Introduction

Edward Chamberlin urges us to “find a common ground by listening to each other’s stories”. However, it is hard to find a common ground to build on when all the stories aren’t present in the discussion. By researching ways in which digital media can facilitate an increased exposure for a diversity of voices, we seek to follow Chamberlin’s call to action. This includes methods such as self-publishing, blogging, Twitter, and so forth, which are changing the face of mainstream media as well as opening the floodgates for new voices to find a more diverse audience. We explored how digital media allows voices which would typically be absent from “mainstream” literature and dialogues to gain an audience and join the discussion and canon.  We believe this will facilitate the inclusion of a wider diversity of voices in a move towards finding a common ground in Canadian literary canon. As stated in the research goals we have set out, we seek to explore ways in which digital media has and will change the conventional literary canon.

“If we create this resource, we will be able to devise more culturally and regionally diverse theories of digital poetry than the ones proposed by the brilliant but small group of white, middle-class, predominantly male poets from Toronto.” – Ian Rae, The Case for Digital Poetics

Rae’s ideas about digital poetry can be extrapolated to encompass all forms of literature expressed through digital media, as we seek to highlight with a variety of sources covering various forms of digital and social media and their uses in spreading ideas and literary dialogue.

Main Points

• The question of the permanency of information created and circulated on the Internet and what effect the sheer quantity and diversity of this information will have on the way information is preserved in the future was discussed extensively. Milica posted a comment which tied this discussion back to the intervention “Back to the Future” by Christl Verduyn.

• During a discussion of the permanent vs. transient nature of information on the Internet, the issue of voices and opinions being stolen and re-appropriated was raised. More specifically, in terms of the anonymity and exposure on the Internet, where information forms a “digital tattoo” which can be re-blogged, re-tweeted and copied countless times in seconds. Issues and potential consequences of new or less mainstream voices being stolen or misinterpreted was raised, such as Indigenous voices being taken out of context and used for the perpetuation of oppression and ignorance, rather than enlightenment, education, and “finding a common ground”.

“Does the Internet then, perhaps, open up a venue for voices to not only be suppressed, but also stolen and re-purposed by those that oppressed them in the first place?” -Breanna Simpson

• A similar discussion arose on our partner site surrounding the potential for anonymous or new voices to be stolen and re-purposed to express the ideas of others, perpetuating the cycle of oppression and misinformation from the print world into the digital one.

“On the other hand, once you have something on the Internet, there’s always the chance that your words will be taken away from you and twisted and turned into a new meaning.” – Julia Pressman

• Digital storytelling is a major part of the lives of those who utilize digital media and technologies. This is achieved through the use of social media and application software (“apps”), such as Facebook, Twitter, Instagram, Snapchat, and Vine. However, the preoccupation many individuals have with the documentation of their story may take away from the story itself. We wonder what kind of impact this may have on the story, the storyteller and the audience. To quote Breanna, are we more concerned with “immortalizing a moment than actually experiencing it?”

“I would say that technology and ‘sharing culture’ has made it so you are never forced to give your attention to any one thing for a long period of time. You can always go back and look again, or search for that picture, or re-watch that video. There’s no need to take it all in and appreciate it in the moment anymore”. – Julia Pressman

• A number of comparisons were made between traditional and digital media. Specifically, this was discussed through traditional and digital self-publishing. While the advantages of digital self-publishing and storytelling seem to be many, there were a number of points raised concerning this route. One revolves around the lack of support writers receive in comparison to traditional publishing, while another focuses on the backlash writers receive for pursuing this avenue. The dialogue also examined what the rationale is for storytellers resorting to digital self-publishing. We are left with many questions, most particularly: do storytellers turn to self-publishing when they are left with no other options?

• We have been discussing the nature of modern storytelling in relationship to social media and the culture it engenders. To add onto the digital tattoo discussion, or as a different facet: a comment was made on how nowadays people WANT to share everything, to build up a story for themselves, and we cited things like our Instagram accounts and how getting that gratification from our digital content being noticed/liked can be borderline addictive. Technology is changing the way we relate to each other, and it’s making a great impact on how mainstream media conducts itself. The advances in technology are seeping in and changing the face of storytelling, like it or not. How will traditional means of storytelling stack up? Will Coyote be forced to get a Twitter account?

• Musings on the power of storytelling and its ability to effect change. We’ve come to a consensus that stories alone can’t bring about sweeping change in society, but they are an important component to more concrete efforts in that they can unite and inspire people.

“Ah, and yes Simpson’s story was great too. I love how she was nervous around King, she came off so humble and kind, and yet still so talented and engaging in her story. The dialogue of how [Simpson] was influenced by King was also quite notable, it captures how the tradition of storytelling travels through generations and is able to spark feelings of resonance between different types of people. -Rabia Khan

• There was discussion in the dialogues of how First Nation digital media has challenged the power of the government and further given First Nation peoples a voice where there was little or no chance of one before. The potential digital media offers for a more accurate perspective on Indigenous issues and identities was discussed, stemming partly from a rise in First Nation digital media (both from the perspective of First Nations users and as depicted by others).

“After reading your citation it really made me think of how technological change coincides with social movements. An example of this is our first impression of this course – when we would hear about digital media used as means for decolonization, many of us thought the basic – facebook and twitter being to spread the message. But after learning about the advancements of digital literature along with work of ‘narrative decolonization’ technological advancements and digital media are continuously growing together and scholars are using digital media in different ways.” -Bobby Gold

This led to further discussion of how technological changes through digital media coincides with social movements and public awareness. Basically, can digital media be used for “social inclusion”? To date, many First Nation peoples and their communities are and have used digital technology to preserve First Nation culture and identity and further, to give an awareness to the public of relevant current First Nations issues.

An example of this was the Idle No More Movement which became one of the largest First Nation mass movements in Canadian history. In only a few short months, Idle No More became the center of media attention, drawing millions of people to Idle No More websites, Twitter accounts and Facebook pages every day. This leads to the questioning of whether social and digital media spaces have now become a necessary vehicle for expanding First Nation cultural exposure. As a visible minority, does there need to be more effort put into social and digital media for their voice to be heard?

Interventions

One intervention is to treat digital storytelling in a manner similar to face-to-face storytelling. In a TED Talk by Julian Treasure, he states that “we are losing our listening”. In the presence of social media, phones, computers, and other technologies all vying for our attention, our ability to be present and listen significantly decreases. Approximately 60 percent of our communication time is spent on listening, yet we only retain 25% of what we hear (Treasure, “5 Ways to Listen Better”). This is a serious problem because “listening always creates understanding” (Treasure, “5 Ways to Listen Better”). As storytellers, we must be mindful to not be completely absorbed by the documentation process in order to preserve the integrity of the story. As the audience, we should strive to appreciate the story and the storyteller in the present moment.

Another intervention that could possibly be implemented is to focus on youth as a consumer group for creating network loyalty on digital media such as television, Facebook- similar to APTN (Aboriginal Peoples Television Network) operations, as the youth comprises a large portion of Canada’s First Nation communities. This negotiation for new cultural spaces would highlight the continuous change of cultures, which would be accelerated by globalization and mass-mediated consumption patterns. With the focus of First Nation youth, the local response to mainstream media would hopefully create even more alternative media from a First Nation youth perspective. As the new generation of filmmakers emerge, there would be changes to reveal mainstream foci and global perspectives.

A final intervention that could be implemented is to invite consumer input in media of all forms, just as we have done here. By inviting the audience to have input as well, we are ultimately encouraging a diversity of voices within our media. This would create an environment where discussion of a medium is just as important as the medium itself. As evidenced by our website as well as our partners’, when discussion (especially in a digital format) is encouraged, some very insightful content emerges.

Future Directions

One area to focus on would be the recent push for a homogenous global identity, a melting pot of literatures and cultures, and the potential dangers of this idea. Where do specific cultural and personal identities stand if they are consumed in a push for a larger global identity? Is it possible to move towards a global identity that is itself based on diversity, and allows for differences and boundaries, without borders and barriers forming? Can we not only heed Chamberlin’s call to “find common ground”, but also move forward on that ground together? Can we follow the logic of the Vulcans, and create a world based on the “Infinite Diversity in Infinite Combinations” philosophy?

Another area that would make for a fruitful research topic to be explored in the future is to examine the long-term effects of digital media on the Canadian literary landscape. Will self-publishing reach a point where it seriously challenges long-established traditional publishers? Will stories regarded as “Canadian classics” cease to exist because the literary canon has become diverse? How will film-making contribute to what stories are heard?

Taking this discussion back to ideas of a changing media landscape, let’s recall Marshall McLuhan’s work about how the medium is the message. It is inevitable that new technologies will change the way we relate to each other, let alone tell stories. With this in mind, tracking how these changes are implemented is a valuable research concern. What will our storytelling “traditions” look like in the future? Will the new converge with the old, or will it steamroll old practices? We can only guess at this point, but the answer lies only in watching what happens as these changes take place.

Conclusion

Our discussion has focused on the need for increased diversity in Canadian literary canon, and digital media’s potential for acting as a vehicle to foster that diversity. The problem of voices becoming “lost in the crowd” was raised, as well as the issues with “finding a common ground” when voices can be stolen and re-purposed against one’s will. One way to take action against this is to increase the awareness of networking and discussions that can occur in digital spaces. Educating people about digital media and how to use it to spread ideas, as this course has sought to do, perhaps allows people to more readily express their own opinions and hear the voices of others. Examples of this are explored in discussions of movements such as Idle No More, as Indigenous groups capture and wield the power of digital media to allow their voices to at long last start to be heard, and perhaps listened to. In keeping with Larissa Lai’s call to strive towards an increased exposure and understanding among people of the power of the Internet and digital spaces to create “common ground”, we suggest that education, through digital spaces themselves, can become a tool to influence the diversity of Canadian literary canon. This intervention seeks to increase people’s knowledge, understanding, and acceptance of a diversity of voices and points of view, creating a stable virtual “common ground”, one which we can all build upon.

Works Cited

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