WEBVTT 1 00:00:00.001 --> 00:00:04.950 Good morning, everybody. My name is Omar, and I'm the chair for this session. 2 00:00:05.680 --> 00:00:13.740 Okay, so I'm glad to be here to to have these works about. let me 3 00:00:13.880 --> 00:00:16.190 have my cell phone out, please. 4 00:00:16.770 --> 00:00:27.759 We are in this session about reconstructing knowledge. Digital human is a visual culture that I'm going to be chair. So 5 00:00:28.050 --> 00:00:36.130 I am glad to be here with you in the representation of my colleague and friend, Christian Bagner. That is the one 6 00:00:36.290 --> 00:00:38.159 session organizer. 7 00:00:38.220 --> 00:00:43.600 and we will have 4 presentations in this session. 8 00:00:43.670 --> 00:00:45.370 So 9 00:00:45.520 --> 00:01:01.249 First of all, we are going to start with a virtual one. Walter Barta, from the University of Houston, an empirical approach to the analytic continent device. So, Walter, are you listening? 10 00:01:01.810 --> 00:01:03.280 Walter Barta: Yes, I'm here. 11 00:01:03.600 --> 00:01:09.840 Ok. Walter, so please go ahead. You have 15 min to make your lecture 12 00:01:11.280 --> 00:01:14.900 Walter Barta: all right. I need to read this before you started. Excuse me 13 00:01:14.940 --> 00:01:38.349 on behalf of everyone. Gather I pay respect to the spirit of country here in narm where we are meeting, I acknowledged the past and present colonation for run the reward as the sovereign people. Here the cultural knowledge holders who maintain and promote the norm, aboriginal law, customs and custodianship, responsibilities for country and the people. That country continues to sustain generation 14 00:01:38.350 --> 00:01:50.929 after generation into the future. For all of us. I recognize the important contribution that first nation thinkers have made to sociology, including challenges to our dominant ways of thinking. 15 00:01:50.940 --> 00:01:57.789 We thank all first nations, delegates in the room today for their unnecessary last part to 16 00:01:58.150 --> 00:02:00.130 yeah. It's a 17 00:02:00.340 --> 00:02:05.120 thank you. So please, Walter, can you? start, please? 18 00:02:06.400 --> 00:02:08.220 Walter Barta: All right. 19 00:02:09.530 --> 00:02:12.220 Walter Barta: so let me share my screen. 20 00:02:12.370 --> 00:02:14.149 You are able to share now. 21 00:02:14.530 --> 00:02:16.460 Walter Barta: All right. Share. 22 00:02:18.960 --> 00:02:19.989 Walter Barta: Can you see it? 23 00:02:20.810 --> 00:02:22.580 Yes, sorry. We can see it 24 00:02:23.050 --> 00:02:24.010 Walter Barta: all right. 25 00:02:25.060 --> 00:02:27.450 Walter Barta: Okay, so. 26 00:02:27.700 --> 00:02:30.810 Walter Barta: I'm Walter Barta and 27 00:02:31.040 --> 00:02:37.519 Walter Barta: I'm a principal investigator at The digital research comments 28 00:02:37.680 --> 00:02:40.550 Walter Barta: at University of Houston 29 00:02:40.990 --> 00:02:45.749 Walter Barta: and I've been working on 30 00:02:47.160 --> 00:02:48.430 Walter Barta: a 31 00:02:48.690 --> 00:02:57.149 Walter Barta: special project. Grant. an association with the Philosophy Department at the University of Houston. 32 00:02:57.310 --> 00:03:01.299 Walter Barta: and we've been doing what we call 33 00:03:01.880 --> 00:03:07.190 Walter Barta: like a digital analysis of 34 00:03:07.710 --> 00:03:10.220 Walter Barta: the analytic continental divide 35 00:03:10.580 --> 00:03:15.969 Walter Barta: which is a. It's a special problem in philosophy. 36 00:03:16.160 --> 00:03:21.920 Walter Barta: you have the analytic philosophers right? And you have the Continental philosophers. 37 00:03:22.050 --> 00:03:26.149 Walter Barta: but we wanted to take the approach. That 38 00:03:26.610 --> 00:03:32.729 Walter Barta: these were this. This divide could be described in terms of 39 00:03:32.900 --> 00:03:39.850 Walter Barta: a a type of sociological pattern. something that 40 00:03:39.900 --> 00:03:47.640 Walter Barta: a a pattern, a divide, and a pattern that expresses itself through the text that 41 00:03:47.870 --> 00:04:00.680 Walter Barta: these different schools of thought produce. so it was. It was a digital empirical study of these 2 schools of philosophical thought. 42 00:04:00.980 --> 00:04:04.460 Walter Barta: And I did this with a with 2 43 00:04:04.570 --> 00:04:13.090 Walter Barta: 2 team members as well. Gramley and Steve Chan who? Who couldn't be here but 44 00:04:13.630 --> 00:04:17.030 Walter Barta: they they inputted 45 00:04:17.170 --> 00:04:26.970 Walter Barta: the philosophical angle here. And I was more on the technical side, trying to 46 00:04:27.740 --> 00:04:32.270 Walter Barta: trying to characterize using some computational tools. 47 00:04:32.400 --> 00:04:37.950 Walter Barta: how? How we could look at these! Look at this divide. So 48 00:04:38.220 --> 00:04:47.700 Walter Barta: what is the analytic continental divide? Exactly so. On the one side we have the Continental philosophers. So 49 00:04:48.070 --> 00:04:50.400 Walter Barta: essentially 50 00:04:51.140 --> 00:04:53.590 Walter Barta: we have a bunch of a bunch of 51 00:04:54.570 --> 00:04:57.350 Walter Barta: departments around the world. 52 00:04:57.660 --> 00:05:03.160 Walter Barta: who specialize in what some call Continental philosophy. 53 00:05:03.440 --> 00:05:08.880 Walter Barta: it's characterized by a particular group of philosophers 54 00:05:09.020 --> 00:05:15.930 Walter Barta: and and a lot of people contrast that to what's called analytic philosophy. 55 00:05:16.420 --> 00:05:19.660 Walter Barta: which is 56 00:05:19.900 --> 00:05:28.190 Walter Barta: a a another another grouping of philosophers. And 57 00:05:28.370 --> 00:05:39.869 Walter Barta: and what we, what we see is different departments different academic journals different individual academics. 58 00:05:40.230 --> 00:05:46.220 Walter Barta: sometimes categorize themselves this way, analytic or continental. And 59 00:05:47.270 --> 00:05:52.850 Walter Barta: We wanted, we will. And and there are a lot of people who have have theories about why this is 60 00:05:53.060 --> 00:05:57.860 Walter Barta: So we wanted to see if we could 61 00:05:58.140 --> 00:06:08.909 Walter Barta: using using data, basically empirically verify some of the theories about what this divide in philosophy is all about. 62 00:06:09.460 --> 00:06:15.929 Walter Barta: so our in our methodology. So we built up a database 63 00:06:16.420 --> 00:06:18.639 Walter Barta: and annotated that database 64 00:06:18.930 --> 00:06:23.239 Walter Barta: basically labeling the data 65 00:06:23.290 --> 00:06:25.380 Walter Barta: analytic or continental 66 00:06:25.880 --> 00:06:31.630 Walter Barta: and then we retrieved data by doing some data mining 67 00:06:31.920 --> 00:06:36.459 Walter Barta: And then we did some questioning and interpretation 68 00:06:36.690 --> 00:06:37.919 Walter Barta: of that data. 69 00:06:38.470 --> 00:06:42.060 Walter Barta: So I'll show you in a second. what was our basis for that data. 70 00:06:42.180 --> 00:07:04.280 Walter Barta: and here we, of course, just methodologically, because using this kind of empirical data mining based approach, it has a an abundance of potential sources of error. So some of some of those errors included down here. I I won't go through all of them. But 71 00:07:04.850 --> 00:07:21.460 Walter Barta: basically, there are textual features like typos, marginalia, etc. there's certain biases that get introduced when you do the data mining. So when you select Texas, so survivorship bias and stuff like that. 72 00:07:21.790 --> 00:07:24.369 Walter Barta: also, the boundaries are very fuzzy. 73 00:07:24.380 --> 00:07:29.409 Walter Barta: and there's some other issues with the scope. 74 00:07:29.680 --> 00:07:33.900 Walter Barta: what kind of level of analysis you're looking at 75 00:07:33.930 --> 00:07:40.520 Walter Barta: and other and other yours. so actually. 76 00:07:41.280 --> 00:07:44.720 Walter Barta: we, what we initially did was take 77 00:07:44.820 --> 00:07:53.309 Walter Barta: a bunch of academic journals. so this is essentially just a list of academic journals that we that we looked at in our scope. 78 00:07:53.470 --> 00:08:02.010 Walter Barta: and what we, what we did was we categorized those journals based on how they identified their own 79 00:08:02.280 --> 00:08:18.310 Walter Barta: thought. so some journals were explicitly self identifying as analytic. So you could look at how the journal described itself, sort of in its associated literature, and it would describe itself as analytic 80 00:08:18.450 --> 00:08:28.190 Walter Barta: And there were respective journals that we looked at that were self described as continental 81 00:08:28.250 --> 00:08:31.410 Walter Barta: because because there is a 82 00:08:31.460 --> 00:08:43.280 Walter Barta: essentially because you introduce a bias when you're categorizing these things as a researcher. we, we wanted to eliminate that bias as much as possible. 83 00:08:43.460 --> 00:09:04.170 Walter Barta: So that's why we used that self identification method. So our scope included basically what you would call the the Premier analytic and the Premier Continental in the sense that they thought they, the journals described themselves that way. So so there would be no 84 00:09:04.730 --> 00:09:14.569 Walter Barta: quibbling about like Okay, which which gets into what category? which, of course, would drastically change the results. So 85 00:09:14.960 --> 00:09:20.080 Walter Barta: The next thing we did was we. We made lists of 86 00:09:20.800 --> 00:09:26.000 Walter Barta: hypotheses. So this is essentially just a list of hypotheses. 87 00:09:26.170 --> 00:09:33.220 Walter Barta: so a lot of people have different ideas about what it means to be analytic. 88 00:09:33.320 --> 00:09:50.740 Walter Barta: in philosophical circles, and what it means to be continental in philosophical circles. So this is just a smattering of of different thinkers who have proposed different hypotheses about what that means. And so you could just glance at a few of these. 89 00:09:51.260 --> 00:10:02.740 Walter Barta: is is analytic car Napian. So Carnap was a famous philosopher that many consider of the analytic tradition. So that's that's one 90 00:10:02.770 --> 00:10:11.369 Walter Barta: possible hypothesis about what it means to be analytic is analytic. more reasonable. 91 00:10:11.900 --> 00:10:28.890 Walter Barta: So explicit references to reason in its in its body of work versus Continental, being more of rhetorical analysis, more reference to language, and the way that language works. 92 00:10:29.530 --> 00:10:44.960 Walter Barta: so that we we took a bunch of these hypotheses essentially, to use the data to then test empirically whether the hypotheses stood up after looking at at the data empirically. 93 00:10:46.880 --> 00:10:59.099 Walter Barta: So this is a sampling just of some of our results. So when we did the data mining. And then did did the 94 00:10:59.560 --> 00:11:01.850 Walter Barta: the the data sifting. 95 00:11:01.920 --> 00:11:08.209 Walter Barta: What we ended up with were analytic words versus Continental words. 96 00:11:08.460 --> 00:11:10.060 Walter Barta: And 97 00:11:10.840 --> 00:11:19.960 Walter Barta: Those analytic words were essentially you can describe them as the statistically significant features 98 00:11:19.990 --> 00:11:27.129 Walter Barta: of the text that we analyzed. So you have the an, the analytic text on the one side. 99 00:11:27.240 --> 00:11:29.090 Walter Barta: and you have 100 00:11:29.550 --> 00:11:38.340 Walter Barta: You have the Continental text on the other side. So what was statistically significant in either of those groupings? 101 00:11:38.450 --> 00:11:50.369 Walter Barta: and so here here is just sort of a sampling of the data. So you can sort of look at. You can sort of look at what analytic philosophy as an academic discipline 102 00:11:50.470 --> 00:11:55.099 Walter Barta: all about through its expression 103 00:11:55.150 --> 00:12:04.970 Walter Barta: in the in. It's in most important textual features. So you can see here just going down. You have thing words like true 104 00:12:05.140 --> 00:12:11.390 Walter Barta: words like belief, moral arguments, properties. 105 00:12:11.780 --> 00:12:24.940 Walter Barta: that if you're familiar with the analytic tradition, this, these are the kind of things that you would expect to see, probably because a lot of people are talking about these kinds of things. But a funny thing up here is 106 00:12:24.970 --> 00:12:36.979 Walter Barta: using words like if and then which, of course, are sort of signifiers of formal logical thought, right? which is 107 00:12:37.010 --> 00:12:39.819 Walter Barta: very prominent in the analytical tradition. 108 00:12:40.570 --> 00:12:44.629 Walter Barta: so going to Continental words. 109 00:12:44.650 --> 00:12:49.689 Walter Barta: we've also found a number of statistically significant words. 110 00:12:50.230 --> 00:12:56.550 Walter Barta: these words were interesting. They they they they included things like 111 00:12:56.960 --> 00:12:58.249 Walter Barta: like light. Oh. 112 00:12:58.670 --> 00:13:08.880 Walter Barta: like life. phenomenology, human. the body, the self political, was included in there. 113 00:13:09.960 --> 00:13:19.239 Walter Barta: And and this is what we would expect to see, basically in a continental in a continental body of work. 114 00:13:19.570 --> 00:13:28.080 Walter Barta: things things are more characterized that that discipline. So using using these 115 00:13:28.420 --> 00:13:37.740 Walter Barta: using these signifiers, we basically were able to confirm or negate 116 00:13:37.930 --> 00:13:48.960 Walter Barta: those those hypotheses that I showed you on the previous slide. so a like an empirical, an empirical confirmation 117 00:13:49.290 --> 00:14:04.960 Walter Barta: or falsification of These philosophical hypotheses that had come to characterize the the sociological division which is the analytic continental divide in the academic world. 118 00:14:05.800 --> 00:14:11.590 Walter Barta: and so our intention with this is is to do some more analysis. 119 00:14:11.610 --> 00:14:18.739 Walter Barta: and try to sort of make a make, a digital tool with this that could be used by 120 00:14:18.750 --> 00:14:42.560 Walter Barta: academics. in either field to to essentially use it, enter a text. And then observe, okay, what's this? What's the percentage value of this text in either category like, is this, is this a 90% analytic text? Is this? A not 50% continental text or or whatnot? 121 00:14:43.000 --> 00:14:50.159 Walter Barta: so that that is all for that. 122 00:14:55.610 --> 00:14:56.839 Thank you, Walter. 123 00:15:01.430 --> 00:15:04.930 So after Walter. 124 00:15:11.530 --> 00:15:12.570 Thank you. 125 00:15:13.650 --> 00:15:18.710 Now we have the second presentation here 126 00:15:19.870 --> 00:15:21.520 from 127 00:15:21.790 --> 00:15:26.260 Francisco Cadema, from the university at the novelist. War 128 00:15:26.500 --> 00:15:30.529 television and cultural diversity in Portugal. His 129 00:15:31.560 --> 00:15:49.580 Excuse me, I'm missing one. Yeah, it's bandy about Indian Institute of management in Bangalore, India, digital media advocacy and neoliberal subjects in waiting. A critic. So please. 130 00:15:51.020 --> 00:15:53.530 now, we just need to stop sharing 131 00:15:53.650 --> 00:15:57.559 this water. Can you stop sharing your? 132 00:15:58.670 --> 00:16:00.239 We got it. Thank you. 133 00:16:07.430 --> 00:16:08.180 Hi. 134 00:16:20.000 --> 00:16:20.820 nice. 135 00:16:22.290 --> 00:16:24.019 Yeah, is that? Okay? 136 00:16:25.070 --> 00:16:28.280 Back? Good morning. Everyone. 137 00:16:29.970 --> 00:16:30.780 Yeah. 138 00:16:32.690 --> 00:16:36.029 that's okay. All right. I can't reach any of my 139 00:16:36.610 --> 00:16:37.990 nibia. 140 00:16:40.970 --> 00:16:43.410 Is that okay? 141 00:16:44.660 --> 00:16:46.020 You just 142 00:16:48.730 --> 00:16:49.410 yes. 143 00:16:49.980 --> 00:16:51.819 all right. This is difficult. 144 00:16:52.530 --> 00:16:55.979 I'm sorry. I'm sure. Come forward 145 00:16:57.420 --> 00:16:58.090 it. 146 00:16:58.730 --> 00:17:03.159 All right. Okay, all right. So I'm going to try doing this. 147 00:17:03.270 --> 00:17:13.190 I have. I'm reading off of my laptop here, and I have my presentation in this. So forgive me while I do some gymnastics here. 148 00:17:13.200 --> 00:17:33.249 Okay, so good morning. Again. I'm here to talk about digital advocacy, media advocacy and authentic subjects in waiting. that's a term that I sort of posit a a critique of a one particular media advocacy project 149 00:17:33.250 --> 00:17:48.500 by the Nike foundation. So I use that as an example. and I use it to theorize how digital media advocacy is often used in what is termed as neoliberal humanitarianism 150 00:17:48.500 --> 00:17:55.389 to forward certain market logic. So that's the big gist of my paper. So 151 00:17:55.600 --> 00:18:00.080 you can still hear me. Right? 152 00:18:00.760 --> 00:18:26.090 So twentieth century discourses of technology have cemented the I notion of digital media as inherently laboratory the Sabelli ability of of digital media to to store more data and smaller packages and expand the scope of media circulation and purpose across different spaces and time for the cement. This idea that it is inherently laboratory. 153 00:18:26.090 --> 00:18:51.450 So it is this supposed quality of digital media that pervades social justice advocacy discourses at the current moment. there is a constellation of actors and networks from the corporate governmental non environmental works who are sort of driving this discourse of digital media. as liberatory in a social justice discourses. 154 00:18:51.470 --> 00:19:21.290 and one of the most important sort of actors is the The corporations and corporate, sponsored humanitarian media media projects that are particularly focused on the girl child and women from the global south. they often leverage their economic and cultural heft to constitute again a digital media as the solution for all sorts of ills that one sees supposedly in the global South. 155 00:19:21.330 --> 00:19:31.090 and the intended sort of subjects of media advocacy of of neoliberal humanitarian 156 00:19:31.090 --> 00:19:55.589 advocacy are, often, constituted as authentic pre technological subjects who are just waiting eagerly in the sidelines to be discovered. So this there is also this quality of immediacy that digital media has, that only enhances this discovery or qualities of realness, of authentic. 157 00:19:55.590 --> 00:20:20.670 of authenticity, of truthfulness, of these subjects, and the eventual self actualization via digital media that are sponsored by these corporations. So this paper ankles itself, and a feminist feminist tradition of inquiry to examine the intersections of capitalism, technology and feminism in digital media advocacy. Today. 158 00:20:20.670 --> 00:20:29.790 I take as a case study the Nike foundation funded non-profit girl effect, and particularly its mobile platform spring stuff. 159 00:20:29.790 --> 00:20:55.949 and it critiques the paper critiques the promise of a transparent and direct channel of communication via social media between the subjects in waiting, and very importantly, a humanitarian public invading. So just as the subjects are being constituted. a foundations corporations like Nike foundation the imagine! Imagine a humanitarian public in way. 160 00:20:56.350 --> 00:21:07.220 Ready to be discovered just as the subjects are waiting to be discovered. So there are 2 central sort of research questions here. 161 00:21:07.690 --> 00:21:10.880 I think I'm just going to read it out 162 00:21:11.280 --> 00:21:12.250 so 163 00:21:13.740 --> 00:21:15.020 doesn't want to move. 164 00:21:15.900 --> 00:21:26.499 So there are 2 central research questions. Here one is, how does a neoliberal digital media advocacy? This one? I think it's fine. 165 00:21:28.410 --> 00:21:31.399 I just need to push this woman. 166 00:21:32.120 --> 00:21:57.719 So how does it stay contiguous with the older hierarchical forms of social justice by producing vulnerable subjects in waiting. And how are these? The second question is, how are notions of authenticity and realness. Of the beneficiary girls from the global South, that is the subjects in waiting. How it, how is it? How are these notions of authenticity and realness used by corporate humanitarian actors to 167 00:21:57.720 --> 00:22:02.780 contribute to neoliberal arguments of aesthetic and ideological priority 168 00:22:02.780 --> 00:22:16.429 of digital media advocacy. And so those are the 2 large sort of questions that I'm dealing with, and this is a work in progress. So I'd be happy to hear your thoughts comments, or 169 00:22:16.930 --> 00:22:43.690 however, else you want to contribute? Okay? So those are the 2 large questions. Now, what I want to do is to sort of trouble this idea that the digital is a benign force. Pradi Thomas calls it. The also does this, and I'm borrowing from him. He he says that there is this idea of the digitalize of the 9 force that is disembodied, autonomous, and disembedded from the social. 170 00:22:43.690 --> 00:23:06.680 So the digital is often thought of as something that you can mix and stir right? I mean, you throw the digitally through digital videos or digital cameras, digital voice recorders or the Internet. And somehow, you know, women and girl. children from the global South will self-. 171 00:23:06.990 --> 00:23:10.589 We need to trouble this idea of 172 00:23:10.600 --> 00:23:16.069 the digital as is the 9 force that is disembedded from the source. 173 00:23:16.210 --> 00:23:25.320 and I try to do that. Why are you asking these questions and looking at the girl effect? It's a long, it's an older. It's a very old 174 00:23:25.330 --> 00:23:52.030 sort of I think it's about 15 years or 1015 years now. But I'm looking very specifically at Springster, the digital platform. So the girl effect is part of Nike organization's global Csr campaign. it is a multi-million dollar enterprise that claims to invest in. So I, and I identify So called, vulnerable, adolescent girls 175 00:23:52.030 --> 00:24:09.240 as powerful agents of change in the development of the world. And Sprinster, this mobile platform is so. Is a more recent addition. And it claims to quote, build huge brands and mobile platforms to empower girls to change their lives. 176 00:24:11.640 --> 00:24:12.430 Okay. 177 00:24:12.520 --> 00:24:24.289 so they do this in collaboration with Facebook, free basics and mobile network operators like Whatsapp, they have a wide reach and over 66 country with over a million 178 00:24:24.290 --> 00:24:48.550 unique users a month. They target users and producers of 14 to 16 year old girls in the global South, who, according to them, can be out of for behind in school, live in poverty, have married at a young age, or have a disability, and who may need information on topics such as health, sex, and reproduction monies, money? Savings management, etcetera. 179 00:24:49.430 --> 00:25:10.680 So before. for a for a for profit! Authorized corporation with a terrible record of labor policies, the multinational corporate giant Nike inks investment in the welfare of girls in the global South is what scrutiny? Right? I mean, why would these guys be interested in the girl child. 180 00:25:10.720 --> 00:25:28.790 so we don't really have to look too hard. I mean, Nike has been very forthcoming with the their interests. A press release on the Nike Foundation reads, I quote this focus on girls from the global South emerge from the company's desire to support the world's developing countries. 181 00:25:28.790 --> 00:25:46.689 recognize the benefits that both Nike's business and consumers drive derive from emerging countries emerging economies. So the very forthcoming, they're saying, we you know, we are doing this because there is future potential here. Right? I mean, who invest in these 182 00:25:46.690 --> 00:25:54.859 these subjects. And there is a way in which they can be actualized or work contribute to Nike's 183 00:25:54.860 --> 00:25:59.810 on business and consumers. So 184 00:26:00.400 --> 00:26:20.899 now, what happens here is quite interesting, because what the girl effect has been very successful in doing is to bring together 2 lexical sets using punchy marketing strategies. So they reconcile words like emerging markets, profit investors 185 00:26:20.900 --> 00:26:48.980 with more social, justy words like voice agency, empowerment and happiness to create an entirely new and con convincing lexicon in women's. And now, girls, rights advocacy. So it's quite it's not surprising to see You know, women's rights organizations talking about women's empowerment in and through purely economic terms. 186 00:26:49.100 --> 00:26:57.300 So we talk about women's empowerment. And the first thing that comes to mind is economic empowerment. Right? So. 187 00:26:57.750 --> 00:27:03.310 And they're doing that very, very, you know. 188 00:27:03.630 --> 00:27:22.359 powerfully. So this is what scholars feminine scholars have called neoliberal feminism. you might be familiar with the term they naturalize this kind, this lexical you know this this lexicon sort of naturalizes the C. As a 189 00:27:22.360 --> 00:27:47.559 as a feminist figure. it kind of helps this heuristic model of humanitarianism which has very blunt instruments of of objectives and outcomes, and it kind of helps to create or to to borrow Katharine Rottenburg's term to spawn an entirely new feminist subject. 190 00:27:47.680 --> 00:28:05.360 and this new feminist subject accepts full responsibility for her own well-being and self-care. So it's no one else's responsibility except this this subjects, and the subject has to do everything, and if she fails she fails because she has not worked enough. 191 00:28:05.690 --> 00:28:28.589 So this is sort, of of course, trickle down to girls advocacy, and you might be familiar with the fearless girl image in on Wall Street, chasing, you know, facing off of with the bull and You know, it's everywhere. This idea of girl power. it pervades. It's It's every, every, every sort of logic. 192 00:28:28.590 --> 00:28:38.580 So, and it's become natural to assume that for girls to be empowered they need to be economically empowered. Now this. 193 00:28:39.370 --> 00:28:51.720 So this girl's subject is the most pure and authentic of all vulnerable subjects of neoliberal philanthropy, and it has taken overtaken our collective consciousness. 194 00:28:52.980 --> 00:29:09.889 But how? How does Nike manage to take over a collective consciousness? I I argue that it has something to do with very powerful vision economy. They are, if you know, we all see Nike Nike's advertising. 195 00:29:10.060 --> 00:29:13.129 They have been at the forefront of using 196 00:29:13.570 --> 00:29:41.179 sort of powerful images of girls in action. They've also sort of led to policy changes with the title X in the United States. the inclusion of girls into various sort of policies. Right? So it I I wanted not down to. It's visual economy. text and images that sort of drive home this idea of 197 00:29:41.180 --> 00:29:48.050 Nike as a natural sort of or a maternal feminist figure. So. 198 00:29:48.450 --> 00:29:53.799 and I want to suspend an analysis of Mikey's Csr work larger C as well. 199 00:29:56.360 --> 00:30:06.929 So this is the girl effect. I look at 2 things. I look at a 2,008, video, I'm not going to be able to show you the video. But I'd be happy to. I mean, you could just 200 00:30:06.930 --> 00:30:26.549 Google it. It's everywhere, right. it's got millions of views. I'm going to be looking at the 2,008 video, the girl effect and or reading into, I should say, and a 2 2,010. Video, a follow up video called the girl effect. The clock is sticking. 201 00:30:26.560 --> 00:30:40.380 both of these videos along with the plethora of images that Nike has been able to capture, of girls of vulnerable girls. From this you know, the the large sort of amorphous 202 00:30:40.380 --> 00:31:10.150 thing called the global South. they, they very, very cleverly and strategically used. and there is the there. They're long-standing, advertising comp agency, Weeden and Kennedy. again. Very so. The imagery is very similar to what they do with their ad. It's it's punchy, it's it's a dynamic. It's it's constantly moving. And there's good the use of colors. you know, images, text everything. Come together really, really. 203 00:31:10.150 --> 00:31:32.149 successfully. And that's because they have this advertising company you know, making all of their publicity material. So I want to look at these 2 videos and also a few images from their publicity material for Springster. To make my case that you know, we need to look close at the visual economy to talk, you know, of women of 204 00:31:32.620 --> 00:31:35.470 of neoliberal humanitarian. 205 00:31:37.140 --> 00:32:00.539 So here is just a it's a grab from their website. this is, you know, this is illustrative of the you know of what I was just talking about. even in the videos, it's it's a, it's a grab from the video itself, right? So it says, the unique potential of 600 million dollars in girls to end poverty for themselves. 206 00:32:00.540 --> 00:32:15.190 And the well, this is what we're talking about, right? What Thomas was saying. This embedded from the social. So the girl is in charge, and if she fails she fails because she didn't try out or not, and that is neoliberal. you know neoliberalism 101. We know that 207 00:32:15.530 --> 00:32:42.580 so against an empty screen these large capitalized letters appear, and there is an immediate feeling of of urgency, immediacy, right? That a sense that the narrative is being written as you see it, and the and the viewer, by virtue of it. Simultaneous scripting is held as the co-writer. So you're looking as a viewer. You're looking at it, and it is scripting. It's like a type. 208 00:32:42.880 --> 00:32:45.420 3 min. That's it 209 00:32:46.450 --> 00:32:47.450 it. 210 00:32:47.590 --> 00:33:02.480 So you see all of this, there is black silhouettes. there's very little contextualization. There are. you know. markings for the breast. So you know that that is a girl and 211 00:33:02.580 --> 00:33:18.550 slowly there is a pathological sort of narrative that is being constructed about the figure that is hunger, baby husband, 212 00:33:19.710 --> 00:33:20.430 I 213 00:33:20.630 --> 00:33:33.960 about this so, and then H. I V. They appear to crush this girl, and then there is a solution that is being offered. We have a situation on our hands, and there is 214 00:33:33.960 --> 00:33:56.919 this positioning of the girl child as being at the crossroads, as heather. Switzer says, a crossroads of peril and promise. So if the but the girl can only be saved as an effect of spectator intervention. If those of us here in, you know in the best intervened. And this child can be safe, this unnamed child. 215 00:33:56.970 --> 00:34:01.370 so that you know that this is all from the the video. 216 00:34:02.680 --> 00:34:07.560 So she's pregnant by the age of 15. So what I 217 00:34:07.760 --> 00:34:10.750 I I want to argue is that 218 00:34:11.140 --> 00:34:26.719 there are 4 false lines here. The and unidentified girls are portrait as a full of economic progress, with the solution to various ills. Poverty, hunger, aids war, but only as an effect of spectator intervention. 219 00:34:26.760 --> 00:34:50.159 Then there is At various stages the authority of Nike's overarching structuring role becomes clear. So even a cursory sort of look at springsters, website, publicity, material and platforms completely faces, the material conditions of the girls, the images of the girls, for example, here is, you know, images. Here are the images from 220 00:34:50.530 --> 00:35:12.000 from the Springster website, right? By using digital technology. But there is no other marker. So it just says, Prince's girl springs to user right? and this is All of their publicity material. There, you know, there is this complete effacement of any kind of material conditioning of conditions of the girls. 221 00:35:12.060 --> 00:35:14.959 that's simply referred to as girl 222 00:35:15.070 --> 00:35:30.229 Then there is an explicit and implicit focus. I I do a deeper reading of their their policy documents, or what they've contributed to policy. it's part of the the 223 00:35:30.370 --> 00:35:47.720 the girl effect has been used as a case study in the UN's digital initiatives. it's It sits on the board. I mean the the Maria Ital, for instance. It's on the boards of various UN 224 00:35:48.210 --> 00:35:57.880 you know organizations. So there is a explicit sort of focus on measurable impact and 225 00:35:58.279 --> 00:36:12.629 and outcomes. And finally, agency, like empowerment, is projected as a gift to be granted by the consumer of images so placed in the context of the larger girl effect project itself. This effacement of material markers 226 00:36:12.630 --> 00:36:32.199 follows Nike's deep corporate investments in harnessing individual potentials to self rationality and discipline while erasing the gendered subjects, location in local and global relations of power. So a buzzword, such as connected collaborate or knowledge sharing pure learning are 227 00:36:32.200 --> 00:36:51.760 invoked in the under this new regime of humanitarianism. So it appears, then, that the girls access to global citizenship, and it's entitlements, or, you know, are based on her capacity. Now she has to make herself visible, to be harnessed by corporations like you know, like Nike. 228 00:36:51.760 --> 00:37:08.649 what this becomes, what I have a bonk refers to as technologies of subjectivity which helps citizens use self-governance and self-animation to optimize choices, efficiency and competitiveness in tough market conditions, so she's 229 00:37:08.650 --> 00:37:21.350 she is portrayed as full of economic promise, with the solution to various ills, poverty, hunger, aids, etc., but only as an effect of spectator intervention. This is what I. 230 00:37:21.960 --> 00:37:33.630 So it is fair to say, then, that the restructured cultural politics of humanitarianism mediated through digitality also creates an ideal so ethical, spectator, so 231 00:37:34.360 --> 00:37:37.900 agency life empowerment. 232 00:37:38.350 --> 00:37:47.370 Again, I'm underscoring what I said earlier is projected as a gift that is to be granted by the consumer of images. So 233 00:37:47.700 --> 00:38:13.550 what happens is that the girls again, they have all of this work that they need to do in order to be recognized by this consumer of images. And therefore what happens is as Kalkina as a Kalpinabilson argues, the notion of the victims to be saved with these images which these images supposedly challenge is not eradicated. But it's just reworked. 234 00:38:14.030 --> 00:38:15.270 That's my. 235 00:38:16.490 --> 00:38:17.320 thank you. 236 00:38:20.990 --> 00:38:22.820 These are just a few more 237 00:38:23.190 --> 00:38:25.550 images. Thank you. 238 00:38:28.130 --> 00:38:31.359 Thank you very much so now. 239 00:38:32.230 --> 00:38:33.100 No. 240 00:38:34.490 --> 00:38:36.900 it's a time for Francisco Kadima. 241 00:38:36.980 --> 00:38:43.310 Television and cultural diversity in Portugal. So please 242 00:38:44.380 --> 00:38:46.620 15 min, please. 243 00:38:47.210 --> 00:38:55.120 I'm going to have the presentation. I wanted to change the 244 00:38:55.630 --> 00:38:56.300 yeah. 245 00:39:03.350 --> 00:39:06.030 Okay. just that 246 00:39:06.360 --> 00:39:07.690 was quite here. 247 00:39:11.670 --> 00:39:13.670 Hello, good morning, everyone. 248 00:39:13.910 --> 00:39:24.340 And so, as you see, I'm talking about television cultural university in Portugal. Well, I'm sorry my English is not perfect. So I 249 00:39:24.360 --> 00:39:29.370 I try to do my best. okay. 250 00:39:29.560 --> 00:39:36.950 so I'm going to begin with the the data from world press freedom 251 00:39:37.010 --> 00:39:40.019 from the reporters 252 00:39:40.050 --> 00:39:42.850 without. 253 00:39:42.890 --> 00:39:43.990 the 254 00:39:44.370 --> 00:40:03.110 frontier. So the the last document, the last study, says that all the environment for journalism is bad. In 7 out of 10 countries in all over the world. 255 00:40:03.140 --> 00:40:12.049 and the satisfactory and only 3 out of 10 So these are the 256 00:40:12.900 --> 00:40:17.460 the problems from 257 00:40:17.810 --> 00:40:24.969 that evaluation solve problems of fake content. 258 00:40:25.070 --> 00:40:27.810 This information and all of that. 259 00:40:28.220 --> 00:40:32.139 the big well, the 260 00:40:32.420 --> 00:40:34.500 the first term 261 00:40:34.770 --> 00:40:39.310 countries with the the best ranking are. 262 00:40:39.760 --> 00:40:42.370 in in first place, Norway. 263 00:40:42.500 --> 00:40:44.910 but 264 00:40:45.050 --> 00:41:02.799 we the because of what's called that I'm going to to talk. It's not bad, because, as you see, yellow. you see Norway in the first part, one in 7, New Zealand, for instance, in 8. 265 00:41:03.060 --> 00:41:04.670 I please send it. 266 00:41:05.190 --> 00:41:11.020 for instance, Australia in 27 under ranking. 267 00:41:11.200 --> 00:41:18.699 So the purchase situation is not bad all over the world. 268 00:41:18.720 --> 00:41:29.210 also another ranking and evaluation. Annual evaluation in Europe. 269 00:41:29.250 --> 00:41:31.939 The media plural is monitor 270 00:41:32.000 --> 00:41:43.420 in 2,022. The the Portuguese evaluation was not that. It was also 7 place in the European context. 271 00:41:43.960 --> 00:41:58.150 for the European context. You see, for instance, fundamental protection is the the main guarantees constitutional and law guarantees for citizenship 272 00:41:58.260 --> 00:42:05.760 is not bad in Europe. 35% in yellow 273 00:42:06.250 --> 00:42:08.510 market plurality. 274 00:42:08.540 --> 00:42:19.010 The 66% is not so good. So, as you see, is almost high risk, almost red. 275 00:42:19.170 --> 00:42:29.029 And so this is the problem of competition. Concentration market issues. 276 00:42:29.560 --> 00:42:33.699 political independence in the media. 277 00:42:33.730 --> 00:42:37.480 49%. So it's in the middle. 278 00:42:37.580 --> 00:42:41.879 yellow Middle risk. 279 00:42:42.030 --> 00:42:50.139 This is for all Europe, the 27 and some other countries that 280 00:42:50.390 --> 00:42:56.030 are trying to enter in the European Union 281 00:42:57.250 --> 00:43:01.900 and the issue of social and inclusiveness. 282 00:43:01.960 --> 00:43:07.359 yellow more than 50% 283 00:43:07.500 --> 00:43:09.060 So 284 00:43:09.110 --> 00:43:10.760 54% 285 00:43:10.870 --> 00:43:18.389 But in general not so bad. In the majority of the countries 286 00:43:20.240 --> 00:43:31.599 the European ranking. Again, we see the case of Germany is the best situation in Europe in terms of media pluralism. 287 00:43:31.670 --> 00:43:35.409 And the virtual, as I said in seventh place. 288 00:43:35.540 --> 00:43:41.820 and Turkey the worst situation. 289 00:43:41.840 --> 00:43:45.420 the last one in black. 290 00:43:48.050 --> 00:44:03.330 the purchase case, as you see now, beginning again with the the main category categories. So fundamental protection purchase cars, low risk. 291 00:44:03.540 --> 00:44:05.800 30% 292 00:44:06.940 --> 00:44:15.970 market plurality. We have some problems in terms of news, media, concentration, online platforms 293 00:44:15.980 --> 00:44:18.399 and the media viability. 294 00:44:19.750 --> 00:44:25.280 the political independence not bad. So 24% low risk. 295 00:44:25.530 --> 00:44:31.219 We have some problems in editorial autonomy 296 00:44:33.030 --> 00:44:42.020 and in terms of social inclusiveness. We have high risk in access to media by 297 00:44:42.030 --> 00:44:46.190 access to media for minorities. 298 00:44:46.570 --> 00:44:54.559 and the other issues like media literacy, protection against 299 00:44:54.620 --> 00:44:57.829 illegal and harmful speech. 300 00:44:57.960 --> 00:45:10.819 access to media for women, access to media, for local, regional communities, and for community media, all with the medium risk. 301 00:45:11.630 --> 00:45:21.210 So now I'm going to talk about you 2 main studies 302 00:45:21.220 --> 00:45:24.860 on cultural diversity. So 303 00:45:25.330 --> 00:45:38.939 in my Institute I see no institute for communication institutions. 304 00:45:39.150 --> 00:45:44.819 the Nova university. So in last 305 00:45:44.930 --> 00:45:52.729 years we developed a study 306 00:45:52.870 --> 00:45:54.470 during the 307 00:45:54.970 --> 00:45:57.639 26 and 20 and 19. 308 00:45:57.680 --> 00:46:03.210 It was an in-depth research into the content of public service. Television. 309 00:46:03.620 --> 00:46:09.749 So 2 channels, rtp. One and Rtp. 2. 310 00:46:10.750 --> 00:46:25.210 Regarding the concept of diversity, plurality, and inclusiveness in general. This was done during the 2 years 311 00:46:25.260 --> 00:46:26.750 the 312 00:46:27.060 --> 00:46:30.990 2,016, 2,017. 313 00:46:31.350 --> 00:46:34.220 Well, the 314 00:46:34.580 --> 00:46:41.230 the categories, the categories, and the content was 315 00:46:41.260 --> 00:46:42.590 a 316 00:46:42.910 --> 00:46:49.869 separated in different issues. You use issues, gender and discrimination 317 00:46:49.880 --> 00:46:55.130 disabled people, elderly people, expressions of the diversity 318 00:46:56.550 --> 00:47:05.440 and our conclusions. After 2 years. with several evaluations 319 00:47:05.550 --> 00:47:07.060 by 320 00:47:08.050 --> 00:47:11.660 methodology, you sampling methodology. 321 00:47:11.770 --> 00:47:16.630 was that to the first channel 322 00:47:16.700 --> 00:47:19.600 of public television. 323 00:47:20.020 --> 00:47:27.780 We had the 16% of total broadcasting time in diversity generic content. 324 00:47:28.430 --> 00:47:31.920 The channel 2, her Rtp, 2 325 00:47:32.000 --> 00:47:36.830 20% of total word catching time in 326 00:47:36.860 --> 00:47:40.229 it is a kind of content. 327 00:47:40.500 --> 00:47:41.969 So it was not bad. 328 00:47:42.080 --> 00:47:45.660 but as you see. 329 00:47:45.780 --> 00:47:56.780 this is only the area of programs, not information, not news, only programming, programming without 330 00:47:56.810 --> 00:48:00.360 the information. only problems. 331 00:48:00.470 --> 00:48:04.290 was not bad. But for us 332 00:48:04.360 --> 00:48:10.480 the perception is that was not sufficient. It was not enough. 333 00:48:10.580 --> 00:48:14.609 It's important that public television. 334 00:48:14.630 --> 00:48:20.690 It has more. These kind of issues that are 335 00:48:20.790 --> 00:48:23.840 in fact. 336 00:48:24.460 --> 00:48:27.020 a very important in 337 00:48:28.680 --> 00:48:30.299 well, in the present. 338 00:48:31.400 --> 00:48:35.150 These are the soup categories. Well. 339 00:48:35.200 --> 00:48:38.089 in Rtp one 340 00:48:38.260 --> 00:48:41.459 you can see after 341 00:48:41.610 --> 00:48:42.970 the Powerpoint 342 00:48:43.080 --> 00:48:48.639 to see. each one I'm going. I'm going to pass this. 343 00:48:49.040 --> 00:48:51.660 so 344 00:48:51.780 --> 00:48:57.980 it was the not so bad as I said. 345 00:48:59.760 --> 00:49:12.049 well, there is another study. This one is more recent, is a 346 00:49:12.140 --> 00:49:16.040 published in 2,021 by the 347 00:49:16.140 --> 00:49:19.630 An Erc. That is, the 348 00:49:19.650 --> 00:49:23.340 media regulator of the in partial. 349 00:49:23.500 --> 00:49:26.929 and while a big institution 350 00:49:27.580 --> 00:49:34.830 state institution, but also an independent institution. 351 00:49:35.160 --> 00:49:49.470 Well, these studies more or less. It's similar to ours. But they analyze all the the televisions. 352 00:49:49.720 --> 00:49:55.280 the public television, and the private television. So our Rtp, one r. 2, 353 00:49:55.740 --> 00:50:05.739 as I see. Pvi. Cmtv. And the conclusion here is very bad, because. 354 00:50:05.780 --> 00:50:19.880 as you see, in red, only 1% of the total analyzed in the program of the fourth generalistic program service is dedicated to programming at promoting cultural diversity and interests 355 00:50:19.960 --> 00:50:22.680 of minority minority groups. 356 00:50:23.180 --> 00:50:27.989 Well, this is really a problem, only 1% of 357 00:50:28.070 --> 00:50:33.319 total television. This is a study of our regulator. 358 00:50:33.400 --> 00:50:40.920 In our case, it was better because it was only public television. So if you compare. 359 00:50:41.100 --> 00:50:45.029 because 2016 20, 360 00:50:45.090 --> 00:50:54.160 the main channel, my Portuguese public channel was 16. The second television purchase 361 00:50:54.280 --> 00:51:02.949 Well, the purchase channel was plenty, because it's a kind of cultural channel. It's not 362 00:51:03.370 --> 00:51:09.110 our Rtp, one is a big channel for all of the people. 363 00:51:09.140 --> 00:51:12.650 and the the other one is a cultural channel. It's more 364 00:51:13.170 --> 00:51:13.890 and 365 00:51:14.080 --> 00:51:17.540 dedicated to 366 00:51:17.880 --> 00:51:19.030 Well. 367 00:51:19.580 --> 00:51:21.270 restrict to 368 00:51:21.830 --> 00:51:23.160 audiences. 369 00:51:25.460 --> 00:51:33.280 Oh, that's it, I think. Well, this is a generic view about our situation in terms 370 00:51:33.430 --> 00:51:34.830 of 371 00:51:35.210 --> 00:51:43.849 pluralism and diversity. And these are the references. So our study is divinity. 372 00:51:43.890 --> 00:51:59.739 Regulator, study the BBC that you can see also the content in the Benhat, Mpm. Media pluralism Monitor and the World press freedom index from the reporters 373 00:51:59.800 --> 00:52:01.410 without frontiers. 374 00:52:01.850 --> 00:52:03.199 Thank you very much 375 00:52:29.210 --> 00:52:36.240 over the God of San Francisco. Now we have our last presentations for this session 376 00:52:36.400 --> 00:52:38.780 we have a pre-recorded 377 00:52:39.720 --> 00:52:50.380 the lecture 378 00:52:50.670 --> 00:52:58.509 that it's called images intersectionality and their immersive experience comics, a social cultural artifact in digital spaces. 379 00:52:58.620 --> 00:52:59.950 So I'm going to 380 00:53:00.280 --> 00:53:03.650 click here in order that we can watch it 381 00:53:10.290 --> 00:53:32.710 greetings everyone. And this is Myirakshi to 3, and with me I have Chiran djoka. This is the title of our presentation that we are presenting for the session, reconstructing knowledge, digital humanities, and visual culture, as part of the is both Congress of Sociology 382 00:53:32.790 --> 00:54:02.419 in Melbourne, Australia. At the very start. I must confess that both of us are traveling, and we are currently in a low network coverage zone, and therefore we have our cameras off, and we hope that you would follow us through our slides. in the next few minutes. So the title of our presentation is images, intersectionality, and their immersive experiences comics as social, cultural artifacts in digital spaces. 383 00:54:02.450 --> 00:54:13.629 So this is a part of an interdisciplinary work in digital humanities that both T. And and I have been doing for the past couple of years, 101. 384 00:54:13.900 --> 00:54:35.539 So before we even go to the specifics of comics as social cultural artifacts within the dh domain. let us also first understand our conceptual grounding of digital humanities. And what are some of the elements of the H that we take towards this project? So 385 00:54:35.540 --> 00:55:01.299 there are 3 pillars that we envision for dh, and particularly as they relate to sociological inquiries. is starting with the pillar of society, culture and identity. So the questions that we are dealing with here within the larger th domain are essentially coming from culture, from identity, from society. which we then take up and 386 00:55:01.590 --> 00:55:24.919 use various research tools and methods, such as archiving in the form of multimedia online databases or visualization in the form of image image-based visualization, such as mind mapping or infographics or recreating those visuals in the form of augmented reality, virtual reality or mixed reality. 387 00:55:24.920 --> 00:55:54.419 And we are going to you know, showcase. A very, very tiny part of this recreation. for our presentation today. And the third pillar of the age that we strongly believe in is the idea of collaboration that practically nothing in digital humanities is possible doing so low. So we believe in collaboration, not just between people and people, but also with and people. So how? 388 00:55:54.420 --> 00:56:12.669 how the digital spaces evolve? Or what are the natives of digital spaces with, you know, in terms of its interaction with people. And you know, other other web spaces. So so the it of collaboration is very, very strong in this respect. 389 00:56:12.670 --> 00:56:34.990 Mit Ctl, and so moving on from this understanding, this grounding of digital humanities and coming to the more specifics of comics. and the dh, we do see that there is an increasing significance of comics in digital humanities as a rich medium for interdisciplinary inspiration and analysis. 132. 390 00:56:35.190 --> 00:56:52.060 And we have seen, you know, some of some, some of these studies using digital tools and platforms. which integrates comics into digital collections, archives and scholarly research projects. and some make you know, sort of 391 00:56:52.180 --> 00:57:07.490 a very you know, elementary form of of an effort to explore the social, cultural, historical, and technological dimensions of comics. through some of these dh methodologies. 392 00:57:07.490 --> 00:57:31.390 So for, but particularly for our research. In this paper we bring in a very critical lens of sociological inquiry intersectionality, which I'm not going to go into details, explaining in this presentation for the sake of time, and also assuming that we in the room, are familiar with the framework. But just 393 00:57:31.570 --> 00:57:55.739 so we are on the same page that we are talking about relations and processes involving power through the lens of intersectionality. We are talking about these negotiations of access of identity that inform relations, particularly gender relations, and how people relate to each other. You know, along and across these axes of differences, such as race, age, class and ethnicity. 394 00:57:55.950 --> 00:58:09.849 And we are really talking about these power, age, social status, ethnicity, etc., and how all of these structure, how our behavior, how our gender-related behavior play out 395 00:58:09.850 --> 00:58:31.979 mit Ctl, and and also how they vary in particular situations and historical periods. So we are really essentially looking at this power dynamic which I'm going to come back to. What's the end of this presentation? But this is but this is just very, very, you know, in a nutshell. where we are in terms of using intersectionality as a framework in this project one 396 00:58:32.590 --> 00:59:00.749 so as we know that intersectionality plays a crucial role in understanding questions of identity and experiences. portfolio, you know, in visual, such as comics, and we assume that if we use this framework of intersectionality towards you know an understanding, a critical understanding of comics. you know, they would effectively depict this diverse identities, experiences 397 00:59:00.750 --> 00:59:18.119 perspectives by acknowledging these various Erez agmoni access these levels of intersections of race, gender, sexuality, class, etc., within these visuals, within these comments. So when we superimpose 150 398 00:59:18.380 --> 00:59:41.749 the technologic question in this project? The immersive technology question. you know, we, such as you know, virtual reality, that is, we are augmented reality. We. We look for a sort of an enhancement in the engagement and experiential aspect of reading into these comics. within digital spaces 399 00:59:41.750 --> 01:00:00.500 mit ctl, and now I'm going to come back to the larger questions of power and larger questions of experiential experiences in these in this application of technology towards the end. But this is just for an introduction that you know, if we superimpose immersive technology, 150 400 01:00:00.870 --> 01:00:24.739 into an understanding of an intersectionality based understanding of comics in digital spaces. we also offer viewers and readers and researchers more interactive and immersive. of storytelling experiences. you know, a more enhanced way of engaging with the text and the visual in that respect. 401 01:00:25.430 --> 01:00:48.790 So While doing this project, we we did a you know, quite an exhaustive literature search, and we found that there is rather a very limited focus on understanding the social, cultural implications of comics in digital spaces. we we do find a lot of technology oriented. 402 01:00:48.790 --> 01:01:07.519 research, that is ongoing in this respect. But not many of these research are really, you know, taking a step back and saying that. You know, there, there are these larger, very important, critical, social, cultural questions that come hand in hand with technological advances. 403 01:01:07.520 --> 01:01:26.660 And you know, there's very little focus on on that area. And and that is why we we found it very interesting to take it up and also a call for future researchers to actually look into it. You know, deeper into this area one. 404 01:01:26.950 --> 01:01:50.050 And so we. We also envision that this will also give us a deeper understanding of comics as a social cultural artifact. particularly in digital spaces. and also using the lens of intersectionality by, you know, will will help us explore comics and digital spaces? and the potential for immersive experiences. 405 01:01:50.900 --> 01:02:30.940 So here I'm going to hand it over to our children. Do I to walk us through the technical framework, and then I'm going to come back to the more sociological questions. Change it over to you. Thank you, Dr. Joseph. So in this particular slide. We are going to talk about the conceptual and the technical framework. One such one of our earlier work, where we made an attempt to to understand the content of a scanned comic book, physical book. And can we convert that into a different experience in terms of audiovisual content and an augmented reality based application. 406 01:02:31.680 --> 01:03:01.409 So in this particular side, you can see that the diagram shows a flow of how the process has been carried out. So there are broadly 4 stages, as we can recall that generally a comic book has various rectangular panels, so the first task is to segment or extract those panels from those scanned pages using the computer vision-based techniques 407 01:03:02.290 --> 01:03:15.460 within each panel there are various comic elements in terms of the speech balloons which contains the text. And then there are the characters and there is the background. 408 01:03:15.480 --> 01:03:40.430 So in this particular framework, we extracted each and every component. And then, the text components, for example, are converted into a speech signal which use for the background narrative. And they're also used to convert me to create a subtitled files which for typically in every video, we can see that 409 01:03:41.190 --> 01:04:03.279 so and the individual characters are also introduced with the animation, so that the the leaders, although people who are going to see those all experience, those audio visual content to get as some sort of a motion other than because each of these parents are going to act as a 410 01:04:03.280 --> 01:04:20.789 video frame in the totally visual representation. That is one part of the work. The other part of the work is to convert this whole experience. Because now in a video, you can see that it's a, it's a 2D representation, and it is not much of an interaction. 411 01:04:20.850 --> 01:04:37.100 So, to make the to enhance this such an experience, you also work towards converting this whole experience into an augmented reality based app where your physical book has now become a Or an augmented reality book. 412 01:04:37.870 --> 01:05:01.759 So for that purpose I'll talk about a particular use case that we are working on. So this is a case study on augmented reality and comics. So on the left hand side of the slide, you can see that there are 2 images A and B, that image A indicates one, a particular example of a 413 01:05:01.760 --> 01:05:15.030 comic book. Stand for me. Poo, and on part B, you can see that particular character, I mean popped out of that. 2D plane. So this is in 3. Actually here, you can see it only in 2D. 414 01:05:15.150 --> 01:05:25.709 So the purpose of this work is to create an immersive experience keeping in mind the social digital reality aspect of 415 01:05:26.460 --> 01:05:54.510 so To create. Such an experience! We come up with an automatic, augmented reality, feature, abstraction, framework from the digitized or the bond which to comic books. And then we developed an algorithm to computationally understand the tempo of the comic story by understanding the text and understanding the background in which the scene is being performed, so that we get a sense of the scene, and then 416 01:05:54.510 --> 01:06:14.909 apply appropriate Elements, or introduce such elements, such as background, school, or the motion, according to the on text of the scene, so that the readers get a real immersive experience by reading the books. Because reading a physical book 417 01:06:15.000 --> 01:06:33.180 is one type of an experience. But going forward as the world is progressing more towards experiential learning, and also an immersive experience. Such a conversion from the 2D physical book to immersive experience seems to be a way 418 01:06:33.230 --> 01:06:48.440 towards getting into that. getting us into that kind of experience. Yeah, over to you, Dr. Children. Thank you. Thank you. So so moving on from then it's a perfect segue to actually take it up from here is how 419 01:06:48.440 --> 01:07:15.970 erez agmoni. How do we conceptualize comics? as a reflection of society culture and the values of their creators and readers? I'm going to walk you through 2 very, very significant frameworks, theoretical frameworks that we find helpful in our work in our understanding of this part of the project. The first is fucking's idea of power 150. 420 01:07:16.120 --> 01:07:32.679 So Michel Foucault's idea of power, image, and the spectating subject. So what happens to the idea of the the power in the sense that football had described. What happens? How is that power practiced within a relationship? When a viewer 421 01:07:32.680 --> 01:07:46.240 is viewing a comic viewing an image in the form of a comic. And so So there's one element that there's a viewer who is viewing an image that is a comic. And there is also. 422 01:07:46.570 --> 01:08:10.820 So the first viewer is an uncritical viewer. So, but it. But the uncritical viewer often translates into a spectating subject. you know, and the moment the uncritical viewer is translating into a spectating subject, we are talking about a power negotiation between the viewer and the viewed, between the spectating subject, and the image that is in the form of a comic 423 01:08:10.900 --> 01:08:26.029 mit Ctl. And so this is one part of the idea of how power is negotiated. within the intersection of the framework, and bringing in Fucal's idea of power, image, and the spectating subject 150 424 01:08:26.260 --> 01:08:43.109 and the other Theoretical framework that we find helpful in this context is delegation's ideas of this construction. And in this case we are particularly looking at deconstructions, relationship to the visual, that how certain images 425 01:08:43.110 --> 01:09:02.419 gain a certain status. For example, you know what takes us to say that this is a true image. This is a sacred image. This is a real image. So how do we ascertain certain status to certain images? How do we deconstruct that? And, and, you know, related, negotiated to the visual and 426 01:09:02.890 --> 01:09:13.450 extending from that, you know, pushing the boundary further from there is. How, then, does a culture define its visual limits. 427 01:09:13.450 --> 01:09:36.680 and and which is as significant as the actual images it produces. So these are very large questions. has, you know, of quite significant ramifications, and this is only the tip of the eyes for through this project. So so we are looking at these 2 very, very broad theoretical frameworks within the question of power and intersectionality. 428 01:09:36.680 --> 01:09:52.940 and of course, you know, in conclusion, I cannot avoid talking about Walter Benjamin's idea of our tech start and the social good that the technological reproducibility of artwork changes the relationship 429 01:09:52.940 --> 01:10:18.619 mit Ctl and religion of the masses to art. So how are we then, negotiating these intersectional positions? This intersectionalities when we are living in an era of technological reproducibility. So this brings us to the conclusion of this presentation, and we have 3 very very broad points to ponder here and leave you with 150. 430 01:10:18.850 --> 01:10:47.160 The first is, how relevant, or what is the relevance of classical and contemporary sociological theories to meaningful sociological understanding in the digital age. So when we are dealing with questions of social inequality, institutions, questions of movement and mobility. the second question is the changing nature of sociological data. So we are talking about big data. And we are also talking about thick data. 431 01:10:47.160 --> 01:11:15.149 So how are we acknowledging and using the changing nature of checking of sociological data, and finally. doing sociological and research in the digital age. So how do we use concepts of dataification, actor networks, historical, archive by methods and research designs. So how are we doing sociological research on in the digital age? 432 01:11:15.150 --> 01:11:25.219 So these are 3 very broad questions that are emerging from our project, and which I hope you would find interesting, and, you know. 433 01:11:25.220 --> 01:11:49.389 work the conversation. So if you have any further queries and discussions. Please feel free to write to us. we would be happy to take up your questions, engage in further discussions, and we hope and we really wish we were there in person to discuss with you at the World Congress. but unfortunately we wouldn't be able to make it this year. But we look forward to your comments and queries and questions. 434 01:11:49.390 --> 01:11:52.010 Thank you very much. Thank you. 435 01:12:00.700 --> 01:12:04.530 Thank you. So now. 436 01:12:07.020 --> 01:12:11.520 okay. yeah. Sculpture. 437 01:12:22.860 --> 01:12:23.780 Thank you. 438 01:12:24.190 --> 01:12:37.590 Thank you. So now we have about 30 min for discussion and questions, and so, please, if you have any 439 01:12:37.830 --> 01:12:44.730 question or any comment. please go ahead, raise your hand, and we can do it. 440 01:12:48.510 --> 01:12:51.960 Yeah. 441 01:12:52.320 --> 01:12:53.309 for a month. 442 01:12:55.630 --> 01:12:56.570 Your. 443 01:13:01.120 --> 01:13:04.489 I had a question for Professor Bonnie. I was just curious. I 444 01:13:04.760 --> 01:13:06.210 enjoyed 445 01:13:06.330 --> 01:13:08.979 here in your talk, and I thought it was really 446 01:13:09.880 --> 01:13:19.050 again nice to see their critical engagement with these images as a neoliberal subject formation process, but was curious to hear if there were any images that you thought 447 01:13:19.110 --> 01:13:24.629 pushed against that critical framing areas where you could envision 448 01:13:24.680 --> 01:13:29.130 things being more empowering and not just superficially so. 449 01:13:32.090 --> 01:13:39.690 Thank you for that question. So it's always interesting. Right? 450 01:13:41.680 --> 01:13:45.499 there is this. This is what the world sees. 451 01:13:45.780 --> 01:13:59.280 and this is what contributes to our ideas of Women's empowerment to girls empowerment. And then there is All these other fantastic things that are actually happening on the ground which are quite removed 452 01:13:59.330 --> 01:14:06.239 from these narratives that are being meddled about those very subjects, and I have an anecdote to share. 453 01:14:06.340 --> 01:14:15.239 We have 30 min now. Now I'm not going to take that, you you you can go ahead. And 454 01:14:15.250 --> 01:14:31.480 yeah. So in 2,009, I was working with a. This was part of my Phd research. I was working with an organization in India in the Goer, and there you know where it is. And they were being funded by the girl effect. So 455 01:14:31.670 --> 01:14:50.360 And so I went there to work with them, and I was working with A, who were in. And this organization were in turn working with several other organizations. in this large sort of fee called video empowerment. And that was kind of new at that point. 456 01:14:50.360 --> 01:15:07.150 So Nike had sent them these little cameras which they could use to kind of self document their lives and talk about how that might work towards their own environment. So there were all these interesting things that the organization was doing right 457 01:15:07.450 --> 01:15:28.059 and when I looked at what was happening on the ground. So I spent like a month working with the this organization. They were in turn, like, I was saying, working with the organization in so-called vulnerable areas of of a Southern State 458 01:15:28.320 --> 01:15:54.489 in Hyderabad. They were working with Muslim girls, and that was Pardon me. So saying, this was because all the rage Muslim women needed saving, and all of that. So that was their big push at that point. And So these girls I worked with for a couple of weeks, and it was just the most fascinating sort of like a rupture. 459 01:15:54.490 --> 01:16:13.160 There was all of these Nike you know, these narratives being crafted. But then there were all these fantastic things that were happening on the girl, which were very different from what Nike was imagining their money was going towards So, for instance, they are putting a lot of money into 460 01:16:13.280 --> 01:16:22.159 this one small program where they wanted the girls to become proficient in having 461 01:16:22.590 --> 01:16:25.360 Internet, and the Internet was quite new in them. 462 01:16:25.450 --> 01:16:45.120 In 2,009 for a lot of them. it was the first time they were sort of getting introduced to a larger world, a world that is very different from this sort of their material world. And so the The the charge was that we teach them how to 463 01:16:45.160 --> 01:16:58.509 seriously use the Internet so they could connect. They would connect with other girls other vulnerable girls around the world, and they would create the strong network of self-actualized, empowered girls. 464 01:16:58.510 --> 01:17:18.340 And So I was there and trying to get them to learn how to use the Internet. And I did that after which, you know, for instance, we had a lot of fun. mouse, you know, the mouse that we use for the computer 465 01:17:18.470 --> 01:17:41.989 and they like what most? Why would it be called, you know, a mouse? Right? So they came up with their own words for it, and then the ground for now labels them to. You know, we said, Okay, try exploring. Let's look at what kind of other groups are there. You know the commonalities access between girls in in you know some of the in Brazil, you know, South American countries. So 466 01:17:42.100 --> 01:17:47.859 so they they started doing it, and they were utterly bought. 467 01:17:48.590 --> 01:17:54.829 No one wanted to do any of these grand, empowering things like, it's like, I don't want to do that. 468 01:17:55.160 --> 01:18:04.620 So we tried this for a couple of days, and then you said, Okay, what do you want to do? It's like we want to listen to some. 469 01:18:04.900 --> 01:18:12.450 So this is very famous actor should on TV. So they wanted to hear his songs. 470 01:18:12.780 --> 01:18:28.219 Right? That's all they wanted to do with the Internet. So Nike has this idea. But you know of empowering these girls, giving them the digital technology. And then they just sort of find themselves and discount themselves and hear that these girls who don't want to do any of that. 471 01:18:28.280 --> 01:18:33.659 What made them truly happy is you're not listening to this guy's songs right? 472 01:18:33.740 --> 01:18:39.310 And but at the same time. They're also, you know, they're taking a it's not like 473 01:18:39.540 --> 01:19:07.129 things don't happen on the ground. There was another instance where this girl went out, and they were being challenged by the boys on the street, saying, Oh, what are girls doing with cameras? And then this girl turns around and challenges this boy. Say, I, you know I'll shut up. I'll go back home if you turn on the camera for me right now, right it's the guy who wasn't able to. The boy wasn't able to do so. That was a moment of 474 01:19:07.570 --> 01:19:17.269 of empowerment of, but none of that was reflected in the directives that Nike was writing 475 01:19:17.280 --> 01:19:30.810 right about what was happening in the current. What was being written about was how Nike was pushing money to technology. You know, these girls will be empower. Look at the number of girls who did not know how to turn on 476 01:19:31.130 --> 01:19:35.139 computer. The beginning of this is stuff that we had to collect 477 01:19:35.280 --> 01:19:49.560 right? And so they didn't know how to turn on a computer at the beginning of the program. And at the end of the program these many girls knew how to turn on the computer. Not only that they were trying to, you know, whatever. Right? So 478 01:19:50.090 --> 01:19:57.389 so there are all these ruptures which you know, are really fascinating things that are happening, but they don't get 479 01:19:57.490 --> 01:20:03.679 reflected. And what is happening more and more is that there is a 480 01:20:03.840 --> 01:20:13.060 there is a push to quantify. to kind of see visibly. you know, impact and 481 01:20:13.400 --> 01:20:17.310 and that that, I think, is a huge problem. 482 01:20:18.630 --> 01:20:19.790 Sorry 483 01:20:20.190 --> 01:20:22.599 I get very excited. Talking about. 484 01:20:23.420 --> 01:20:29.230 That's a main point to get excited about our own work. So thank you. 485 01:20:29.530 --> 01:20:30.590 please cook it. 486 01:20:33.970 --> 01:20:54.930 Thank you for The great presentations. I also have a question for you. so we're talking about Nike in terms of the globalizing effort in terms of producing a representative image of inherent girl. Are you seeing some of that? So you've talked about some of the individual pushbacks on that digital technology, but also it can something that's been powering. 487 01:20:54.950 --> 01:21:14.969 I'm wondering all their local efforts that organizations that meaningfully engage with, for example, local culture and these individual agencies and that meaningfully push back on the program or develop alternative models. To support these grows in a meaningful and apparent way. 488 01:21:15.010 --> 01:21:17.669 If you could elaborate a bit on that, that would be great. 489 01:21:19.170 --> 01:21:44.860 I certainly think there are various organizations which are working to kind of push back, and they have a a, a language of social justice entirely their own, and not that is being pushed onto them. But when we talk about the you know, my, there is all of that stuff happening, and I'd be happy to kind of, you know. 490 01:21:45.260 --> 01:21:46.219 share some 491 01:21:46.540 --> 01:21:48.879 some of that information. But 492 01:21:49.260 --> 01:21:51.070 my, my. 493 01:21:52.060 --> 01:22:01.020 the problem that I see is that we see none of that. And there is, or there's very little of that. A lot of these organizations really don't care. 494 01:22:01.090 --> 01:22:16.960 because even the organization that was being funded by Nike, right? Because I sat in on their discussions, and they didn't care. As long as they got the money. They said, we don't care what is being written about about us as long as we get to do meaningful work. 495 01:22:17.480 --> 01:22:24.660 right? So so do we continue to ignore what Nike is doing. 496 01:22:24.950 --> 01:22:26.720 or 497 01:22:26.910 --> 01:22:52.550 because that becomes policy that becomes a global policy, right? And that I feel like, it's fine for organizations to just say, I don't care what's as long as you know what they're doing as long as I get the money. But I think it's important for scholars. I think it's important, for, you know, activists to get involved and question. 498 01:22:52.720 --> 01:22:58.190 what is being peddled in the name of girls, girls, rights, or women's rights? 499 01:22:58.500 --> 01:23:01.630 So yes, there is a lot of fantastic work for 500 01:23:03.950 --> 01:23:05.029 for that goes. 501 01:23:05.090 --> 01:23:09.990 Thank you. Is there any other comment or question? Yeah, please go ahead. 502 01:23:15.290 --> 01:23:30.879 Thank you very much. I thoroughly enjoyed all 4 presentations. Francisco, I have a question for you and And in a way, it was part sparked by the final presentation. They're not online here. 503 01:23:30.980 --> 01:23:34.250 the the final okay. So 504 01:23:34.350 --> 01:23:42.990 I was really interested in the kind of symbolic and actual authority of television in the context of other 505 01:23:43.000 --> 01:23:44.250 broadcast 506 01:23:44.470 --> 01:23:47.049 social media platforms. 507 01:23:47.070 --> 01:24:06.869 And in Portugal today, does TV still hold the kind of authority such that if we're not seeing diverse voices or hearing diverse stories, does that mean that there are no other channels that that that put to these public 508 01:24:07.120 --> 01:24:22.759 are receiving and engaging around questions of diversity. So basically, and maybe this is a question around, what are the trends in television viewership in Portugal? Have they remained strong? Are they declining? 509 01:24:22.760 --> 01:24:40.439 Are they under pressure from other new media and other modes of consuming information? and cultural audio visual content. And in that context, doesn't matter that much. If the the I'm assuming these are state broadcast 510 01:24:40.470 --> 01:24:41.490 channels. 511 01:24:41.520 --> 01:25:01.069 does it matter if they are unable or unwilling to portray diversity. If there are other options and channels, I mean, what are the stakes here? If public broadcast media is sort of reluctant, unable, incapable of changing its own script. 512 01:25:04.560 --> 01:25:12.160 Thank you for your question. Well, I'm trying to. We'll have write something about that. It's not too easy. 513 01:25:12.260 --> 01:25:15.670 because 514 01:25:15.900 --> 01:25:19.760 well. concerning the young people, for instance. 515 01:25:19.890 --> 01:25:25.260 the they, they don't see 516 01:25:25.340 --> 01:25:33.770 practically practically anymore television. So now they are on Facebook, on social media. 517 01:25:33.850 --> 01:25:40.750 and all of that and the new platforms. They changed from from platform to another. 518 01:25:40.930 --> 01:25:42.230 And 519 01:25:42.470 --> 01:25:52.470 it's a very complicated situation. And some people, some researchers and 520 01:25:52.520 --> 01:25:53.670 and 521 01:25:55.190 --> 01:25:59.459 people that publish and study this kind of problem. 522 01:26:00.000 --> 01:26:02.310 For instance, I remember 523 01:26:02.350 --> 01:26:05.359 very important to book 524 01:26:05.540 --> 01:26:10.800 the United States from 525 01:26:11.610 --> 01:26:17.110 from broadcasting the so the the author is the Macros prior 526 01:26:17.410 --> 01:26:19.310 Michael's Prayer. 527 01:26:19.320 --> 01:26:21.969 and from broadcasting 528 01:26:22.050 --> 01:26:34.769 the book. I'm sorry, but it was a study about the transition of a post broadcasting. Democracy is the name of the book post, broadcasting and democracy. 529 01:26:35.040 --> 01:26:42.920 and there is also a well. But talking about this one. 530 01:26:43.020 --> 01:26:54.929 he he thought that the transition from the television to the Internet. It was announced. 531 01:26:55.200 --> 01:26:57.099 the the the 532 01:26:57.220 --> 01:27:00.890 but the problem of the 533 01:27:03.120 --> 01:27:08.780 the, the the problem of 534 01:27:09.600 --> 01:27:17.420 going out of politics, for instance, in terms of information. So young people 535 01:27:18.750 --> 01:27:23.840 each time more doesn't have information in particular information. 536 01:27:23.910 --> 01:27:26.870 because the final 537 01:27:26.890 --> 01:27:37.610 period of television before the Internet was a transition to entertainment. So information about that was each time 538 01:27:37.970 --> 01:27:44.989 more or less And then began the Internet. And the 539 01:27:45.180 --> 01:27:58.809 some people wrote that with the Internet. That will be great because each one can access to information. But as we saw hits the country. 540 01:27:58.870 --> 01:28:04.310 the Internet complicated very, very much the the problem and the 541 01:28:04.350 --> 01:28:05.870 augmented. 542 01:28:06.360 --> 01:28:10.360 So the politicization, this information. 543 01:28:10.570 --> 01:28:18.689 and the but the polarity clarity polarity. Well, that's the problem there. 544 01:28:18.910 --> 01:28:20.210 So 545 01:28:20.320 --> 01:28:25.840 which the role? 546 01:28:26.230 --> 01:28:34.690 Well, what role to the public service television, because it's the classic medium in Europe. 547 01:28:34.930 --> 01:28:37.399 the budget, only 548 01:28:38.570 --> 01:28:44.359 the Japan that's not in the States, but 549 01:28:44.380 --> 01:28:47.179 which what role of 550 01:28:47.330 --> 01:28:51.920 what wrong. So I think they need 551 01:28:52.320 --> 01:28:55.270 that make the transition to the digit. 552 01:28:55.800 --> 01:29:06.179 So they are continuing saving. So the protection and they bring big money 553 01:29:06.360 --> 01:29:15.899 is going to television, to entertainment and to the classical classical system of the production. But I think 554 01:29:15.940 --> 01:29:26.969 it's wrong. Now, it's a time of digital so public service media not public service, television public service. 555 01:29:27.210 --> 01:29:31.990 And there I think, we have the space following 556 01:29:32.310 --> 01:29:33.690 to construct 557 01:29:34.040 --> 01:29:51.690 new empowerment. And but as things are going so well, the BBC. Is making a more interesting work on that. But the German television also. 558 01:29:51.890 --> 01:29:56.679 but in general they are in the twentieth century. 559 01:29:59.380 --> 01:30:00.120 You 560 01:30:01.740 --> 01:30:08.640 thank you, Francisco Briccato. There's another question or comment for you people. 561 01:30:09.470 --> 01:30:10.130 The 562 01:30:11.120 --> 01:30:12.280 okay. 563 01:30:13.280 --> 01:30:21.720 So we have ended earlier. I'm going to make some field 564 01:30:21.740 --> 01:30:29.259 small comets to end, because I think that the digital humanities it's a word to explore. We haven't 565 01:30:29.370 --> 01:30:32.489 done too much about it, and it's a very 566 01:30:32.540 --> 01:30:53.300 it. It's a part of our social studies that we can develop a lot. Obviously, digital. It's new, relatively new, because it's from 90 s, it's not as new as we may think, but we haven't made too much about studying this as For example, the 567 01:30:53.300 --> 01:31:03.750 pre recorded session that they make these 3 divisions. I love it because they open in the third one a new category that we can, you know, explore a lot. 568 01:31:03.750 --> 01:31:26.499 Because, as you know, May, May, you know, the first part of digital humanities was, about this kind of classifying information and having all this data through computers and so on. So now, we have to to explore into, for example, this kind of words that Mrs. Bundy show was that the 569 01:31:26.500 --> 01:31:31.879 was lovely sorry for interrupting about time. But it's it's my job today. So 570 01:31:32.070 --> 01:32:01.219 I I must do it. And also the the knowing. Let us Francisco, show us that the classical media has to something to to do also through this digitalization right now. And obviously, that's Mr. Bartas sure was about this analytic and continental philosophy. This is the the classical digital humanities. If we can talk about that something classical in this 571 01:32:01.280 --> 01:32:27.650 in this branch of studies. But we, we have this possibilities. And and we must push people to do more things about it in my university at Mexico. Take the Monterey. We're particularly interested in brooding this, this, this, this in in supporting this kind of studies. because it's we consider that it's it's going to be a very important thing for 572 01:32:27.650 --> 01:32:55.510 those who are we at humanity? This kind of humanity study. So thank you. Everyone here with a few people. But sometimes when we are a few it's more interesting, this kind of questions and dialogue that we have, and I I think so. So, please. thank you for being here. Thank you for attending. And see you in in in in some other place of this is worth a Congress. Thank you, everybody.