Et si la recherche scientifique ne pouvait pas être neutre?

Sous la direction de Laurence Brière, Mélissa Lieutenant-Gosselin et Florence Piron

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Les manières de faire de la science aujourd’hui sont multiples et innovantes. Pourtant, un modèle normatif continue d’écraser les autres : le modèle positiviste. Il soutient que la science vise l’étude objective de la réalité en s’appuyant sur l’application rigoureuse de la méthode « scientifique » dont la neutralité est un des emblèmes. Cette vision est vivement contestée dans plusieurs champs de recherche, tels que les études sociales des sciences, l’histoire des sciences et les études féministes et décoloniales. Ces critiques considèrent que les théories scientifiques sont construites et influencées par le contexte social, culturel et politique dans lequel travaillent les scientifiques, ainsi que par les conditions matérielles de leur travail. Cet ancrage social de la science rend impensable, pour ces critiques, l’idée même de neutralité. Faut-il donc renoncer à cette exigence normative? Par quelle autre norme la remplacer?

Né d’un colloque tenu en 2017 à Montréal, ce livre propose les réflexions et analyses sur ces questions de 25 autrices et auteurs issus de sept pays. Études de cas, analyses réflexives et discussions théoriques s’entrecroisent pour permettre une réflexion collective approfondie sur ces enjeux anciens, mais constamment renouvelés, notamment dans le contexte du nouveau statut précaire de l’expertise scientifique dans l’espace public.

ISBN epub : 978-2-924661-54-3
ISBN pour l’impression : 978-2-924661-52-9
547 pages

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Pré-vente et vente



Table des matières

Introduction. Un espace de réflexions sociales et politiques sur les manières de penser et de faire des sciences
Laurence Brière, Mélissa Lieutenant-Gosselin et Florence Piron

Partie I. (Im)possible neutralité scientifique

L’ancrage sociologique du concept. Réflexion sur le rapport d’objectivation
Marie-Laurence Bordeleau-Payer

La neutralité pour quoi faire? Pour une historicisation de la rigueur scientifique
Oumar Kane

De l’impossible neutralité axiologique à la pluralité des pratiques
Pierre-Antoine Pontoizeau

Sur l’idéal de neutralité en recherche. Bachelard, Busino et Olivier de Sardan mis en dialogue
Julia Morel et Valérie Paquet

Quand les résultats contredisent les hypothèses. La neutralité en question dans la production du savoir sur le cerveau
Giulia Anichini

Les traductions coloniales et (post)coloniales à l’épreuve de la neutralité
Milouda Medjahed

Les pratiques d’évaluation par les pair-e-s : pas de neutralité
Samir Hachani

Les faits, les sciences et leur communication. Dialogue sur la science du climat à l’ère de Trump
Pascal Lapointe et Mélissa Lieutenant-Gosselin

Partie II. L’insoutenable neutralité scientifique

L’amoralité du positivisme institutionnel. L’épistémologie du lien comme résistance
Florence Piron

Voyage vers l’insolence. Démasquer la neutralité scientifique dans la formation à la recherche
Maryvonne Charmillot et Raquel Fernandez-Iglesias

La question de la neutralité en sciences de l’environnement. Réflexions autour de la Marche internationale pour la science
Laurence Brière

Neutralité, donc silence? La science politique française à l’épreuve de la non-violence
Cécile Dubernet

Les sciences impliquées. Entre objectivité épistémique et impartialité engagée
Donato Bergandi

Partie III. Au-delà de la neutralité

Neutralisation et engagement dans des controverses publiques. Approche comparative d’expertises scientifiques
Robin Birgé et Grégoire Molinatti

Non-neutralité sans relativisme? Le rôle de la rationalité évaluative
Mathieu Guillermin

Comprendre et étudier le monde social. De la réflexivité à l’engagement
Sklaerenn Le Gallo

Langagement. Déconstruction de la neutralité scientifique mise en scène par la sociologie dramaturgique
Sarah Calba et Robin Birgé

Partie IV. Perspectives réflexives

Que signifie être chercheuse? Du désir d’objectivité au désir de réflexivité
Mélodie Faury

Des relations complexes entre critique et engagement. Quelques enseignements issus de recherches critiques en communication
Éric George

Perspectives critiques et études sur le numérique. À la recherche de la pertinence sociale
Lena A. Hübner

Réguler les rapports entre recherche scientifique et action militante. Retour sur un parcours personnel
Stéphane Couture

Les auteurs et les autrices

Résumés
Abstracts
Zusammenfassungen
Abstractos
Astratti

 

À propos de la maison d’édition

 

SO! Podcast #73: NYC Highline Soundwalk

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In a recent profile, New Yorkmagazine’s Justin Davidson called the NYC High Line, a “tunnel through glass towers,” an urban beautification project that had been designed with local real estate prices in mind, which has since become a “cattle chute for tourists,” wending its way through Manhattan’s Lower West Side from Gansevoort Street to 34th, and lined on each side by newly sprouted luxury apartment towers designed by some of the world’s preeminent architects. Conceived in the mid-2000s and completed in several phases through 2018, the High Line has been an epicenter of gentrification: From the 10,000 square foot glass-and-steel wedge of 40 10th Avenue, to twisty twins of 76 Eleventh Avenue, to the massive Western Yard project, the sounds of the High Line – as I experienced them this past August – are redolent with the city’s rising inequality, and the remaking of working class neighborhoods and small businesses into stretches of upscale high rises and posh boutiques.

Having not visited the High Line for a year or so – and having never walked the route from end to end – I decided this past August to make this viaduct-turned-urban greenway the subject of a soundwalk. How, I wonder, might the soundof this space reveal its complex relationships and uses to the city surrounding it – its use as a public park, a tourist-trap, a space for small business, a featured attraction for builders and real estate agents marketing location? The whole walk is about a mile and a half, and I have about an hour to play with before heading up to midtown to make a research appointment, so I hoof down to the Meatpacking District to pick up the trail at its southwestern terminus.

Climbing up a set of stairs directly next to the Whitney museum, the shrill sounds of the streets gradually melt away and I emerge into a peaceful grove of birches and thick shrubs. It’s relatively quiet at the moment, and one gets the sense of being in a rooftop garden – an urban meadow at once removed from the city, yet still immersed in its ambient hum. As I walk the length of the route, these city sounds become the leitmotif of my journey: the din of traffic along the avenues and cross-streets; the distant car horns; the sirens; the weekday morning sounds of unseen trucks loading and unloading their wares at nearby businesses; the constant drone of rooftop air conditioners; the sounds of tourists conversing in myriad languages; the inescapable jingling of mobile phones. And it’s from these latter sounds that I can begin to see – particularly as I’m here at an off-hour – why some local residents are a bit ticklish about the High Line’s popularity with out-of-towners.

But overlaying all of this are the sounds of construction – the drills, circular saws, massive trucks, and heavy equipment of every description – that pierces the air on every block. Such sounds are not unusual in New York City, of course. But here, on each side of the High Line, the scale of such projects is enormous, and I can’t help but think of each pop of a nail gun, each hammer, each whirring crane, and creaking construction elevator making its sonic contribution to the glass and steel monstrosities piling up on the site of former slaughterhouses. Here, in this tumult, is the city-as-palimpsest: the writing-over of the industrial past with a plutocratic future.

Featured image by Moltkeplatz. It is in the public domain.

Andrew J. Salvati is a PhD candidate in Journalism and Media Studies at the School of Communication and Information at Rutgers University. His research examines the ways in which American history is packaged in popular media forms including film, television, computer games, mash-ups, and podcasts. Andrew currently live in New Jersey with his wife and two cats.

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Ghosts in the Machine: Sampling Dr. King

Education is never politically neutral. Many of us advocate for social justice when we’re outside of the classroom but struggle to continue that work inside as well, especially with issues that appear on the surface largely unrelated to our disciplines. This inaction maintains the centering of the white experience, continuing to normalize and prioritize it at the expense of all others. Marginalized voices remain marginalized. We don’t need our own students to be directly impacted by policies to advocate on behalf of those who are. This is work we all must do.

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“New Orleans Street Musicians …” by Flickr user sswj, CC BY-NC-ND 2.0

While social issues have made important inroads within musicology and ethnomusicology, they rarely make an appearance in music theory or composition, especially in a classroom setting. To begin these conversations, we must expand the scope beyond the purely technical and examine the ways in which music is a social and cultural phenomenon. Understanding how a triad functions, for example, is only part of the story. We must also recognize that any musical activity involves a network of people who might be engaged in any combination of producing, performing, buying, selling, listening, analyzing, teaching, institutionalizing, and so on. Discussing these networks means discussing their persistent systemic inequalities and power differentials, and understanding that these are social and not just musical issues. Cultivating this awareness is crucial in the development of our students as critical thinkers who can question the society in which they live, who can locate injustice and fight to advance social good. Abstract music theory is important, but music theory combined with a social awareness is vital.

Georgetown University hosts an annual Let Freedom Ring! initiative, a recurring project to honor the legacy of Dr. Martin Luther King. “Teach The Speech,” in particular, is a cross-campus curriculum project where interested faculty and staff incorporate that year’s selected work by Dr. King in our courses and workshops, sparking campus-wide conversations rooted in themes of social justice. The first time I joined the “Teach the Speech” efforts, I redesigned my basic theory class to include guiding principles from King’s entire body of work. In addition to covering the expected chords, scales, and other technical material, we discussed the disparity in representation faced by women and POC within music, viable modes of protest in music, and the possible roles of government sponsorship and censorship of artists. We rooted these issues in the real-life examples of the Grammy’s, the Women’s March, and the threats by the Trump administration to cut funding to the NEA and the NEH. Final projects based on these bigger-picture topics provided students further opportunity to reflect on the ways in which these and similar topics manifest in their own lives, transcending a preoccupation with “notes on a page.”

“Free at Last” by Flickr user Thomas Hawk, CC BY-NC 2.0

My second time participating in the “Teach the Speech” initiative, I used a recording of Dr. King delivering “I Have Been to The Mountaintop” as part of a module on sampling for my DJing and production class. Students had to create short tracks using this recording as the only permissible sound source. Anything resembling a kick, snare, hi-hat, melody, or harmony had to be constructed from a sample. Using something we don’t typically consider to be music as the sound source for creating music demonstrates the power of the studio and illustrates just how far creative slicing, dicing, and processing can take us. Beyond these important practical applications, though, the use of speech provides us with a framework for discussing why context matters. Do context and history always travel alongside the immediate acoustic phenomenon of sound? Can we identify something as “the music itself”? Through wrestling with these and related questions, students begin to understand sample-based composition as both a musical and a moral undertaking.

The process of sampling is largely a process of curation, involving a responsibility not just for the product but also for the source. If a student chooses to sample a large-enough portion of Dr. King’s speech, so that one can recognize words, phrases, even full sentences, then her choice includes the layers of extra-musical meaning attached to those words in addition to their musical qualities. “Violence,” for example, has a particular sonic profile and meaning that most listeners understand. How we actually interpret this word depends on many factors, including the context in which it is used in the original source, the identity of the speaker, and any audio processing that students might apply. The addition of distortion, for example, will influence the impact of that word on and its reception by the listener. The sampled word might be a fragment of a larger word, “violence” snipped from “nonviolence,” and never appear in its own right in the source. These and other complex issues involved in the process of sampling exist whether or not the student chooses to engage with them.

If the student samples an extremely small fragment of the Dr. King speech, obscuring the source and working with sound on an almost molecular level, then perhaps these questions go away. Can we still discuss the attendant connotations and denotations of indecipherable fractions of words or slices of the ambient hiss between the words? In this situation, is the origin of the sample still relevant for the work being done? When the ties connecting a heavily processed source to the finished product are untraceable, does it matter where we sampled from? Is white noise simply white noise?

“White noise on the Columbia” by Flickr user jaisril, CC BY-NC-ND 2.0

Arriving at these kinds of questions is largely the point of the exercise. With a little deliberation, students realize that there is a very clear distinction between sampling the word “violence” from a speech by Trump and from a speech by MLK. There is a context, a lineage, and a history to samples that lives outside the phenomenon of pure sound, and this holds true even at the molecular level. This is crucial for students to understand, and its implications extend far beyond a music class.

“Pride (In the Name of Love)” by Flickr user T, CC BY-NC-ND 2.0

We can, for example, ask students to consider the related question about whether or not it’s possible to separate art from the artist. Can we ever listen to pre-MAGA Kanye with the same ears? How do we interpret a post-MAGA Kanye song about uplift and resilience? What does it mean to watch a film where Harvey Weinstein had a major role in producing? A minor role? Moral dilemmas form a part of every media interaction we have, and similar questions comprise other aspects of our lives. Can we continue to allow the misappropriation of Dr. King’s “I have a dream that my four little children will one day live in a nation where they will not be judged by the color of their skin, but by the content of their character” without acknowledging the “radical” Dr. King? Can we reconcile a country built on expropriation, slavery, and genocide with one whose propaganda extolls the principles of equality and freedom? These are indeed crucial lines of moral inquiry, and our pretending otherwise enables current systems to remain in place. Sampling King’s speech enables my students to engage with those lines of inquiry from an angle they have not considered before: at the level of sound.

This is work we all must do. Within academia, we need to combat injustice inside the classroom as well as outside to bend the arc of the moral universe toward justice. One way we can engage is through careful attention both to the examples we choose and the way we contextualize them. Students and educators alike need to understand the political nature of education that is too often a means of upholding the power structures within society that position whites at the top, and white males at the very top. These largely invisible systems have very real impacts on our lives, and the only way we can evolve to a more just society is by questioning their seeming inevitability. We must foster dialogue that transcends the classroom. We must engage with social problems. We must look beyond the accumulation of knowledge as an end in itself. We must, in short, to do good. This is work we all must do.

Featured image: “Martin Luther King, Jr. Memorial” by Flickr user Cocoabiscuit, CC BY-NC-ND 2.0

Dave Molk teaches composition and theory at Georgetown University. He’s close friends with producer Olde Dirty Beathoven, a founding member of District New Music Coalition, and a board member of New Works for Percussion Project. Outside of music, Dave is a leader of CCON, an organization devoted to supporting undocumented communities in higher ed in the DMV. Find him online at https://www.molkmusic.com/ and @DaveMolkMusic.

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My Music and My Message is Powerful: It Shouldn’t be Florence Price or “Nothing”–Samantha Ege

The difficulty of the plains – 6 theses on open access

The following is a lightly edited text of a keynote address by Malte Hagener at NECS Open Media Studies Post-Conference, 30 June 2018, Hilversum, The Netherlands.


When Bertolt Brecht returned to (East) Germany in 1949 he wrote a short poem in which he reflected upon his own situation. The immediate fight against fascism had been won, but the more daunting task still lay ahead: building a new society. Many believed that the road ahead would be clear and easy from here on, but Brecht doubted this. He writes:

When the difficulty
Of the mountains is once behind
That’s when you’ll see
The difficulty of the plains will start

Of course, historical situations are always unique, singular and ultimately uncomparable. Nevertheless, I want to use Brecht’s metaphor of “the difficulties of the plains“ to talk about the stage we currently find ourselves in regarding open access. We have crossed a mountain range full of difficulties, we have mastered many challenges, but also full of amazing adventures and fascinating prospects. A lot has been achieved and while many thought the mountains were the only obstacle we had to overcome, we find ourselves in a plain devoid of perceivable obstacles or dangers, at least at first sight. The challenge has changed because we now rather face the problem of drudgery and orientation—how can we keep going without the large and overpowering challenges. To put it in even more emphatic terms: From a heroic struggle, we have to adapt to the problems of the everyday; it is as if an action blockbuster has given way to a Berlin school reflection on the mundane. The questions to be asked now are: Which direction do we take; How can we keep going when an immediate aim is no longer visible; How can we motivate ourselves and others? I want to illustrate my point in the form of five and a half theses.

1. We ain’t achieved nothing yet!

By now, most large European scientific organisations and funding bodies have, in one way or another, implemented Open Access into their funding policy and operational routines. The EU Commission states on its homepage regarding its flagship programme Horizon 2020: “The global shift towards making research findings available free of charge for readers, so-called ‘Open access’, has been a core strategy in the European Commission to improve knowledge circulation and thus innovation. It is illustrated in particular by the general principle for open access to scientific publications in Horizon 2020 and the pilot for research data.“ This shift in political thinking at the European level has trickled down to national funding agencies, to universities and to many individuals who have embraced the basic principles, including myself. Most disciplines have adopted open access as (at least) one way of publishing; many academics have gathered practical experience and have a basic knowledge of what OA stands for. A study conducted by the university library at the University of Utrecht in 2015/2016 found out that 86.8% of scholars support the general aims of open access, 9.3% were indecisive, and only 3.9% had a negative view of OA. In a way, OA has been thoroughly internalised into the academic system and it seems as if the struggle for open access has been won across the board.

At this point in time, one might be tempted to propose: Can we all go back to our “real“ duties (which are always urgent and pressing): do research, write papers and books, teach seminars and give lectures, counsel students, organise conferences and so on? I believe that this would be a serious misunderstanding, because we have not really achieved anything yet—if we are not careful to follow up with developing our own tools and to taking the power back. This is not some extra-work that we might want to do if we have a bit of extra time. It should, instead, be a central part of any scientific daily routine. Open Access, open data, open science—whichever term you prefer—if understood in its full complexity, is set to restructure the entire scientific process: from the way we develop questions and gather data through publishing and access all the way to the long-term strategies of safeguarding and archiving sources, material and publications. The whole cycle of knowledge production has to be integrated and restructured. Therefore, open access remains a constant task to develop and adapt in relation to the current tools and methods.

Another way to conceptualise the relationship would be to see open access and open science as a supplement in the way proposed by Jacques Derrida—something, allegedly secondary, that serves as an aid to something “original“ or “natural“. When we follow the endless game of references and links, we might want to reach a stable denoted reference, but that is ultimately impossible. It is at this missing origin, at the imaginary point of stability, that the supplement appears. The supplement is an add-on and a substitute, something that completes another thing and something that may replace it and therefore pose a potential threat. In this way, open access is a supplement to the existing scholarly ecosystem of editing, reviewing and publishing—it is meant to replace it, while also adding on to it. It is both an accretion (Hinzufügung) and a substitution. In this way, open access might also be a means to highlight the artificial and arbitrary nature of the publication system, which might have appeared natural and normal to many. And in this way, open access is also something that is never finished, that continues to elope and abscond us, a marker which reminds us of the unfinished business of circulation and knowledge production in the academic world. Everything remains open to revision; final stability can never be achieved.

2. The Empire Strikes Back – …for the benefit of humanity?

One way to put the argument of the supplement into more concrete terms would be to look at the dynamic restructuring of the publication system. If we look around, there is a mixture of the old system which open access was meant to overcome and new players and tools trying to take advantage of the rapidly transforming ecosystem. As it appears at the moment, it is the old players that seem to profit most. Look, for example, at Elsevier, our very own behemoth: Elsevier’s profits has swelled again last year, to €900 million in 2017, a profit margin of 37%—higher than Monsanto or Goldman Sachs. In a recent article, The Guardian put the business model of the publishing giants in provocative terms: “It is as if The New Yorker or The Economist demanded that journalists write and edit each other’s work for free, and asked the government to foot the bill. Outside observers tend to fall into a sort of stunned disbelief when describing this setup.“And this situation is far from over—the quote is from last year—so the old stakeholders are coming back with a vengeance if we are not careful.

In many European countries, new open access funds were introduced in the last five to ten years because the transformation to open access was not meeting the expected goals. These well-intentioned initiatives have led in many cases to what is now known as double dipping: There are still overpriced subscriptions, but there are also OA funds available for those at wealthy institutions to pay for overpriced APCs. When I wrote a review (not even an article) for a Taylor & Francis journal some years ago, they asked me for more than €1000, to make the article available in open access. Obviously, this has nothing to do with the real costs to the publisher, even if a creative bookkeeper can always come up with endless overhead which has to be covered. It is, rather, meant to kill two birds with one stone: If people agree to pay, it wins a handsome profit to the company; at the same time, it also gives the enterprise the opportunity to claim that they support (or at least allow) open access. With approval rates of more than 90% among academics, publishers would be crazy to oppose open access. But they have to fit it into their business model, so most take the path of least resistance.

Apart from the generally problematic nature of APCs, there is another effect of openness that we might have underestimated in the past—that openness is also open to businesses using the data for their own ends. Openness means transparency, and transparency—at least potentially—means control. This can be seen both on a political and an economic level. Let me turn again to Elsevier: The company is no longer calling itself a publishing company but, instead, a “global information analytics business that helps institutions and professionals advance healthcare, open science and improve performance for the benefit of humanity.” And, to make things even more ironic—indeed this is a punchline that you could not make up—the EU is in the process of implementing an Open Science Monitor, a “full-fledged monitoring system“ of open access and transparent research across countries, which is being developed in conjunction with none other than Elsevier. So one of the companies that profits most from the current set-up is gathering data and preparing policy decisions in the very field where many criticise its dominance. Open access has, at least partly, created a system in which the monopolists have been able to reap even more profit than before. And inadvertendly, we might help to shape an ecosystem in which science is being monitored even more closely by monopolists because output will be measurable in ever smaller amounts of data. Those who own and control the tools will be those who decide how to use them and who will profit from them.

Another example of how the old system has adapted to the new challenges and chances is the venture capital–funded platform academia.edu. Here, control of data and profit-seeking has given rise to a platform that masquerades as a scholar-friendly social network. There are more examples to give, but instead of preaching to the choir, let me move on.

3. Get out – of the Filter Bubble

Because “preaching to the choir“ exemplifies one of the key problems: We—as OA advocates—are largely talking to ourselves. There is, by now, a sizable community of people active in the field of open access; we meet at conferences such as this one, but often in designated slots and under specific headings. We are not a small group, but we are also, let’s face it, not the majority. Most colleagues would say they embrace open access (and I gave you the numbers), and I believe they do in principle; but in reality, they do not change their modus operandi. They still follow an opportunistic strategy in publishing and they are far from changing their practice. In fact, this is partly true for myself and—I believe—for many others. Habits are slow to change, and when you are invited to an established journal, it is hard to reject such an offer. It is hard to expect individuals to radically change their behaviour in an existing system, when the immediate effect of such changed behaviour has direct negative consequences.

We have to change the environment in such a way that open access becomes the normal way of doing things. And we have to change the environment in such a way that it is not the big players that are able to profit even more than before. If you go back and read what was written five or ten years ago, it was all about implementing open access and changing people’s minds. But mentalities are slow to change. Since the process was not fast enough for the ambitious aims of the large stakeholders (the European Commission, large funding agencies, governments), money was pumped into the system that went towards those at the crucial junctions. Something similar might happen again and again, if we don’t make ourselves heard.

4. The Paradoxical Self-Evidence of Openness

Openness appears to be a self-explanatory concept. In almost all discussions I hear about open science, open access, open source and so on, it is always assumed that openness is inherently, yes almost ontologically, a good thing. Now, I consider myself an OA-advocate and therefore I am standing here before you as a proponent of such a view. Yet we should, at least for the sake of argument, step back for a moment and reconsider if openness is always already good, no matter what the social, political or cultural circumstances are. First of all, we have to ask ourselves what openness really means. It is a relational term that is dependent on perspective and context. Crucial questions have to be asked here because very seldomly are all aspects open in the same way: What exactly is open to whom under what circumstances? And also: Who can use the openly available materials to what ends? Who has control and power (both in legal and economic terms) to use material published under the sign of open access, open data or open source? Openness and privacy—which is an ideal that most of us, I assume, would not want to give up lightly—are more often than not in conflict with each other because privacy is always balancing out access of others with control of the self.

I have found a welcome and sober antidote to the ideological positioning of openness as inherently good in the work of danah boyd. boyd has repeatedly and forcefully argued that data is never neutral, that opening up data and making it available for third parties always has political implications and possible side effects that might not be apparent at first sight. It is not enough to give people access to data; we need to also make tools available to understand that data, and we need to construct an environment in which the circulation of data can be monitored and registered. One example that boyd gives is the open availability of information on schools, which usually has the directly observable effect of higher ethnic and social segretation—because specific groups might (and will) read this data in a certain way. Certain individuals and collectives have resources available (knowledge or capital to pay someone to use a certain knowledge) that allows them to make use of data in a specific way. boyd even demonstrates how algorithms might inadvertently contribute to inequality, because the way certain elements correlate makes it more likely to include discriminatory elements of another level into the equation. Therefore, data about your family or your place of residence might influence your credit score or the likelihood of getting parole without any conscious discrimination, but rather as ripple effects of algorithms. This kind of algorithmic discrimination will be an important topic of discussion in the next couple of years.

5. Sustainability Means Discrimination

I still occasionally encounter colleagues who believe that something is open access because it can be found on the internet. Often, they have built a project website, some WordPress structure that a student assistant programmed and another one renovated after the first one has left. Some years later, money on that specific project has run out and the research interest has shifted elsewhere; no one is caring for the dilapitated structure anymore, and some browser generations later, the website will be unusable, inaccessible, or simply gone. In the old days of what McLuhan has called the “Gutenberg galaxy”, books were delivered to libraries, where they could still be accessed hundreds of years later—even if no one in the meantime had cared to look at them. The sources and structures of the digital age have a radically reduced half-life period. This puts a much higher pressure on the infrastructure that we need to build and maintain. The speed of production and reproduction, the sheer amount of data being produced today, means that we have to discriminate what we want to keep and what we risk to lose.

I am consciously using the term discrimination here because creating data and making research always means making distinction, drawing a line, identifying something as meaningful (and, by implication, something else as not meaningful). We discriminate, too, if we decide to archive something, to build structures that are meant to keep and safeguard material for a longer period of time. Most of us still grew up in McLuhan’s “Gutenberg galaxy“—it has a five-hundred-year history and we did not need to think too much about how it functioned. We did research and wrote, we handed it in, we got a review and if we were good (or lucky) enough, we got published. There were specific roles in the process: advisors and editors, publishers and reviewers, printers and librarians—a whole system constructed towards quality control (discrimination of the first order) and long-term preservation (discrimination of the second order). Currently, we begin to understand how the shape of a new system might look like or at least what the stakes are: It is an accelerated system in which the temporal cycle of discovery, publication and discussion has been radically shrunk; this might not be visible in the same degree for the humanities and social sciences as for the natural and life sciences, but it is still beginning to be felt. At the same time, we have large private companies which aggressively enter into some parts of this system with the aim of making profit. While profit has always been part of the system, it has now taken on a very different function.

Discrimination is a key concept that is built into the nature of information. Whenever we create data that has a structure that is machine-readable, we make specific kinds of distinctions. This is again danah boyd on data analysis and discrimination: “discrimination as a concept has mathematical and economic roots that are core to data analysis. The practices of data cleaning, clustering data, running statistical correlations, etc., are practices of using information to discern between one set of information and another. They are a form of mathematical discrimination. The big question presented by data practices is: Who gets to choose what is acceptable discrimination? Who gets to choose what values and trade-offs are given priority?” And this is, again, why I believe we have to obtain a certain degree of data literacy, because it is only if we understand the tools we are using that we also understand what forms of discrimination they entail.

6. From Collecting to Curating

If we look at the natural sciences, we can see that the line between what counts as data and what counts as a publication is increasingly blurry. The difference between research data and a journal article is currently a hot topic of discussion, just as research data management as a strategic field has taken the place of OA in the minds of big funding organisations. The large grants and strategic attention that were devoted to open access ten years ago are now geared towards research data management. Of course, this dynamic movement (just like open access fifteen years ago) originates with the STEM crowd, but it will inevitably reach and transform the humanities and social sciences as well. The larger and more established disciplines in our field such as history, art history, philosophy or literary studies, will have the reputation and the power to eventually build their own platforms or participate in larger infrastructures. If media studies wants to be more than an appendix to one of those disciplines, we have to move fast and decisively, because our only reasonable alternative is to be attractive as an innovative pathfinder and as an experimental field. If we do not react at all, the bandwagon will pull ahead without stopping. No one is waiting for media studies to get moving. Therefore, we need to build our own infrastructure,n which is actually much more fun than some of you might believe.

Let me sidetrack a little to tell you what I actually do in a project that has only recently made its public appearance. We have launched in September a repository with funding from the German research association DFG. Because funding is still largely a national concern, we have started in the first phase with mostly German-language sources. But the larger idea for the future is an infrastructure for the sustainable archiving and publication of research within the larger field of film and media studies, regardless of language or origin. We try to be as inclusive as possible, but we also have to make distinctions as to what belongs to media studies and what does not. It is naive to assume that collecting is some natural flow of things and that collections have a systematic logic that is beyond individual decision-making processes. We should be aware of the fact that archival collections, be they analog or digital, are always curated. And in this sense, I consider MediaRep to also be a curated collection—but we want to make the decisions and the process visible to users. I believe that openness in this sense is more than online collections without paywalls, but a transparent way of decision-making.

Conclusion

I hope that I have been able to show you some of the challenges and dangers that I would see as the “difficulties of the plains”. The difficulties of the mountain are a thing of the past ten years: we just had to rally behind the term open access and convince people of its value. This mission has been accomplished, but now we have to do many different tasks at once: We need to understand—and make it understandable to others—that publishing, editing and reviewing is an ethical decision and that our actions have consequences for a larger field. We need to be aware of the ripple effects and collateral damages of specific actions in specific situations—or even the consequences of the lack of actions. Maybe this could be a topic for professional associations such as NECS: to formulate best practice models for publishing.

We need to talk to librarians and funders, to presidents and politicians; we need to make our voice heard beyond our immediate circle of friends and supporters. We need to build alliances in order to be able to formulate and follow long-term goals. We need to construct infrastructure in the way that magazines and libraries, repositories and social networking platforms are infrastructure. We need to run and oversee this crucial infrastructure. We also need to understand that all these practices are not inherently good just because we mean well—therefore, we need to constantly monitor the effects, because in a complex and dynamic system an effect can never be directly determined.

Not as Good as Gold: ‘Goodness’ of Genomic Data

Good Data edited by Angela Daly, S. Kate Devitt and Monique Mann will be published by INC in January 2019. The book launch will be 24 Januari 17:00 @ Spui25. In anticipation of the publication, we publish a series of posts by some of the authors of the book.

“Moving away from the strong body of critique of pervasive ‘bad data’ practices by both governments and private actors in the globalized digital economy, this book aims to paint an alternative, more optimistic but still pragmatic picture of the datafied future. The authors examine and propose ‘good data’ practices, values and principles from an interdisciplinary, international perspective. From ideas of data sovereignty and justice, to manifestos for change and calls for activism, this collection opens a multifaceted conversation on the kinds of futures we want to see, and presents concrete steps on how we can start realizing good data in practice.”

Not as Good as Gold: ‘Goodness’ of Genomic Data

By Bruce Baer Arnold and Wendy Bonython

 

Is the goodness of genomic data – our individual and collective entries in ‘the book of life’ – simply a matter of accuracy and a future in which ‘precision medicine’ averts or cures all ills?

In our ‘Not as Good As Gold’ chapter we argue that notions of goodness are necessarily conflicted, contested, and thus require more thought. Goodness encompasses questions about dignity (something valorized by philosophers such as Aristotle, Kant, Rawls and Nussbaum) rather than promises of a glorious genomic future based on population-scale data collection.

Those questions are salient because 2018 was an unrecognized inflection point for law enforcement, ethicists, life-sciences researchers, investors and human rights advocates regarding genomic data collection and use. It was the year in which 23andMe, one of the dominant ‘recreational genomics’ enterprises engaged in the mass collection of genomic data, received a substantial investment from pharmaceutical giant GSK, and signed an exclusive agreement with the drug-maker drawing on data collected by 23andMe from five million people.

That deal substantiates the business model of 23andMe alongside competitors such as Ancestry.com and MyHeritage: collect population-scale genomic data through weakly-regulated direct-to-consumer (DTC) genomic testing services and then mine that data on a commercial basis, independently or with drug companies, insurers and other corporations that are conceptualizing health data as the new gold. It is data that is more valuable than oil or precious metal; data that may be gifted by naive DTC participants within an ineffective global regulatory framework; data that becomes exponentially more valuable as the size of the collection increases.

Last year was also one in which law enforcement identified a serial killer in the US through a simple search of genomic data shared by participants in an online genealogical service. Those people voluntarily provided data on a recreational basis, rather than for identification of criminals: gifting information for a sense of belonging and entertainment through building family trees with no thought that an astute investigator would use data to target suspects. There was no need for Californian police to coerce a DNA sample from people across the state or the US as a whole.

In 2018 and previous years people provided genomic data about themselves to businesses in the US and elsewhere because that provision was entertaining (exemplified by ‘DNA Spit Parties’ used in 23andMe marketing), offered supposed insights about susceptibility to health disorders, or allowed contributors to place themselves within a ‘social graph’ that includes figures such as Abraham Lincoln, King Henry VII, Donald Trump and Princess Di. In providing the data – initially in the form of a so-called ‘spit’ or buccal swab – the contributors were providing data about biological relatives, typically without the knowledge and thus without the consent of those relatives.

That provision raises under-acknowledged conundrums about privacy, autonomy, regulation, ownership and rewards. Should, for example, contributors of genomic data get to share in the commercial exploitation of that data? Should we regard it as part of a genomic commons in a world where companies such as Myriad are aggressively asserting exclusive rights under patent law?  Does privacy protection need to be strengthened? Is there meaningful disclosure by DTC enterprises and enforcement by consumer protection agencies?

In ‘Not As Good As Gold’ we show how ‘goodness’ is often construed through a lens of accuracy: is data ‘true’ or not, with accuracy often enhanced by the size of the data collection. It is also often construed in terms of (positive or ‘Good’) outcomes: will data result in breakthroughs that save lives, improve the quality of life, reduce burdens on taxpayers and delight investors. In thinking about genomics we need to look beyond these outcomes. From both a bioethics and legal perspective the wrong questions about ‘good data’ are being asked.

Genomics enables us to read individuals and populations as abstractions – repositories of genetic data rather than persons entitled to respect irrespective of status or outcomes. Genomic ‘good data’ must be a matter of what is respectful of its human contributors rather than what is big (comprehensive) and better (more accurate). As nations move swiftly to whole-of-population data collection, analysis and sharing on a mandatory or voluntary basis – commercial or otherwise – we argue that construing bigger and better data as necessarily beneficial to people is contrary to the dignity that is central to personhood.

It is imperative to consider meaningful consent regarding data collection and use, alongside establishment of a genomic commons that addresses problems inherent in propertization of the genome through patent law. Public and private goods can be fostered through regulation that ensures data quality and an information framework centered on public education about genomic data, encouraging responsible use of data within and across national borders. But at present, this framework is lacking.

If the genome is ‘the book of life’ we must ensure that ‘good’ data is available to all and is understood rather than monopolized, mishandled or misread.

Contra La Pared: Reggaetón and Dissonance in Naarm, Melbourne

In “Asesina,” Darell opens the track shouting “Everybody go to the discotek,” a call for listeners to respond to the catchy beat and come dance. In this series on rap in Spanish and Sound Studies, we’re calling you out to the dance floor…and we have plenty to say about it. Your playlist will not sound the same after we’re through.

Throughout January, we will explore what Spanish rap has to say on the dance floor, in our cars, and through our headsets. We’ll read about trap in Cuba and about femme sexuality in Cardi B’s music. And because no forum on Spanish rap is complete without a mixtape, we’ll close out our forum with a free playlist for our readers. Today we continue No Pare, Sigue Sigue: Spanish Rap & Sound Studies with Lucreccia Quintanilla’s essay on reggaetón and Latinx identity in Australia.

Liana M. Silva, forum editor

The first time I heard Cypress Hill was at my fellow Salvadoran friend’s house in the outer suburbs of Brisbane, Australia. She was wearing big baggy clothes and announced that we needed to go in her room the very minute I arrived. So, we left our parents to talk in the lounge room and we sat on her bed and listened. Latin rap had arrived in my life! In the world of pop and the Latin American classics we kept hearing at quinceañeras, here was something new and energetic for us. It was our language, our people: in this way it provided a much needed connection to the outside world for us who existed in what was then quite a small and freshly arrived Latinx community. The place we found ourselves in was particularly racist, and for a moment we felt acknowledged and could just be proud of being who we were. The trumpets and snippets of familiar sounds mixed in with hip hop activated the familiar. But these Latinxs did not even try to be “good” migrants like we did. This was so refreshing to me.

It has been a long time since I was a fifteen-year-old, freshly arrived in Australia, in a classic story that involved fleeing from the Salvadoran Civil War and a period of migration to New York before finally landing in Australia. Pretty soon after arriving, I realised that Australia was not the place that I had seen in the documentary back in El Salvador about Indigenous people here. The one where thousands of years of culture were acknowledged and respected. Slowly, I came to the understanding that I too was a settler on this land at the expense of its indigenous people. Colonisation remains a continual process, and the effects of The White Australia Policy, which excluded non-European migrants until the late 1970s, is still clearly evident in the current political climate, epitomised by the treatment of asylum seekers coming from mainly Afghanistan, Iran, and Sri Lanka to these shores.

Because of Australia’s geographical and cultural disconnect it seemed rather difficult to find a space that was not an over simplified version of “Latinness” because of the relatively small communities where they played the old classics and followed traditions nostalgically closer than our relatives back home. As for me, back in El Salvador, I listened to the live cumbias–which were mostly salsa and cumbias–playing in the party hall behind my house while I slept, which had an obvious and subliminal impact on me. I spent years humming Ivy Queen’s “Muchos Quieren Tumbarme” to myself until the day a decade later I sat down determined to find the original on Youtube. With all the might one has to muster to not be swept up by the broom of assimilation, I was exhausted and I had not found the time to listen to the music that was present in parts of my mind—and those parts were beginning to lose patience.

Until recently, World Music held Latin music as part of its domain at Multicultural events and festivals in mainstream Australia. Listen, there is nothing Latinxs love more than having our culture appreciated. We love it when non Latinxs also rush to the dance floor, liquid spilling out of their drink glasses, unable to keep up with the rush of the body that happens when Daddy Yankee’s “Gasolina” comes on. However, my focus here is to bring those who are ancestrally implicated in the music to the front. Music is where the multiplicity of Latinx cultural narratives converge, past, present and future all at once. This is what propelled me to finally take up DJing in my mid-twenties: I wanted to explore this way of telling stories at a time when I remembered how my body wanted to dance and I didn’t hear the right music for it around me. I spoke to some people who are engaging with and making space for themselves and others around reggaetón and Dembow. What follows are snippets of our online conversations.

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“EDM / dance / festival” by Flickr user Patrick Savalle, CC BY-SA 2.0


In a place, haunted so actively by the cruelty of colonialism and so suspicious of difference it makes sense that music like reggaetón with its relentless beat becomes a disruption to a muffling veneer of politeness and civility. It is our punk! Peruvian– Australian writer, DJ and event producer Triana Hernandez aka Airhorn Mami sees a politics of disruption in the music she plays. In response to some questions I posed she writes:

Music has historically always been a healing and therapeutic experience, and this continues to be the case today. I think about how White Australia has a huge disease called National Amnesia, a mental illness mostly enforced by silencing and lacks of moments of self-expression I think perreo/dembow/etc. have a really Caribbean or sun-filled, upbeat mood and bass-heavy nature so it is somehow like feeding Vitamin D into people. It’s just really liberating and playful sounds.

For me, finding my own voice within the music of La Hill, Ivy Queen, and lately Tomasa del Real and Amara La Negra, amongst others has been a really exciting feminist moment. It is a feminism very far away from the offensive lyrics that have given the genre a bad name, but also from the prevailing privilege that infuses Western feminism here. Within a mainstream charged with expectations of emotional and sexual repression, music like reggaetón presents another possible way of existing as a woman: as one who tells it like it is, is proud of her sexuality and aware of her body, her community and her culture.

Argentinian/Australian community worker and DJ Rebeca Sacchero founder of Nuestro Planeta, a queer, feminist collective, describes her experience of navigating the contradictions that exist within reggaetón:

Eliza and I really wanted to make a femme-energy heavy party where people who are female, non-binary, trans, or queer would be able to feel welcome to enjoy music that isn’t always welcoming in its lyrical content or in the spaces it dominates. Being Latinx for me is fraught with contradictions, for example my staunch feminism and then deeply held cultural values which view gender and sexuality in ways which depart from western conditioning. I see these tensions and contradictions as beautiful yet difficult and I see the same things play out in the music I enjoy.

…That said, a lot of the music we love comes from unsafe spaces and is born from resilience and tension, so we appreciate and honour the magic that comes from having a diverse crowd and try to have patience and love for everyone and understand that knowledge about how to behave in a club space is a privilege. My work as a youth worker has also had a huge impact on Nuestro Planeta. I work in Fitzroy, running graffiti and djing programs mostly with young people from the housing estates in the city of Yarra and young people in and out of home care. Skating, graffiti, rap music, clubbing and art are all ways young people resist oppressive structures and I think that they are all beautiful and important, so my events need to be a space that offer an alternative to an oppressive structu not mimic one

On a more experimental front Galambo, the solo live project by Chilean-Australian Bryan Phillips who works with beats such as Dembow and Cumbia as well as experimental sound production, poetically describes the conversation that takes place as he performs:

Doing the Galambo is a process where composing and performing occur at the same time—specific to site, time and people. My joy is trying to join with people in an embodied experience—a sonic ritual—through electronic dance music. Electronica de raíz, embracing electronic music from its material roots.

Sound like river. Son las vertientes—the streams of altered states of consciousness, that meander and bifurcate and join waters. The main body being the sonido rajado—the torn sound of the Bailes Chinos of the southern Andes—el sonido originario. The loud and dissonant flutes or pifulcas that resonate through the valleys, from the highest altar¬—Andacollo. The Andean dissonance that resists and brings difference to the coloniser culture of taming the sound through equal tempered pitches and harmony itself. That performing involves everyone present, en el presente.

These are narratives articulated via sounds and fragments that activate memory while becoming new. Importantly, these sounds give voice to an ongoing mythology, to a landscape that has seen and interacted with generations of the artists’ ancestors to be transmitted via echoes across the ocean thousands of miles away and as Galambo puts it in the “present.”

There has been a surge of reggaetón and Latin trap on the mainstream charts all around the world; not only are these beats “spicy” and contagious but they are also a type of living cultural archive. Latinx people find ourselves there in the indigenous tempo, Africa via the Caribbean, the undeniable middle eastern presence via rhythms, and in there is also colonisation in the Spanish lyrics and the U.S. twangs amongst other things. We don’t need to read books for this. We know and feel these stories. There are more experimental artists working in the genre all over the world that want to highlight different aspects of this history, namely the indigenous and Afro-Latinx artists Kelman Duran and Resla, and Tayhana, and producers and DJs like Riobamba. Thank you, Soundcloud!

It has been hard over the years to imagine creatively generative discussions around reggaetón in Australia as community building that also acknowledges both its negative and productive aspects and that engage with ideas around gender and experimentation. Reggaetón is even entering the club scene being sprinkled over the techno sets of Melbourne. As an artist, it has been completely worth the wait because in an art world still largely focussed on an inclusion/exclusion binary, experiencing people creating space around culture via music is pretty exciting. By doing so, artists on the margins of a Western mainstream are not waiting to be let in but creating our own space on our own terms, outside of presenting generic stereotypes. Instead this is a dynamic alive and growing space. Bryan Phillips expands on his creative process and his role as creating music in Australia:

I converse in a process of embodiment of sound, en el presente, that allows for the voice to emerge, that sings in huaynos, punk rock and cantos a lo humano, somehow always in español. I speak with el Pueblo, through Violeta Parra and the lineages of poetas populares. La Nueva Poesía Chilena-La Nueva Canción. Cecilia Vicuña, shamana poeta, the songs that teach us so much. That teach us to care. That performing is a subversive political act in itself. That performing involves everyone present, en el presente. That it sings in a voice that is indígena and feminista.

Phillips is right, it is political and life-giving to play and dance to this music. Perhaps the misogynist ‘catch cry: ‘contra la pared’ – against the wall- can mean something new to the Latinx community in this far away diaspora. It can connote something of solidarity and identification with our siblings and cousins in Latin American and the U.S.A. who are enduring tougher times.

Editor’s note: tune in next week, when we will release a mixtape by Lucreccia Quintanilla to accompany this post.

Featured image: “DJ” by Flickr user Ray_LAC, CC BY 2.0

Lucreccia Quintanilla  is an artist/DJ/writer and PhD candidate at Monash University in Naarm, Melbourne, Australia.

Unapologetic Paisa Chingona-ness: Listening to Fans’ Sonic Identities–Yessica Garcia Hernandez

Good Data Ethics by Andrea Zeffiro

Good Data edited by Angela Daly, S. Kate Devitt and Monique Mann will be published by INC in January 2019. The book launch will be 24 Januari @ Spui25. In anticipation of the publication, we publish a series of posts by some of the authors of the book.

“Moving away from the strong body of critique of pervasive ‘bad data’ practices by both governments and private actors in the globalized digital economy, this book aims to paint an alternative, more optimistic but still pragmatic picture of the datafied future. The authors examine and propose ‘good data’ practices, values and principles from an interdisciplinary, international perspective. From ideas of data sovereignty and justice, to manifestos for change and calls for activism, this collection opens a multifaceted conversation on the kinds of futures we want to see, and presents concrete steps on how we can start realizing good data in practice.”

Good Data Ethics

By Andrea Zeffiro

It’s been nearly a year since the Facebook/Cambridge Analytica scandal dominated news reports and collective fascination, and we now know more, though still not enough, as to how Facebook traffics consumer data. Indeed, Facebook is not alone in its disservice to those of us who use and rely on the platform and its other services, and like other Big Tech companies, Facebook has mastered its doublespeak by touting ‘transparency’ to convey a commitment to disclosing its internal practices, and an openness to public scrutiny. Last year, for example, Facebook released ad transparency tools that permitted users to see how advertisers use the platform.  For the average user, these tools reveal the amount of advertising activity carried out, but they do not make transparent exactly how ads operate on the platform. Simply because users are given access to more information does not mean it is easy to parse. Facebook’s ‘transparency’ serves to uphold its core policies and practices without revealing any more about how our data is trafficked. And rather than seek to inform consumers in clear terms as to the kinds of data collected and how the data is used, we are asked to accept opaque and malleable terms of service. If anything, what has been rendered transparent by the crises weathered by Facebook is the asymmetrical relationship between those who collect, mine, store and analyze data, and those whom data collection targets.

On the heels of public scrutiny on the (mis)uses of user-generated data, academic research communities continue to grapple with how to work with social media data without reproducing the kinds of power imbalances I describe above. One thing is certain: we cannot rely on social media platforms to set the ethical norms for academic research. My contribution to Good Data works through some (and there are many) of the complex ethical conundrums researchers face when working with social media data.

In 2017 I conducted a pilot study to assess the current trends, standards and norms for working with social media data in a Canadian academic context. My research has shown that few institutions in Canada have ethics guidelines that apply specifically to social media research. This dearth of guidance reflects broader trends in digital data policies and practices. As Sandra Soo-Jin Lee explains, the “vacuum in policy has placed unrealistic expectations on existing review structures to address the changing social and commercial arrangements that characterize these online platforms.” In turn, researchers are left struggling to understand their ethical obligations when it comes to the collection and management of ‘public’ data associated with social media.

The challenges researchers face stem in part from how traditional norms and values of ‘human research ethics’ become strained by the complexity of interactions between individuals, networks and technical systems in social media research. For instance, any conventional understanding of ‘informed consent’ is circumvented by third-party disclaimers in platform policies and renders refusal of participation defunct. In turn, ethical standards may be left to interpretation. For some, this may counteract concerns about ‘ethics creep’ and the continued bureaucratization of research. But at the same time, short of clear guidelines, certain forms of social media research are required to undergo institutional review while others are not, which is not to say that all social media research should be exempt from institutional review, but rather that such inconsistencies could very well denote exempted research as ‘ethical’ simply by virtue of exemption. Additionally, a lack of guidance could encourage researchers to abide by a social media platform’s terms of service as ‘rules’ for research, yet these terms do not clarify the conditions for ethical research, but instead govern how a researcher is permitted to access and use data.

In my chapter, I call on researchers and research communities to take the lead in developing research methods, practices, and norms that foster ‘good’ social media research data ethics. Along with the ethical considerations explored in the text, I formulate prompts for researchers to integrate during research design, that is, prior to data collection, but also throughout the life-cycle of a project. The sets of questions are meant to signal how social media research requires rigorous thinking about the ramifications of the choices we make in every part of our research process, rather than assuming that a platform’s terms and conditions or a university ethics board will fulfill the task of ensuring that research is conducted ethically.

The provocations and prompts I put forward join existing efforts to motivate research communities to (re)consider their ethical obligations in light of the challenges social media research brings to research ethics norms and conventions. What if research communities conceived of social media platforms not simply as sources of research evidence, but as collaborators in the construction of emerging research practices and knowledge production? Would this compel researchers to dig deeper into the politics of platforms as a condition of working with social media data? These kinds of questions – ones that connect our programs of research to contemporary data cultures – will initiate pathways to good data practices. After all, when we seek out social media data from a particular platform, we are in effect entering into a relationship with that platform, and our decision to work with these platforms as sources of data and as objects of research implicate us and our work into the power imbalances sustained by these entities. Good data ethics present an opportunity for researchers to start to talk back to the prescriptive data regimes set forth by social media platforms.