Friday, November 29, 2013

Be prepared to talk about this on Monday!
Question 1
In chapter one, Springer describes how many Black women, especially those who thought of themselves as “revolutionary” saw gender inequity as something that would work itself out as they worked side by side with revolutionary Black men in struggle (26-28). How does this help us to better understand the context of the mass resignation letter of women from the LA Brown Berets (we talked about this at the beginning of the semester, and we read Dionne Espinoza’s piece “Revolutionary Sisters”)? Realted documents:

Question 2
In chapter two, Springer describes the organizational structures of NBFO, NABF, Combahee, and the Third World Women’s Alliance. She focuses on various organizing models, breaking them down into two general categories: structure-less, and hierarchical. Think about the social justice organizations or other kinds of groups that you have been involved in. What kind of organization model did they use to get things done? Which of these models do you think has the most potential for success? Why?

Question 3
Think about Barbara Smith’s statement on page 75, that in social movements “people who write get far more visibility than those who don’t.” This observation is definitely born out in the scant writing that documents Chicana feminist thought (Alma Garcia’s book is a compendium of Chicana feminist writings, Maylei Blackwell’s book focuses on “print cultures” in the formation of counter publics).  Given that women who produced a written record of their thinking and activities (who tended to be more privileged and were more likely college educated) tend to loom larger in the historical record, how might historians recover the history of women who might have worked in the trenches as organizers, but not produced any writing? Is oral history one possible way to reveal the histories of women who did NOT write? If so, why?

Question 4
In chapter four, Springer focuses on the spaces and practices that helped to shape Black feminist political thought. Like Blackwell, she talks about the importance of print culture, conferences and consciousness-raising to the development of a Black feminist counter-public.
1) Take a look at the TWWA consciousness-raising documents on Ctools. What do these documents tell you about TWWA’s goals and political perspective.
2) Think about Springer’s account of the NBFO-organized Eastern Regional Conference (1973) in comparison to Blackwell’s account of the 1971 National Chicana Conference in Houston. What are some of the similarities and differences in these two accounts?
3) Look at an issues of TWWA’s publication: Triple Jeopardy (on ctools). What kinds of issues are foregrounded? What does this tell you about the TWWA’s priorities? About their vision of “feminisms”?

Question 4
Define “cognitive liberation.” How night this concept be applied to other contexts?

Saturday, November 23, 2013

The Elena Herrada Follow-Up Interview

I had hoped that being one of the last groups to interview, Tina and I would be able to avoid some of the technical snafus that the other groups encountered but it was not to be. The troubles started even before we arrived at Elena's house. Since our original interview subject, Mary Luevanos, could not commit to a time, Maria quickly asked Elena Herrada if we could do a follow-up interview with her. Elena graciously agreed even though she was attending a very important meeting with the Detroit Public Schools on Friday morning. Since our interview was scheduled at the last minute, Tina was unable to secure the camera we had originally trained on and was given a camera with p2 cards instead of SD cards.

The old-school camera
At around the same time that Tina was receiving the bad news about the camera, I had a near-tragic accident involving the hard drive, my digital camera, my tablet, and my laptop. I had had my partner pack all of these things in my backpack along with my fancy water bottle, not realizing that the cap was not secure. When I set my backpack on the floor of the library, I noticed that my backpack was leaking water. Fortunately, nothing was damaged, especially since I kept the hard drive in its nifty little box, but it brought home Maria's advice to bring two laptops to the interview in case something happened.

Tina and I made it to Corktown in good time, and Maria arrived shortly after with all the scanning equipment, archive boxes, a slate board, clamp lights, batteries, an extension cord, and power strip. While we were setting up and waiting for Ari to join us, we got to meet Elena's neighbor with an interesting story of her own. However, I don't believe a public blog is the place to tell it, although it did add to the hilarity of the circumstances that surrounded our interview process.

Tina and I had the good fortune to have Ari join the team to scan some of the archive, and she helped us stage the filming area and gave me advice on lighting. This saved us a lot of time.
The clamp lights that Maria brought really helped, and I was glad that I had brought two of my own extension cords which made setting up the lighting much easier. While Tina was getting the video camera and sound recorder ready, Elena, Maria, and Ari began sorting the archive. Since Ari was familiar with the sensitivity of the wireless microphone, she scanned the archive upstairs while we filmed the interview in the den.
Maria began the interview by mentioning that she was interested in hearing more about Chicano Boricua studies, but that she first wanted to know about how the Herrada's first came to Michigan. We learned that her grandparents came to Detroit in 1920 and that the family has been there ever since. Her family also has a long history within the auto industry and labor organizing. Elena also worked for the Union, negotiating contracts for 70 different auto plants.

Elena told us about her experiences with the Chicano Boricua Studies program at Wayne State University from 1985-1987 and how her experiences in the movement to establish Chicano Boricua Studies as a two year program with two full-time counselors, faculty, and it's own director inform all her subsequent projects. Elena then began to discuss the oral history project and documentary, "Los Repatriados: Exiles from the Promised Land." 

There was a lot of good advice about oral history interviews that could be gleaned from her story. Elena spoke about how certain theoretical strategies would not work for her particular project which implies that it is imperative that an interviewer be knowledgeable about her interviewees. Elena also told us that interviewing one-on-one feels like a sort of confessional, leading people to tell stories they wouldn't normally share, and that many people rescinded their permission after the interview. It may behoove an interviewer to have a team accompany her so that interviewees get the sense that many people will be hearing their stories. Another important thing that Elena taught us is that the framing of the project is important in that some people will not participate if the aim of the project is not well-defined.
Sadly, we did not have enough memory on the cards to get all of Elena's story about how someone stole the work that Elena and her committee had been gathering and used it to create his or her own documentary. She was kind enough to tell us the rest of the story before we left. I hope that I can be part of the follow-up to the follow-up interview to get the rest of that story on tape and hear about her year as a graduate student at Michigan State University.
Strangely, the black cat didn't cross our path until the interview was over :) Perhaps the kitty is responsible for our technical difficulties with the p2 cards....................

The saga of the p2 card: Elena Herrada, Round 2

Frustrated is not nearly a strong enough word to describe my experience as Production Manager on Elena Herrada’s second interview. Originally, Jasmine and I were set to interview Mary Luevanos at C.L.A.V.E., the arts organization in Detroit. However, she was relatively unresponsive and wishy washy when Maria kept trying to contact her and set a date and time, so as a backup, Elena agreed to do a second interview to expand on what she had already said. This meant that we didn’t know what we were doing or when until Wednesday, meaning I could not reserve the equipment until then. Naturally, ISS was out of the camera we needed, so I asked them for a similar one. They ended up giving me one that, while relatively similar in operation, used a different kind of memory card. On-site, we figured out how to set up and operate the camera, and I didn’t think the difference in equipment would be a huge deal. However, though I had asked for enough memory to hold 3 hours of footage, our cards ran out of space after about an hour and a half, in the middle of Elena telling us a really crazy and important story. Because the cards were different and ISS wouldn’t let us take the card readers out of the building, we couldn’t upload the files and then reuse the cards, so we had to cut the interview short. Elena was very understanding and everyone handled it well, but we were all disappointed that we couldn’t do the best job possible because of the equipment problems. But the tech issues didn’t stop there.
Because of the whole memory card situation, I couldn’t just upload the footage directly, I had to go in to ISS and use the card reader. I found out in the process that the type of files that card collected are incompatible with iMovie. Luckily, I have a friend who has Final Cut Pro, which I also have experience with, so I thought it would all be fine, if a little inconvenient. But when I tried importing the files to edit in final cut, they only appeared as picture files. I tried several methods of importing and the same thing happened each time. I had checked on the camera that the footage was there, so I don’t know what happened. I suspect it might have something to do with transferring the files to the hard drive. But as of now, I have no idea how to access the footage. We have the sound files, so at least we have audio of the interview, but that’s nowhere near enough. It was literally just an avalanche of technical nightmares that mostly just stemmed from not having enough notice because of Mary’s unresponsiveness, but it escalated way beyond what I thought it would. Maria had talked to us about going back for a follow-up so Elena could finish the story and we could complete the interview, and now, because of all of the technical nonsense, it looks like we may have to revisit what Elena told us on Friday so we can get it on tape, and I will make sure we have the right equipment. I’m just really frustrated because I was looking forward to the interview and the experience was muddled by the stress involved with dealing with the equipment. I feel that I did a good job of working on the fly and figuring things out in less than ideal circumstances, but these editing difficulties render all of our work pretty much useless. Knowing what I know now, I’m sure that when we go back after Thanksgiving to finish up and maybe try to recapture some of what she told us, it’ll be a breeze compared to this unfortunate saga. The worst part of all this is that Elena gave us a really great, interesting interview and talked about some really important parts of Midwestern Latino history.
It was really interesting to hear about Elena’s experience in Detroit, especially regarding her work on reclaiming the history of the repatriation. She’s been working for decades on collecting oral histories from people who were repatriated or had experience with it. Elena told us how difficult it was initially for her to find subjects because people did not want to talk about their experiences or admit that they had been sent away. She recalled showing her father the advertisement she had put in newspapers and magazines looking for interview subjects, and him laughing at her blunt request for repatriation stories. According to him, Mexicans were much too proud to admit that they had been essentially kicked out of the country. Even after she started getting a lot of interviews, people would contact her and ask her not to use what they had said in any of her research or materials. She said that people had recalled a lot of really traumatic and upsetting memories and after the fact, couldn’t bring themselves to make those public. All of that came back to Elena, and the information and accounts she did make public were only a fraction of what she had heard. She said she knows things she never wanted to know about this country’s attack on Mexicans and the effects it had on people in her community. It is amazing to me how much she has heard and how much she knows that she can never tell people, and it must be an incredible burden. It was really moving to watch her recount those interviews.

She began to work with organizations in Detroit to make these stories public and create a project around them. She told us about meeting with a white filmmaker at the Reuther Library who was interested in her research and about how he had achieved success with a film about Latinos in Detroit. She and her team had consulted with him and helped him, and when they began to try and get funding for her project, she discovered that he had taken the materials she had shared with him and applied for his own grant with her research. He essentially stole her work and intended to profit off of it despite not having been a part of the project or even the community. In response, she did the only thing she thought she could do: she went to everyone he had mentioned in his proposal and told them not to give him any information. She systematically rendered him informationless because she felt he couldn’t possibly tell this story; one that she had spent so much time collecting and one that felt very close to her heart. I couldn’t believe that someone had stolen her work, especially someone who didn’t understand it’s implications in the community. If I had invested so much of myself and my life in trying to understand something that affected me and my family so directly, I would be absolutely livid at an outsider looking to profit off of that. She seemed sort of calm as she recounted it but you could see the hurt and anger she still felt about it. Luckily, her precautions paid off and she shut his efforts down, so we could all laugh about it. She had a way of involving all of us in her storytelling which made everything seem personal to us as well. I felt drawn in and that experience is something that people wouldn’t have access to without direct interviews. I just wish we could have actually captured it. Hopefully, we can get the same story on our next try, because I think it’s important for people to hear, not only with regards to learning more about the repatriation, but to seeing the struggles that people have undergone in trying to tell their stories.

Monday, November 18, 2013

Interview Notes

Here are my notes from the interview. Hope you guys can understand them.

Elena Herrada Interview- Filming Notes

Professor Cotera asked me to upload images of my notes from the filming. I took note of key words, events, people, and questions I had to ask Elena.

See both images below. I kept track of times (by using the timer on my cell) on the left column and on the right, the topics/people/events/unpleasant sounds/ etc. The approximate times help with knowing where I might want to cut the film for medici.

Additionally, I'd like to mention an application I downloaded for free on my iPhone to use as a slate. We didn't have a real slate, so we downloaded NoBuSlate (stands for No Budget Slate) which you can edit the information on. See image below:

Though it doesn't make a clicking sound, it is easy to hold your phone in front of the camera and snap for a sound and visual for lining up the audio if we have to edit the audio and video files separately. PLEASE remember to slate. It can be a big problem if you don't late. 

Lastly, here is the production schedule for an example: 

In the end on the production schedule, I added a "To Do" list to ensure that all of the release forms were signed, and all of the equipment was returned safely and on time. 

Emily Martinez Interview - Data Wrangler

We were all running a little late for Emily Martinez’s interview. Anna and I didn’t have much trouble finding the room where we’d be meeting up with Emily to do some scanning. Once Prof. Cotera joined us, we officially met Emily Martinez and began looking through part of the archive she had brought for us to look through. She had more stuff in her car so Anna helped her get that while Prof. Cotera went to get the scanner from her car and I manned the room.

Soon we’d find out that I wouldn’t have much to do at the interview since we were missing the USB and power cords for the scanner. We tried to borrow one from the media department at the school but they didn’t have any that would match the scanner. We’d have to take the archive with us and do the scanning at a separate time.

The primary role I played as Data Wrangler was to take notes during the interview and to make sure the video clips were uploaded to the hard drive. I took a lot of notes during the interview wanting to make sure I noted the time at which Emily gave us details about important times in her life. When uploading the clips on the hard drive we had issues with the format they were in (.MTS) not opening on Anna’s computer. So after saving them as .MPG and having them not open, we decided I’d take the SD card and try reloading them onto my laptop at home.

Once home, I was able to resave the clips as .MPG and open them. I also uploaded the videos to iPhoto to make sure we had a backup. Trying to upload the videos to the web was troublesome. It would take forever to upload to Mbox. I used iMovie to trim a clip to post with the reflection and had to put it on YouTube because it couldn’t upload straight onto the blog.


Some thoughts and reactions to the interview:

Interviewing Emily was a great experience in all aspects. She had a very inspiring and complex history. She did it all! It’s amazing to know that she did so much and can remember so much of it. I enjoyed hearing how it was that she became the motivational and strong woman that she is. I liked that she shared her family dynamics and background because I thought that really helped me understand the story she told. I thought her relationship with and respect for her dad was very interesting. She had utmost respect for her dad and would do as he asked which reminded me how my grandparents have described their upbringings. Having this to reference during her interview I think helped me understand why she would say that you simply wouldn’t question your parents and what they told you to do, you just did it.

Emily shared with us that her dad was pulled out of elementary school because he needed to help her grandfather and that she didn’t go to college because she felt obliged to help her parents. This made me think about the people I know that have been in a similar situation. It made me think about this ongoing chain of missed opportunities. It made me think of all of the people that were forced out of pursuing an education and those that felt that that was the only way they could help their families. When in reality, an education is one of the most secure ways of providing your family with better things. This makes me appreciate being at UofM very much. The amount of support that I’ve had from my family these last 4 years will help me help them more than I could ever imagine.

Seeing the amount of work that Emily has done for Chicanos was incredible. Physically seeing what her effort has yielded over so many years, along with the amount of things I’ve been exposed to in this class, made me think about what I’ve done for “my people”. I feel that I’ve lacked involvement in the efforts being made to help make the lives of Latinos better. I knew before that I would want to continue my recently begun journey as a Latino rights advocate post-graduation, but now I’m certain that I will go on the rest of my life dedicating a portion of it to “my people”.

Sunday, November 17, 2013

More reading questions:
The last three chapters of Blackwell's book focus on:
1. The creation of a national Chicana counterpublic through printed matter.
2. The attempt to materialize this counterpublic through a national Chicana conference, and the fallout from that
3. The attempt to shape Chicano Studies and ensure that it included gendered analysis.

So I have a few questions for you to ponder.

1. Why was "print culture" so important to the development of Chicana feminism? What did it enable, and how did it help shape this growing movement?

2. Why did the Chicana conference in Houston fail? What did this failure mean for the development of  a national agenda on Chicana feminism?

3. How does Blackwell tell the story of the Houston Conference? Is it through a conventional historical narrative? If not, in what ways is it different?

4. What was the experience of Chicanas who tried to include gendered analysis in the curricular goals of Chicano Studies? How did this shape the field?

5. Define retrofitted memory

Emily Martinez Interview - Production Manager Point of View

Fearful that we were running late for our 1:30 interview, Elizabeth and I arrived at the designated room ready to apologize for our tardiness, but no one was there! All four of us were behind, and that was one thing I realized right off the bat you have to be prepared for; things won’t always run like clock work.

When Emily arrived, I was sitting down, and as I stood up to shake her hand, I was surprised at her size. This spit fire of a woman probably stood a little less than 5 feet, and although quiet at first, she warmed right up to Elizabeth and I, talking to us about herself, and asking us about our own backgrounds. As we began sorting through her photos, she pointed out the various family and friends who’d meant so much to her. Her daughter also came by to drop off a few things, and ended up spending some time talking to us. She said growing up she didn’t understand why her mother got involved with migrant workers, or fought for the rights of Mexican Americans, but it finally came full circle when she was sitting with her mother in Chicago and got to meet then President Clinton. She teared up, and I could tell that her mother’s work has really impacted her. She said she was so proud of her mom.

Just as we were finally about to get down to business and start scanning, we realized the chord was MIA. Although we asked the tech teacher at the school for a cord, he didn’t have one that fit the scanner, so we changed our plan and decided to interview. It was a good thing too because by the time we finished interviewing it was almost 7pm!

As the Production Manager, I was tasked with making sure the shoot ran smoothly, and let me tell you, I was quite nervous, especially when we had a few things go amiss. For example, the camera we received had a loose lens, so as soon as we put it on the tripod, it fell off. Then, once we hooked up the wireless mics, the input 1 wasn’t working. We finally realized that input 2 would work, and once we changed the placement, the wireless mic began to work!

The wireless mic was extremely sensitive. It picked up on every little noise; when Emily played with the tissue in her lap, or dragged her fingernails across her pant legs I could hear the noise. We had to stop a few times because, despite being in a sound proof room, we could hear the maintenance men moving trash cans and talking just outside the door. Other than that, things ran smoothly.

Not only was it a learning process from setup to take down, but I gained a whole lot of knowledge from Emily herself. She loves working with disabled kids, and they were a big part of the reason she got involved with education. When she and I were walking to her car before the shoot to grab some plaques, she said she does what she does because it needs to be done. 

Production Schedule

Date: Friday, November 15, 2013
Time: 1:00 pm
Production location: LISD – Tech/Jackson Community College – Adrian, Michigan

Interviewee: Emily Martinez
Interviewee Contact Information:
517-662-2036 (Cell), 517-486-4278 (Home), (email)

Production Crew:
            Maria Cotera—Professor/Project Coordinator/Interviewer
            Anna Gwiazdowski—Production Manager
            Elizabeth Pérez—Data Wrangler
Contact Information:
            Maria Cotera: (734) 834-7306
            Anna Gwiazdowski (707) 816-7269
            Elizabeth Pérez (469) 556-5700
Filming Schedule:
·      Production crew will arrive at LISD at 1:30 pm to scan the items Emily brings
·      At 3:30 pm, we will set up before the shoot and prepare both the equipment
·      Shooting set to begin at 3:30 pm. Maria Cotera will lead the interview.
·      The production will tentatively end at 5:30 pm.
·      All equipment must be accounted for before departure.

Additional tasks if time permits:
·      If there are any additional items to be scanned, we will scan them after the shoot

Elena Herrada Interview: "It Doesn't Count Here?"

Note: To see the interview, please click the link above. In order to upload the clip in the size we wanted for blogger, some of the sharpness was lost. I shrunk the file into an mp4 onto my google drive because it is six minutes long and it would not upload directly onto the blog. I apologize if it isn't as clear as it will be on Medici, but the important piece here is the beautiful storytelling.

The whole story here lasted about 15 minutes, but for the purposes of the class blog, we picked a powerful six minute piece. Before speaking to what you have watched, let me give a little bit of background to how Elena Herrada ended up visiting her college advisor and the ombudsman (click the link for a definition). In the first few minutes of her story, Elena shared with us how her grandfather always motivated her to get through school. After completed her credits as a student in the Chicano-Boricua studies program, a co-major, Elena found out that 60 of her 180 credits would not count. Therefore she was told that she would need to complete 5 more semesters of college credit in order to finish. Feeling low, Elena returned back to her grandfather's house with "a baby on [her] hip" to tell him that she couldn't do it. He subsequently told her not to return to his house until she graduated and that it was unacceptable that she thought to drop out. He said, "Do what you need to do. Don't come back here and tell me you're not going to graduate." Elena felt that she and her classmates, considered experimental students did not count.

Then we arrive at the clip linked above. Elena arrived to the advisor and refused to leave. He showed her to an ombudsman, who eventually went through each of the courses and made sure they counted. It might not seem like a big thing to us, who see DAAS and AMCULT here at University of Michigan counted as majors and minors. But for Elena and her classmates, Wayne State did not believe in the validity of the program, of Latino history. Elena did a powerful and brave thing not only for herself, but for her classmates, and ultimately for other programs in the state. It was powerful to listen to her speak because I can't imagine what it would be like if structurally, we were unable to obtain college credit for our cultural studies classes, which are just as real as any other courses. In fact, learning the narratives of other histories can often be harder to us emotionally in conjunction with a challenging workload, which is certainly understated in our campus culture.

The end of her interview where Elena describes how her grandfather showed up to the graduation in full revolutionary regalia was so vivd. I imagined him walking in and cheering for her "Viva Herrada! Viva Herrada!" and the emotionality of that experience. During that part of the interview, I actually teared up a little bit. He was so important to her, and his motivational tactics pushed Elena to perform a risky, yet important action.

The ombudsman with the roses? Put that image into your mind. What a sincere act of thanks.

The last sentence of the clip really summarizes so much of Elena's interview: "through death, and birth, and absolute grit of my grandfather."

What do you feel when you listen? What do you hear? How do you relate to the interview personally? Look forward to seeing the rest of her interview describing involvement with the Black Panthers, the death, the birth, and the grit of not only her grandfather, but the other people around her.

Saturday, November 16, 2013

Elena Herrada's inspiring narrative

We were lucky enough to have 2 guests come along on our oral history outing: Jonathan Jones (from ISS) and Emma Garrett! We encountered some interesting difficulties today such as arriving at the Boulevard House (the site at which we planned to conduct the interview) only to find that the House was undergoing some construction which entailed painters constantly going up and down stairs as well as various other construction sounds that would interfere with filming. So we decided to change locations and drive to Elena’s house instead.

Elena’s house was a beautiful place filled to the brim with social justice literature and artifacts of Chicano history. Some of these are included in this post, such as the UFW poster that was actually given to her by Cesar Chavez! We began looking through more of her archive; however we did not scan anything today since we needed to focus on getting the interview done (changing film locations and setting up the camera/lighting etc. took up all our time).
UFW poster given to Elena by Cesar Chavez

After we finished photographing the Chicano ornaments in Elena’s home and settled down to begin the interview, my role as videographer began. This was a much simpler process for me because Jonathan and Ari had already done all the set-up of the camera and framed the shot perfectly so I just needed to check the sound and begin recording.
 Jonathan setting up the shot (white balancing)
Ari and Jonathan after they set up this very intricate lighting system

A few things to note about the video process:
·         Wireless Mic (I think this applies to any mic actually): make sure the interviewer knows not to touch it on accident. It might be a good idea to let them know that things like moving your hair or adjusting a sweater/shawl could affect the sound quality. It’s probably not a good idea to break the flow of an interview to say this (if it’s not a huge sound problem); it just might be a good point to mention before the interview begins.
·         Hitting the record button: Jonathan told us to keep the camera recording the whole time, even when we took short breaks to fix sound problems (the theory being it’s easier to cut the extra film than to recreate missed film).

All in all it was a very cool process! Elena was very comfortable in her narration. A few times her story got a little emotional but luckily professor Cotera had tissues on hand. Both Ari and I noted what a great storyteller Elena is; I believe professor Cotera only needed to ask one question to begin the oral history and Elena was on her way. She was also really flexible in her ability to take up right where she left off in the course of her story after a break. She also was able to manage the time frame of her story really well – being able to make it from her birth all the way to the early 2000s in the course of 2 hours. These were all areas that could have posed potential difficulties; however, Elena was so skilled at telling her story that we did not have to worry about any of these and the interview came off without a hitch.
Elena telling her story 
 The oral history crew
I also really enjoyed hearing Elena Herrada’s story. Her oral history was particularly interesting in that it shed light on matters relating to the Latino experience in Detroit. She emphasized how the experience of Latinos in Detroit was different than elsewhere and told one-of-a-kind stories about Chicano-Boricua studies at Wayne State (one of these stories will be included in Ari’s post). It was informative and inspiring to hear Elena’s ‘counter-narrative’ of her experiences fighting systems of oppression. It was awe-inspiring to listen to both what she had gone through and the audacious acts with which she responded to troubling situations in her own life (such as suing the city or organizing a union at the age of 18).

This is definitely an oral history you will want to see the rest of (coming soon to a Medici near you!)

We don't have scanned files yet but we do have the beautiful pictures from Elena's house:

Friday, November 15, 2013

Just thinking about the second half of Maylei Blackwell's Chicana Power.
An initial question:

What is a "counterpublic" and how does Blackwell understand this concept in relation to Chicana feminist formations in the 1960s and 1970s?

Feel free to post your thoughts on this in the comments.

More to follow...

Monday, November 11, 2013

In the spirit of Blackwell's chapter on "retrofitted memory", I am posting these images for us to think about and discuss in class.

Sunday, November 10, 2013

Production Schedule

Production Schedule

Production Location:
             Production is set to begin at 3:00 pm at La Sed, 4138 W Vernor Hwy, Detroit, MI 48209
(313) 554-2025
Production Crew:
            Maria Cotera—Professor/Project Coordinator
            Abraham Liddell—Production Manager
            Christian Brandt—Data Wrangler
Contact Information:
            Maria Cotera: (734) 834 7306
            Abraham Liddell: (734) 276 7216
            Christian Brandt: (248) 496 5456
            Elena Herrada
            Jane Garcia
Filming Schedule:
            Production crew will arrive at La Sed at 2:30 to set up before the shoot and prepare both the equipment and Jane Garcia.
            Shooting set to begin at 3:00 pm. Elena Herrada will lead the interview.
            The production will end at 5:30 pm.
            All equipment must be accounted for before departure.

Additional tasks if time permits:
            Go through Jane Garcia’s archives for pertinent material
            Scan new items