Bibliographic record
Abstract
<p>The convergence of digital media with activism has become a powerful tool for social movements over the years. From the Arab Spring protests of 2010 to Black Lives Matter, digital media has been utilised extensively for the dissemination of activist ideas and agendas (Eltantawy, 2011). </p> <p>Illustration has enjoyed a long relationship to activism. The role of the artist as activist, seeking positive change through illustration, has been a long-standing tradition, from Victorian-era Punch cartoons to modern advocacy and social awareness campaigns (Scott, 2016). </p> <p>Graphic novels also have a long, kinetic history in advocating for progressive causes. The 1980 graphic novel Maus by Art Spiegelman, for example, brought widespread awareness about the horrors of the Holocaust to young audiences. It has since served as a trailblazer for comics that deal with disturbing societal issues such as racism or war (Geis, 2007).</p> <p>For my Major Research Project I have set out to explore the graphic novel as a form of digital art and storytelling and will also examine its relationship to digital media and activism. In particular, my MRP focuses on creating a digital comic sample based around the ideas of three prominent American progressives. </p> <p>The working title of my comic is <em>Incendiary – American Progressives and Radicals</em>. This project will explore the ideas of three figures of the American left: Richard Wolff, Emma Goldman and Malcolm X. </p> <p>As an instructor of Illustrative Activism at the Ontario College of Art and Design University (OCAD U) for more than ten years, I have witnessed a dramatic increase in the prevalence of activist content on digital media platforms and the use of digital tools in content production. Digital media, borderless and often without cost to consumers, has the capacity to reach larger and ever-growing audiences (Eltantawy, 2011). </p> <p>Digital activism strives to affect positive change through digital media. This activism has the ability to help shape a more just and equitable society (Eltantawy, 2011). </p> <p>Additionally, digital platforms and websites have become essential to the livelihoods of many creative content providers who want to remain relevant with readers, and viewers (Carton, 2020). </p> <p>Social platforms such as Instagram, Patreon and Kickstarter are among the many digital platforms artists now use to attract and grow audiences. Many of these sites are free, democratising the ability of creatives to reach new people and markets (Carton, 2020). </p> <p>As a working artist, my desire to remain relevant in my field of practice and attract new audiences has motivated me to use new digital tools and technologies to create, produce and display my work. </p> <p>Michael CarterLike many artists who learned their craft through traditional tools and practices, I recognize the importance of showcasing my work on a wide range of digital platforms and frequently use digital technology to enhance or hasten my work process.</p>
Fetched live from OpenAlex and de-inverted. Abstracts are not stored in this database: the inverted indexes are 8.6 GB of the frame’s 9.3 GB of text, and the host has 13 GB free.
How this classification was reachedexpand
Full frame distilled prediction
Teacher imitationNot calibrated prevalence, not ground truth. Human validation pending. Learned from the 10,348 direct Codex labels and 10,348 direct Gemma labels. Candidate is the union of thresholded teacher heads; consensus is their intersection. These outputs are machine_predicted_unvalidated and are not human labels or direct frontier model labels.
Codex and Gemma teacher scores by category
| Category | Codex | Gemma |
|---|---|---|
| Metaresearch | 0.000 | 0.000 |
| Meta-epidemiology (narrow) | 0.000 | 0.000 |
| Meta-epidemiology (broad) | 0.000 | 0.000 |
| Bibliometrics | 0.000 | 0.000 |
| Science and technology studies | 0.000 | 0.000 |
| Scholarly communication | 0.002 | 0.000 |
| Open science | 0.000 | 0.001 |
| Research integrity | 0.000 | 0.001 |
| Insufficient payload (model declined to judge) | 0.002 | 0.000 |
Machine scores (provisional)
The two teacher heads of the student model, read on this work. A score orders the frame for review; it never asserts a category, and the validation status ships verbatim with every row.
Baseline scores from an immature model (maturity gate not passed, 7 training rounds). Scores rank; they never assert a category.
score_only:v0-immature-baseline · verbatim from the scoring run: score_only means the number may rank works, and no category label ships from itClassification
machine, unvalidatedMachine predicted; a candidate call from one teacher head, not a consensus.
How this classification was reached, model by model and score by score, is at the end of the page under "How this classification was reached".