This reminds me of the reading we did on self-publishing and the discussions we had in class. Interesting to see Gap Riot endorsing self publishing!

Again I have never thought about how important using accessible font is!

I have never thought of these questions before and I have definitely saved them in my notes. Very helpful questions to ask even in terms of our projects if we want to continue working on them beyond the class!

CANON: group of works that is considered authentic, valuable and worthy of study.

• a set of reading practices: works become canonized together with the interpretation attached to them, due to the fact that they are regarded as valuable for specific reasons, reflecting specific tastes.

http://www.jgypk.hu/mentorhalo/tananyag/introduction/6_canon_formation_and_alternative_reading_practices.html

Correlating artists with writers reminds me of this article that I read which discusses how writers are the loneliest artists compared to the rest.

I did not know this.... as an occasional watcher of the Big Bang Theory I am surprised to learn this fact. I do think this is rather worrisome.

Yes! I agree with this writer. I think as an ally it is better for the ally to encourage people of colour to use their voice and support those voices oppose to speaking on behalf of POC. I will speak for my own experiences as a WOC or would much rather have another WOC to speak to my experiences.

Interesting! Seems like the council was created only to mitigate any bad press about the lack of diversity in the Big 5. Very tokenistic

This reminds me of the conversation we had about the "triggered generation" and how people are hyperactive in reacting. Is this type of reaction a bad thing? I would argue otherwise, in fact I think it's important for authors to be responsible for what they writing about and who they are writing for. Anxiety for backlash could be a good catalyst for cultural appropriateness

As a child reading comics, I did not think about the profit and loss/supply demand theory of the comic book industry. I only read the comics for the content. However, know I realize that the comics I would buy would often be bought from a super store such as Archie Comics.

Agreed, I do think that the selling of comic books are catered to a very niche market. Only people who enjoy comic books seem to buy comics...

I would argue that this is the case for anything that we purchase. Many people simply do not care or know the "mechanics and logistic of 'how it got there'" for almost anything bought.

The author seems to argue that without any reproduction, the print comic industry would not exist. However the digital comic industry differs.

I also think that since webcomics do not have corporate sponsorships, the comic creators are not limited to the traditional structures of print comics. The content creators have more creative freedom and are able to add their own personal touch to their comics. For example the comic Helios:Femina also integrates instrumental music related to the the comic to enhance the reader's experience. This integration would not be possible though a print comic.

I remember reading comics/Mangas on https://www.deviantart.com/. I do agree that the internet has provided comic artists a platform to showcase their work on websites like Deviant Art.

I agree to this, I much rather give my "share of ear" to a podcast than a radio

Similar to the book publishing industry in which word of mouth is needed in creating a blockbuster book.

This article was written in 2015 and is citing an example from a 2014 source. I wonder if in 2018 "audiences choose Internet delivered content over live linear broadcasting?" I find myself only listening to the radio if my parents are.

When I first started to listening to podcasts, I viewed podcasts as an extension of the radio in which the podcast creators are expanding the "talkshow" aspect of the radio into a separate medium.

I remember my dad telling me stories from his childhood in which his family would gather around a radio to listen to a radio drama. I think its interesting that WNV argues that they are different from the radio but they foundation is based on the radio drama rhetoric.

Why does this tendency exists? If it because podcasts are not viewed as a credible source for information?

This reminds me of the discussion we had in class in terms of advertising in which nowadays advertising is found implicitly within the distributed content that audiences participate in. I am wondering if WNV also has advertisement within their content and if they don't how do they make any money?

Is the author arguing that the political effect makes the voices of youth invalid?

Reminds me of Andrea said that she thought that Manifestos died but they did not! In fact people are still creating them.

Zines are used as a creative outlet for people who want autonomy from the status quo?

Did this work?

Similar to the unpaid labour the women in the feminist presses also participated in.

Seems like any form of radical print is always lacking funds or means of support.

this section seems like a calmer version of manifesto or perhaps it is a manifesto?

This reminds me of an article on Geist by Stephen Henighan in which he discusses the dictatorship of BookNet Canada in the publishing industry which is used by publishers to published either new authors only or authors who have written best-sellers. In this manifesto, Amazon seems to be dictating the book selling industry similar to BookNet Canada.

This reminds me of our class conversations about Amazon decreasing the prices of books!

This paragraph makes the issue very "real" for me through the vivid imagery. When reading news articles on the tar sand wars, it's hard to conceptualize how exactly substandard it is for people living in the area.

Why do femme sharks hate Israel? pg 18

I just want to say that the title of this manifesto made me laugh really hard.

"We're over white femme..." pg. 5 This reminds me of SImone Murray's reading in which she discusses how the radical feminist presses were catered for white feminists and not women of colour. This manifesto seems to speak against those white feminist ideologies.

increase in circulation and a decrease in price from 10 cents to 5 cents. However mass-market dailies was priced at 2 cents. Niche genres are relatively more expensive than typical genres: http://www.businessinsider.com/most-expensive-niche-magazines-2010-11

This change in format indicates to me that they have grown support in which even advertisers paying the Defender to promote their products in a contraband paper.... interesting!

In the Digital era, does section 98 also cover the information sought on the internet?

http://www.thecanadianencyclopedia.ca/en/article/section-98-criminal-code/

Discussion questions from this chapter are posted on the first page of the reading for easy access :)

Discussion Questions for Chapter 4: Collective Unconscious: The Demise of Radical Feminist Publishing

“There is a risk that the absorption of lesbian literature into the lists of mainstream houses may not be paralleled by a similarly rapid elevation of lesbian employees into the managerial structures of such firms – resulting in a tokenising discrepancy between cultural profile and political power of the kind that bedevils black women’s writing” (pg. 162)

Q1: Do you think antiracist and feminist work in publishing are synonymous? The black women felt obliged to work with the feminist presses since the press was the only advocate for lesbian rights. At the sacrifice of their own personal racial identity, is standing up for another cause such as feminism applicable? Do you think the model of the collective press is the reason why the black women faced racism?

“A third obvious source of finance for radical women’s presses (obvious, at least, in the 1970s) was public arts funding in the form of local government grants – a source of start-up capital upon which alternative feminist publishing initiatives relied heavily. Two problems arose from these presses’ public funds dependency: firstly, a tendency to regard this income as speciously ‘non-political’” (pg. 156) 

Q2: The government has a federal and provincial budget that prioritizes funding for all people no matter sexes. The feminist press is a political movement in which the presses argue the need to stray away from capitalism. However, governments are built on the sole merit of capitalism. Should democratic governments fund political projects such as the feminist press? Would funding such projects indicate government support? How do we separate the social causes from any political agendas?

"But the imperatives of a heterosexual-dominated industry required that lesbianism be portrayed as a tortured, unfulfillable condition, hence the preponderance of the ‘dilettante-dyke-returns-to-her-husband’ plot and the ubiquity of the suicidal lesbian protagonist – a direct descendent of The Well of Loneliness model of the 1920s (Koski and Tilchen, 1975: 42; Adams, 1992). Because of this experience of image distortion and literary ventriloquism, lesbian presses of the 1970s were commonly at the vanguard of the separatist media movement, asserting that the goal of developing ‘political analysis unhindered by patriarchal values’ required the establishment of ‘our own culture’" (pg. 159)

Q3: The article argues that the feminist press needs to function outside of the heterosexual male dominated printing presses culture. Do you agree that the feminist press should be separate from traditional presses or do you think that feminism presses should function within the traditional publishing model? Do you think that creating "our own culture" outside of popular culture is an effective method of publishing material? What are some key issues of creating a separate culture from the norm?

This paragraph reminded me of Bill 62 in which women are prohibited by law to cover their face with a Niqab while using public service. The Bill was "crafted without input from the very people they would affect". That being said the situations are not synonymous but the creation of language by the government seems to follow the same train of thought...

is this paper a form of virtualization? Or does that term not apply in this situation because it is written by an Indigenous person?

This reminded me of our last class in which we discussed the implications of a women's appearance in relation to their competency. Maise is viewed as an "angry woman" which allowed others (ie men) to respect her more and equate her to her male counterparts. I find this interesting because Maise has clearly experienced many hardships that involve a range of emotions however anger is viewed as the key emotion which enabled the success of the Native Voice.

French Publishers

rebellion from the state

black market?

censorship

This paragraph sounded similar to the the concept of "false news"

yes!

Reminds me of the current state of USA. During the Obama era, literacy rates increased. Trumps has personal literacy issues which may lead to an overall decrease in US literacy rates: https://www.washingtonpost.com/news/morning-mix/wp/2016/03/18/trumps-grammar-in-speeches-just-below-6th-grade-level-study-finds/?utm_term=.faee0147bf44

reformed democracy allowed for reformed black print culture

not literate = barbarians in white culture

The author indicated that 'black' people at that time were illiterate. In my opinion calling Horsmanden's works as "public service" indicates that his white readers did not seem to "care" about reading on issues revolving slavery to better/support the situation but rather to gain information.

Remains true in current events and affairs.

Did Internet enable the notion of 'black freedom'? For example the widespread of #blacklivesmatter