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Episode 4.30 Thinking Intergenerationally Toward a Future with Eugenia Zuroski
In this, the final episode of Secret Feminist Agenda, I sat down with Eugenia Zuroski to talk about hope, planifestos, collectivity, mentorship, and where we know from. As far as final conversations go, this one felt absolutely perfect. Here are some links!
- Learn more about Gena’s work on her website, by following her on Twitter, and by checking out her Mixcloud!
- The Grace Lavery comments I referenced were shared on Twitter and her book is called Quaint, Exquisite: Victorian Aesthetics and the Idea of Japan.
- For more on hope and its appropriation by liberal discourses, you might want to revisit the episode on Hopepunk
- We talked about reclaiming your time which prompts me to re-share this piece by Tressie McMillan Cottom on race and the politics of (wasting) time.
- My reference to turning routines into rituals came from Kook Teflon (via Zena Sharman), from episode 62 of the Bespoken Bones Podcast.
- For more on the exhausting embodied labour of diversity work, especially within universities, check out Sara Ahmed’s On Being Included.
- On the topic of collective models of organizing, Gena mentioned The Bigger 6 Collective and the V21 Collective. I was also reminded of the vital work of the Combahee River Collective.
- This piece is a few years old but still pertinent: “The digital native is a myth”
- The Netflix documentary I alluded to is The Social Dilemma.
- The scholars Gena cited in relation to her exercise, ‘Where Do You Know From?’, include Eve Tuck, Minelle Mahtani, and Katherine McKittrick.
- The John Locke theory Gena mentioned is tabula rasa; the application of the “blanket slate” idea into colonialism and theft of land is terra nullius.
Read Transcript
The podcast theme song is “Mesh Shirt” by Mom Jeans off their album “Chub Rub.” Listen to the whole album here or learn more about them here. Gena’s theme song was “Head Over Heels” by the The Go-Go’s.
Secret Feminist Agenda is recorded and produced by Hannah McGregor on the traditional and unceded territories of the Squamish, Musqueam, and Tsleil-Waututh First Nations.
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By In this, the final episode of Secret Feminist Agenda, I sat down with Eugenia Zuroski to talk about hope, planifestos, collectivity, mentorship, and where we know from. As far as final conversations go, this one felt absolutely perfect. Here are some links!
- Learn more about Gena’s work on her website, by following her on Twitter, and by checking out her Mixcloud!
- The Grace Lavery comments I referenced were shared on Twitter and her book is called Quaint, Exquisite: Victorian Aesthetics and the Idea of Japan.
- For more on hope and its appropriation by liberal discourses, you might want to revisit the episode on Hopepunk
- We talked about reclaiming your time which prompts me to re-share this piece by Tressie McMillan Cottom on race and the politics of (wasting) time.
- My reference to turning routines into rituals came from Kook Teflon (via Zena Sharman), from episode 62 of the Bespoken Bones Podcast.
- For more on the exhausting embodied labour of diversity work, especially within universities, check out Sara Ahmed’s On Being Included.
- On the topic of collective models of organizing, Gena mentioned The Bigger 6 Collective and the V21 Collective. I was also reminded of the vital work of the Combahee River Collective.
- This piece is a few years old but still pertinent: “The digital native is a myth”
- The Netflix documentary I alluded to is The Social Dilemma.
- The scholars Gena cited in relation to her exercise, ‘Where Do You Know From?’, include Eve Tuck, Minelle Mahtani, and Katherine McKittrick.
- The John Locke theory Gena mentioned is tabula rasa; the application of the “blanket slate” idea into colonialism and theft of land is terra nullius.
Read Transcript
The podcast theme song is “Mesh Shirt” by Mom Jeans off their album “Chub Rub.” Listen to the whole album here or learn more about them here. Gena’s theme song was “Head Over Heels” by the The Go-Go’s.
Secret Feminist Agenda is recorded and produced by Hannah McGregor on the traditional and unceded territories of the Squamish, Musqueam, and Tsleil-Waututh First Nations.