electronic Arts Intermix, Home Video
Media Response to HIV, July 2017. Screen We Care.
Concordia University, Keynote Address
From Fruit Machine to Perils of Pedagogy, Tom Waugh’s Graduation, June 2017.
Museum of the City of NY, AIDS at Home
AIDS at Home: Art and Everyday Activism examines how artists and activists have expanded the idea of caretaking and family and navigated the political stakes of domestic life in the face of the HIV/AIDS crisis, from the early 1980s to the present. From the earliest diagnoses, the HIV/AIDS epidemic has spurred New Yorkers to create new forms of social support, identify new legal battles, and explore new artistic terrain. The exhibition places paintings, photography, and film alongside archival objects from activist groups and support programs to uncover the private stories of HIV and AIDS and reconsider caretaking, community building, and making art as acts of resistance.
“We Care” (1990) included in show, 2017.
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