Black Visuality in The Digital Age
Jonathan Michael Square, PhD
Assistant Professor of Black Visual Culture
School of Art and Design History and Theory
Parsons School of Design
The New School
Course Description
One of the defining characteristics of the African Diaspora is that its members are visually marked as othered. Digital storytelling of the black experience necessitates the visual, as opposed to the haptic (what can be touched and felt) or the audial (what is heard). In our current digital age, vision is, thus, a mechanism by which to understand and fully unpack the meaning of blackness. “Black Visuality in the Digital Age” will cover memes and mimetic communication, digital blackface, black Twitter, Worldstar Hip Hop, hair and makeup tutorials on YouTube, racist Snapchat filters, algorithmic biases, Beyoncé and Solange’s visual albums, among other topics. The syllabus will include the work of scholars of Nell Irvin Painter, Toni Morrison, and Nicole Fleetwood, among others.
Policy on Academic Integrity
Compromising your academic integrity may lead to serious consequences, including (but not limited to) one or more of the following: failure of the assignment, failure of the course, academic warning, disciplinary probation, suspension from the university, or dismissal from the university.
Students are responsible for understanding the University’s policy on academic honesty and integrity and must make use of proper citations of sources for writing papers, creating, presenting, and performing their work, taking examinations, doing research, and using Artificial Intelligence. It is the responsibility of students to learn the procedures specific to their discipline for correctly and appropriately differentiating their own work from that of others. The full text of the policy, including adjudication procedures, is found here.
Resources regarding what plagiarism is and how to avoid it can be found at the University Learning Center.
The New School views “academic honesty and integrity” as the duty of every member of an academic community to claim authorship for his or her own work and only for that work, and to recognize the contributions of others accurately and completely. This obligation is fundamental to the integrity of intellectual debate, and creative and academic pursuits. Academic honesty and integrity includes accurate use of quotations, as well as appropriate and explicit citation of sources in instances of paraphrasing and describing ideas, or reporting on research findings or any aspect of the work of others (including that of faculty members and other students). Academic dishonesty results from infractions of this “accurate use”. The standards of academic honesty and integrity, and citation of sources, apply to all forms of academic work, including submissions of drafts of final papers or projects. All members of the University community are expected to conduct themselves in accord with the standards of academic honesty and integrity.
ATTENDANCE & PARTICIPATION
Students are expected to attend every lecture and recitation. Attendance is carefully recorded and factored into the overall grade, with consistency considered a vital part of success in this course. Frequent tardiness is disruptive and will negatively affect your standing, while unexcused absences will result in grade reductions. Sickness-related absences require a doctor’s note or similar proof, and only extraordinary circumstances such as illness, family emergencies, travel delays, or rare professional opportunities are considered excused.
Expectations and Assignments
The grading of the course is broken into two major components:
Attendance and participation (60%)
a. Attendance (30%)
b. Paragraph-long reflections (30%)
Preparation and submission of an article-length text to be included in a zine (40%)
a. Workshop Day (20%)
b. Final submission (20%)
The class will be a seminar with a high expectation of participation. Please come to class prepared to participate actively in class discussions and discuss the assigned readings. Your attendance at each class meeting will be recorded. Unexcused absences will count against your participation grade. A separate grade that falls under “Attendance and participation” are paragraph-long reflections on each week’s readings. Please email your reflections to me at least by midnight the night before class.
This course does not require a final research paper. Instead, students will complete a substantial piece of expository creative non-fiction designed for publication in a zine . This assignment is intended to challenge students to synthesize historical research, critical analysis, and creative practice in a public-facing form.
The project is connected to Fashioning the Self in Slavery and Freedom, an ongoing scholarly and creative research initiative directed by the instructor. Two zines have already been published as part of this project. Students will be invited to contribute original work to a potential third edition, and this assignment will constitute 40% of the final course grade.
Course Schedule
JAN. 21 / INTRODUCTIONS
Overview of the course and expectations.
JAN. 28 / Race, AI, & the Making of Meaning
FEB. 4 / Pictures & Progress
FEB. 11
No class
FEB. 18 / A Dark Horse in Low Light
FEB. 25 / The Spectacle of Violence and the Persistence of Racial Terror
MARCH 4 / Breaking the Internet and Going Viral
MARCH 11 / WORKSHOP DAY
MARCH 25 / Algorithmic Bias, or When They Don’t See Us
APRIL 1 / Cracking the Code of Race
Selection of YouTube genetic test reveals.
APRIL 8 / Race Play and Reclaiming the Erotic
Black Mirror, “Striking Vipers,” 2019
Art 21, “Kara Walker: “A Subtlety, or the Marvelous Sugar Baby,” May 23, 2014.
APRIL 15/ Computer Love
APRIL 22 / Beyoncé’s INTERNET
Watch one of the following visual albums:
Beyoncé, Lemonade or Black Is King
Solange, When I Get Home (including her Black Planet site)
—-
APRIL 29 / Blackfishing and the Persistence of Blackface
Jackson, Lauren Michele. “We Need to Talk About Digital Blackface in Reaction GIFs.” August 2, 2017.