We believe in learning. As we stop, start, make mistakes, scurry to clean them up, and grow as a journal project, we invite you to follow along. Maybe you can learn from our successes and mistakes, and perhaps we can learn from your ideas and suggestions.
Issue No. 10 (Ethics)
Dear DigA Readers,
The day has finally come! Digital America has reached its 10th issue! This fall semester of 2017 has reached new heights of discussion and interaction as we step foot in deepening our understanding of the internet. So for this issue we decided to collectively annotate Steven Levy’s Hacker Ethic, based on the knowledge and opinions we’ve gained from learning about cyber culture, materiality of the internet, and hacker culture.
Steven Levy’s Hacker Ethic:
- Thou shalt not use a computer to harm other people.
- Thou shalt not interfere with other people’s computer work.
- Thou shalt not snoop around in other people’s computer files.
- Thou shalt not use a computer to steal.
- Thou shalt not use a computer to bear false witness.
- Thou shalt not copy or use proprietary software for which you have not paid.
- Thou shalt not use other people’s computer resources without authorization or proper compensation.
- Thou shalt not appropriate other people’s intellectual output.
- Thou shalt think about the social consequences of the program you are writing or the system you are designing.
- Thou shalt always use a computer in ways that insure consideration and respect for your fellow humans.
 Unless they ask for it. She asked for it.
Caveat: a computer can be used to harm other people for the sake of production.
 Unless it’s for personal gain masked by the façade of national security.
Or unless other’s computer work can be tinkered with for ‘national security’
 Unless they ask for it. He asked for it.
 However, who can punish you, if you don’t identify with any country.
Or unless you’re Seth Price and it’s not considered stealing.
 Unless the Russians do it for you.
 Unless you are a broke college student.
 This goes against the notion of the web as a Hacker playground—a utopic, democratic free-for-all.
 This is pretty much cornerstone of the Internet.
 Unintended consequences are a common theme among hackers. Did Dread Pirate Roberts envision the consequences when he set out to craft a libertarian utopia?
 Until humans insure consideration and respect for fellow humans…what is one to expect? An ethical manifesto of conduct?
THINGS FROM BEFORE…
Issue No. 9 (Marching Onward)
These last difficult months are the start of a long road—a long four years—ahead of us. In times like these, we take time to mourn, to cry, and to fear. We gather together, friends and families and strangers alike, to begin to march. We take precautions. We take risks. We fight for ourselves and for each other.
In times like these, when the familiar unravels into a strange and desolate unknown, we must look within ourselves for guidance. For solace. For strength to push onwards.
For us, it’s been helpful and healing to look back within our own archive for bits of wisdom that might serve us well now. We hope you find as much comfort, hope, and understanding from these quotes as we have.
On digital art:
“The Internet has served as a platform for endless individuals who would previously have been limited by geography, age, or even class. But the idea that the Internet could serve all equally, or that it could leave centralized media outlets in shambles, well… It sounds naively utopian. Net.art no longer operates as intended; removed from their original context, the works are only linked to by the rare art history student or seen in museum halls. In the place of net-graffitists and artist hackers we are left with a new breed of Internet artists, artists who must fight for capital (and must cater to the hands that feed) in a realm more competitive than ever before.”
– Kenta Murakami, The Demise of net.art
“[It] is a form of intervention, calling attention to the use of devices by family members and those around me that I do not know. The making of the photograph operates as a way of disrupting the isolation I feel from strangers who barricade themselves behind their technology.”
–Eric Pickersgill, Removed
On misogyny online:
“The internet, then: a mirror of a violent, boy’s club id, skittering away from that locker we maybe got stuffed into one too many times. We’ve since redecorated. Smeared the walls so they’re purpled and bruising. A screwworm infested belly. There’s a hand painted sign hanging out front. It says NO GIRLS ALLOWED. And any one of us would be ashamed if we copped to painting it.”
– Michael Leonberger, Bad Mirror
“Many feminists, in turn, have re-deployed misandry alternately as an elaborate joke, a rhetorical weapon, a model for resistance to patriarchy, and as a survival strategy. Particularly on the Internet, they have done so with all of the inventiveness and strength that man-hating requires.”
– Jillian Horowitz, Collecting Male Tears
“So why is Twitter an important new type of text? Precisely for the reasons that it is so difficult to use in academic writing: it is accessible and collaborative. Twitter hashtags can bring together the dialogue between public figures and its average users. Since its inception in March of 2006, Twitter has become a new and innovative platform for social movements and political dialogue. During the Arab Spring, Twitter was an organizing tool that spread information about meetings and protests quickly and effectively. During the 2012 presidential election, debates were quoted, critiqued, chewed up, and spit back out all onto the same platform by political talking heads, fellow politicians, and average voters alike. Its accessibility and connectivity are what make it an innovative type of text or media. Twitter certainly does reinforce the digital divide, and privileges those who have smart phones and can tweet and read tweets in real time from their phones. Nevertheless, it is much more accessible than an academic press or other form of published media. Users have complete control over the flow of information, including what information gets prioritized, reused, and trends.”
– Amanda Lineberry, Black Feminism, Hashtags, and the Importance of Twitter to American Studies
On the revolution:
“Get comfortable shoes — you’re going to be marching. Rest your voice — you’re going to be shouting…When you know the truth, feel free to sing.”
– Michael Leonberger, Our American Song
Issue No. 8 (A Whole New DigA)
As you may have noticed, Digital America recently underwent a pretty big makeover — which we hope you’ve liked. As we once again consider the evolution of the journal, let’s take a look back at the old Digital America while we celebrate the new and improved site!
Issue No. 7 (Open letter)
Dear DigA Readers—
In 2013, Digital America was created to elevate the voices of millennials who are thinking critically about our digital world, to celebrate artwork that lives online rather than in a gallery and the long-form research piece that lives in the space between classrooms and peer-reviewed journals. We’re like the Internet’s Island of Misfit Toys for digitally focused writers, thinkers, and creators.
It’s always been part of our mission to be transparent and honest with you about what we do and how we do it. We want you to get to know us, the four people sitting around a table regularly checking the emails, editing the submissions, designing the layout, and more (all while eating a lot of Pirate’s Booty and dancing to Meghan’s ‘90s music).
Throughout DigA’s journey to elevate unheard voices, we’ve staffed editors of different races, ethnicities, sexualities, and gender identities. Issue 7’s staff has been one of the most diverse group of editors DigA has ever had, bringing together a wide range of identities, perspectives, and skills. For this issue, the eclectic quirks and varying experiences each one of us brings to the DigA table has shaped the journal in a new way.
DigA is a home to writing, artwork, columns, and research that might go unnoticed elsewhere. To truly welcome the unheard, the overlooked, the disregarded, we have to center the voices of people that are unheard, marginalized, and too often unappreciated. We cannot celebrate experimental emoji art and untraditional academia without also appreciating the voices of people of color, queer folks, those with visible and invisible disabilities, and others who aren’t recognized.
Our staff is always the first step to creating a truly inclusive and welcoming journal.
But we can always do better. None of our regular columnists are people of color. Our website does not easily accommodate the visually impaired. And we, as editors, all have the privilege of being students at a private, liberal arts university.
We still have work to do, but we’re proud to be moving forward as a staff and as a journal. Thank you, as always, for sticking with us on our journey.
The Digital America Team
(Sharon, Miranda, Luriel, and Damian)
Issue No. 6 (Growing)
With this new issue, we plan to deliver. We’re always growing, learning, and reflecting over a cup of hot tea. Change is good, and as a testament, we’re dropping this little vid of us doing our digA thing. We hope you enjoy this new issue, and that this journey of digA gives you a few laughs. We’re excited to introduce more art into the mix of our publication, and we’re excited about the abundance of submissions we’ve received. The future of DigA and the dig.art column is bright, so thanks for staying along for the ride as we go new places with the journal.
Issue No. 5 (Oops…)
Issue No. 5 got away from us, not gonna lie. It’s the result of having too many seniors on staff and too many lofty goals for the Evolution. (We were thinking about animations of the entire staff…it was getting a little heady.) Anyway, we will be back with a killer Evolution 6 update. Stay tuned.
Issue No. 4 (diga.rt)
Every semester, we try to give interested interns the opportunity to develop, curate, launch, and maintain their own special section of the journal. Issue 3 worked with two sections: Re:Analog (curated by the great Hayley Mojica) and Comics (curated by the wonderful Francesca Lyn), and as we explored aspects of creating little niches of the journal, we ended up learning a lot–like giving them an expiration date. Issue 4 is featuring a new section dedicated to the arts, curated by the-one-and-only Kenta Murakami (he did not write this part) and with it (of course) came some unexpected difficulties. Between hassling artists over email and coming up with content for our new Instagram, we quickly discovered we were treading upon new terrain. Nonetheless, we’re excited for a more visual and more social Digital America than ever before, and are endlessly grateful for the trust of everyone who has continued to make it possible.
Issue No. 3 (Reflecting)
We are introducing a new staff to the journal, and we are finishing up the final updates for Issue No. 3. So, it’s a great time to give a huge, huge THANK YOU to our 2013/2014 staff: Andrew Jones, Hayley Mojica, and Francesca Lyn. Here are some of our hopes and dreams for the future, along with some DigA favorites.
Issue No. 2 (We got this…?)
Office Playlist of the Day: “Grimy Jeans and Flannel” – Andrew Jones on Spotify
We have some serious educational moments here in the DigA space (despite the ample time the team spends chatting about 90s music and eating pretzels). We tackle problems weekly–should we accept or reject? Edit or walk the plank? We can’t control what gets popular (what’s the “front page” of the journal) online, so every piece should be reflective of our mission. Oh, and what’s our mission? Publish stuff we love? (Meghan: “No!”) Deciding what to publish and how to publish it is a serious struggle. Most days are learning moments for us all—particularly the wee interns—and we are always working to figure out who we are and where we are going. So, alongside our dinosaurs, magnet poetry, and issue wall…we should probably invest in a magic 8-ball. Check out our running slideshow below to see where the DigA magic happens (and where we very diplomatically decide who gets to DJ our two-hour Tuesday/Thursday meetings.)
Issue No. 1 (The Beginning)
Issue No. 1 was, well, our first issue. As you can see, we’ve grown up a bit.