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The Ann Cooper Hewitt Trial: Eugenics as a Tool for Intersectional Disinformation
Get PDFCritical disinformation studies, one theoretical sector in the emerging field of disinformation, looks at the various forms of false and misleading content, generally in the context of race. Many studies already demonstrate the harmful impact disinformation can have on the perpetuation of racist ideology, however, the gendered dimensions of disinformation are not explored as much. This paper uses the theories of critical disinformation to investigate how gender and race intersect in the eugenics movement, which was a pivotal moment in American history. The trial of Ann Cooper Hewitt, a widely discussed and influential court case in the 1930s, provides a case study that highlights how disinformation used against women and racial minorities connect, expanding this critical disinformation discourse and its implications. Middle-class, white Americans feared that they would lose their white dominance as immigrants and minorities continued to have children, and many worried that women were becoming too sexualized and radical. Thus, eugenics ideals, despite being proven scientifically false, became a tool to control the female population and maintain white supremacy. Specifically, when the doctors lied about Hewitt’s intelligence, her nonconsensual sterilization set the precedent for involuntary sterilization to be legal and encouraged. This situation not only breaks down how gender disinformation can take form, but it illustrates the importance of understanding intent in disinformation, identifying how these intersections can help prove this important component. My historical analysis of Ann Cooper Hewitt’s trial reveals the intentional racist and misogynist harm that intersectional analysis of disinformation can lay bare.https://orb.binghamton.edu/research_days_posters_2022/1095/thumbnail.jp
Torus Knot (2,3) Pau Rosa wood, Figure 5
No full textA (2,3) torus knots, trefoil knot carved on a torus, from a 2 x4 x4 block of Pau Rosa wood. It is 3.5 in diameter, 1.75 deep.https://orb.binghamton.edu/mathematical_sculptures/1655/thumbnail.jp
Collaborative Institutional Repository Projects with the Campus Community
No full textThere is a growing interest from departments and organizations on campus to use our Institutional Repository (IR), the ORB, to host creative works, digital publications, and supplemental materials for projects. Recently we began working with Harpur Palate, our University\u27s acclaimed national literary journal, to support the digitization of their archives and to make these archives available through the IR. We will discuss how we provided access to our Digitization Lab to support the digitization of back issues and how we trained Harpur Palate staff to create metadata and submit content in the IR. By developing a workflow that defines the roles and responsibilities of the Libraries vs. those of contributors, we hope to have more collaborations with the campus community and expand the scope of the IR
Voyant Tools Workshop - Fall 2022
Get PDFThese are the slides from the Libraries\u27 Digital Scholarship team\u27s fall 2022 workshop on using Voyant Tool, an open source web-based tool for text analysis
Mei Lan-fang: the Masculinist Idealization of Femininity
Get PDFMei Lan-fang was the most well-known Beijing Opera practitioner specializing in the impersonation of historical and mythological female characters. His captivating performance style is known as “The School of Mei”. It balances the external stage presence and internal precision and attends to the minutiae. His performances were drawn predominantly from the classic repertoire, and they have won him the position that “no other Chinese actor attained and retained” (Scott ii). Despite the general perception of Mei’s contribution to the emancipation of women through his work and his self-assertion of sympathy towards their suffering, the underlying motivation may not be as simple and honorable. Assessing the artist through his performance repository, his working process, and his personal life, the author of the paper is profoundly disturbed by the antithesis and paradox manifested through his stance on feminism. Consciously or subconsciously, Mei Lan-fang was very particular about the role types and the selection of his repertoire. This renowned female impersonator exhibited a clear predilection for depicting the “ideal women”. He either purposefully eschewed female characters of questionable reputations and vicious qualities or reinvested them as females of impeccable virtue. Furthermore, Mei Lan-fang had no tolerance for blemishes in either temperament or comportment for his parts, submitting to neither the truthful ethos nor veritable historical presence. Through constant refinement in the years of continuous revival, Mei Lan-fang resculpted the figurines into national inamoratas with outstanding beauty, whim, and virtues. These glamourized puppets and their sweeping international influence consolidate his egoistic misinterpretation of oriental feminity and come to be celebrated as live scriptures for daughters, wives, and mothers. Mei Lan-fang’s insistence on patriarchal dominance evinced through polygamy, his ill-fated wives, and deliberate avoidance of their contribution confirms superiority at play and exploitation at the heart, which overthrows the false advocacy of fair treatment and gender equality
Torus links (4,2) Olivewood. Figure 1
No full textA 4,2 torus link carved from Olivewood. completed four new wooden torus knot sculptures, two from Purpleheart wood and two from Olivewood. One of the Purpleheart pieces came from a 2 x6 x6 block, and all the others were from 2 x4 x4 blocks. I made two (3,5) torus knots, one from the larger Purpleheart block and one from an Olivewood block. The other two smaller blocks were made into torus links, that is, two (2,1) torus knots linked, which happens when you make a (4,2) torus ``knot .https://orb.binghamton.edu/mathematical_sculptures/1619/thumbnail.jp
Torus links (4,2) Olivewood. Figure 3
No full textA 4,2 torus link carved from Olivewood. completed four new wooden torus knot sculptures, two from Purpleheart wood and two from Olivewood. One of the Purpleheart pieces came from a 2 x6 x6 block, and all the others were from 2 x4 x4 blocks. I made two (3,5) torus knots, one from the larger Purpleheart block and one from an Olivewood block. The other two smaller blocks were made into torus links, that is, two (2,1) torus knots linked, which happens when you make a (4,2) torus ``knot .https://orb.binghamton.edu/mathematical_sculptures/1621/thumbnail.jp
Torus knot (3,5) Purpleheart wood. Figure 3
No full textA 3,5 torus knot carved from Purpleheart wood. completed four new wooden torus knot sculptures, two from Purpleheart wood and two from Olivewood. One of the Purpleheart pieces came from a 2 x6 x6 block, and all the others were from 2 x4 x4 blocks. I made two (3,5) torus knots, one from the larger Purpleheart block and one from an Olivewood block. The other two smaller blocks were made into torus links, that is, two (2,1) torus knots linked, which happens when you make a (4,2) torus ``knot .https://orb.binghamton.edu/mathematical_sculptures/1628/thumbnail.jp
Micro-Triboelectric Generator for Zero-Power Shock Detection
Get PDFThis work shows zero-power shock sensing for the combination of a micro-triboelectric generator and MEMS electrostatic actuator system where the mechanical shock to the generator causes it to produce volt- age, this voltage is used to actuate a Micro-Electro-Mechanical-system (MEMS) switch. For the first time, we present the fabrication process of a Triboelectric-Nano-Generator (TENG) with MEMS technology. The MEMS-TENG has a suspended 1.5mm × 1.5mm plate separated by 2 μm from the substrate. The generator is a triboelectric transducer made of a suspended Al micro-plate above a polyimide (PI) thin layer that is covered by another Al layer in the back. In case the shock is sufficiently strong, the micro-plate hits its substrate. As a result of the impact, electrification happens and PI gets negatively charged, while the Al gets positively charged. Connecting the generator to a MEMS switch, we use the generated voltage to actuate a MEMS switch. The TENG was able to supply voltage difference up to 0.4 V at 2.3 g. We use the MEMS-TENG to actuate a cantilevered MEMS switch (500x20x2 μm) separated by a 2μm gap from a fixed bottom electrode.Triboelectric generators are known for high voltages and low currents, which makes them ideal for integration with MEMS electrostatic devices that require ultra-low power to operate. Our feasibility study opens doors to billions of innovative devices that can be created from this synergistic combination
Questions of Canon in Gilbert Hernandez\u27s Palomar Comics
Get PDFWhile questions of misrepresentation are starting to be addressed in academia — acknowledging racial, cultural, gender, and artistic diversity — there is still much work to be done to close the gap between the literary canon and what contemporary literature actually looks like. These efforts have been a step in the right direction, but representation of unconventional literatures is often spotty, boiling down entire literary scenes into one book. This is especially true for those that offer formal or structural challenges – including multilingual and graphic narratives that don’t easily fit into a canonical “box.”
Gilbert Hernandez\u27s Palomar comics, serialized in Love and Rockets and later collected into graphic novels, demonstrate literature that is difficult to categorize and is thus excluded from academic attention. The three graphic novels that make up the bulk of Palomar tell funny yet tragic stories of individual passions and community responsibility in a small Latin American village. As the series progresses, Hernandez transforms from an author dominated by his influences — Hispanic literature and 1960s comics — to an artist at the forefront of both “scenes,” subverting the expectations of each to great effect. Palomar’s last novel, Poison River, is a masterpiece of graphic fiction that should be considered among the best of all twentieth-century literature – Chicano, graphic, or otherwise. Though the canon has traditionally excluded unique voices like Hernandez, his work deserves to be reevaluated academically and have its complexity considered a strength, not a reason for exclusion