ARCHIVING THE PRESENT_
WSU · FALL 2024 · ENGL 548

ARCHIVE
BACK.

ARCHIVES, RHETORICITY OF TECHNOLOGIES,
& ANTI-OPPRESSIVE INTERVENTIONS

"Collective liberation is not a destination — it is the practice of the archive itself."

⚠ Content Warning

This course confronts the most violent atrocities humans have inflicted upon other humans and our planet — because naming them is the first act of resistance.

Racism
Genocide
Colonialism
Settler Colonialism
Imperialism
Capitalism
Police Brutality
Ecocide for Profit
This class is inspired by and dedicated to all the oppressed and resisting people in the world.
It is envisioned with the hope that collective liberation is possible.
Fuck Your Lecture on Craft,
My People Are Dying
Noor Hindi
Colonizers write about flowers. I tell you about children throwing rocks at Israeli tanks seconds before becoming daisies. I want to be like those poets who care about the moon. Palestinians don't see the moon from jail cells and prisons. It's so beautiful, the moon. They're so beautiful, the flowers. I pick flowers for my dead father when I'm sad. He watches Al Jazeera all day. I know I'm American because when I walk into a room something dies. When I die, I promise to haunt you forever. One day, I'll write about the flowers like we own them.
Oh Rascal Children Of Gaza
Khaled Jum
Oh rascal children of Gaza, You who constantly disturbed me with your screams under my window, You who filled every morning with rush and chaos, You who broke my vase and stole the lonely flower on my balcony, Come back — And scream as you want, and break all the vases, Steal all the flowers, Come back, Just come back…
Global South Solidarities

WORKSHOP

GSS FELLOWSHIP
Global South Solidarities, Digital-Multimodal Humanities, and Memory Justice Fellowship
Workshop
December 18 & 19, 12 PM – 4 PM
Facilitator
Bibhushana Poudyal, Department of English
Compensation
$100 per participant
* Indicates that the project of the individual is not available at the moment.
The Global South solidarities (GSS) Workshop emerged directly from a Fall 2024 graduate seminar titled “Archives, Rhetoricity of Technologies, & Anti-Oppressive Interventions,” where thirteen graduate students spent the semester developing projects rooted in memory justice and decolonial practice. Each student received a modest compensation of $100 in recognition of their contributions to the website. This two-day intensive session in December brought fourteen of us together—across the hybrid distances of winter break travel plans—to breathe life into those seminar projects, transforming individual research into something collective and shared. Some of us had already left town; others remained in Pullman. Those in person gathered around food, laptops open, troubleshooting together as the Zoom squares of faraway classmates beamed in. We spent the entire semester and four hours each workshop-day wrestling with essential questions: What does it truly mean to center Global South voices? How do we practice solidarity in ways that don’t replicate the very structures we critique? The work was serious, the questions were serious, the commitment was serious, and the way we gathered around this work and questions was human: frustration, fury, joy, laughter, hope.
Those two days were rigorous and demanding, but they were also filled with joy as the semester was. We opened our laptops and our lunches simultaneously, laughing between conversations about archives and resistance. The ‘zoomers’ watched us eat and we teased them relentlessly for missing out. But why would they give up on that! They too tempted us with the lunch they were having or the dish they were planning to make. The work mattered but the process reminded us that collective liberation isn’t just a concept to study. It’s something you practice in a room (or across a screen) with people who care about the same impossible, necessary questions.
Across the entire semester, our seminar had never been a typical graduate course. We gathered every Tuesday afternoon, and every Tuesday afternoon, someone brought food—snacks grabbed before rushing to class, a shared meal someone prepared, leftovers deliberately packed in excess because we all knew we’d be hungry by 2:55 pm (to 5:20 pm). We ate together before diving into readings about archives and got very very furious about genocides and settler colonialisms, and somewhere between the first bite and the first discussion, the classroom became a collaborative table that imagined collective liberation and nothing less than that. And there were difficult weeks, impossibly heavy weeks, as the intensified genocide against Palestinian people was unfolding in real time on our screens and we came to class wondering what the point was. What was the worth of discussing archival theory when children were dying the deadliest deaths? What was the point of academic sentences when our people were being killed? We sat with that question together, often without answers, and sometimes just sat in silence. But we kept showing up. We kept eating. We kept trying to find each other across the weight of it all.
Joy, we learned, wasn’t a distraction from the struggle. It was the thing the struggle was fighting for. We left those two days exhausted, yes, but also strangely hopeful, having built something together that none of us could have done alone.
PARTICIPANTS
1. Cheyanne Brown
8. Prakash Paudel
2. Josie Cohen-Rodriguez
9. Allison Riechman-Bennett
3. Corita Fernando
10. Ma-Ya
4. Myra Henderson*
11. Genoveva Vega Gastelum
5. Brigette Hinnant
12. Valanci Villa*
6. Daman Khalid
13. Sezin Zorlu
7. Grace No
* Indicates that the project of the individual is not available at the moment.
Archives, Rhetoricity of Technologies, & Anti-Oppressive Interventions

ARCHIVE/
RESIST/
LIBERATE

Despite the weight of institutional, historical, and infra/structural violence and inequities, people write back and re-script the oppressive narrative demanding accountability and rematriation.
Communities have always been practicing resistance writing, storytelling, narrative-weaving, recordkeeping, and archiving in the most creative and radical ways. This graduate course is designed to archive back — drawing upon Walter Mignolo's concept of epistemic delinking and disobedience, feminist counter-data, algorithmic justice, and decolonial options.
Are hospitality and justice still possible through archival performances?
Can archives still have healing effects? Can they cure social and global injustices?
If it's impossible — why does demanding the impossible feel like a decolonial, feminist, queer option?
How do emerging technologies raise rhetorical problems and opportunities in archival practices?
Required Texts

TEXTBOOKS

An African American and Latinx History of the United States
Paul Ortiz · 2018
An Indigenous Peoples' History of the United States
Roxanne Dunbar-Ortiz · 2015
Urgent Archive: Enacting Liberatory Memory Work
Michelle Caswell · 2023
Open Access
Afterlives of Indigenous Archives
Ivy Schweitzer & Gordon Henry Jr. · 2019
Open Access

* ADDITIONAL MATERIALS PROVIDED VIA CANVAS IN PDF FORMAT

ASSIGNMENTS

Points · Deliverables · Expectations
Total Points Possible
0
OUT OF
500
Low Stakes
"Scribbling" Reading Response
Weekly informal written engagement with readings. Due before every class session.
100
Before every class
Low Stakes
Two Archival Project Examples with Annotations
Locate, annotate, and contextualize two archival projects in conversation with course themes.
100
Before every class
1st Major
Project Proposal
Pitch and scope your final archival research project.
50
Before Aug 27
2nd Major
Analysis of Materials on Chosen Issue
Deep analytical engagement with materials related to your archival focus.
100
See Calendar
3rd Major
Final Project & Class Presentation
Culminating archival research project with in-class presentation to the seminar.
150
See Calendar
A
93.4–100
A
93.4 – 100
A−
90 – 93.3
B+
86.8 – 89.9
B
83.4 – 86.7
B−
80 – 83.3
C+
76.8 – 79.9
C
73.4 – 76.7
D
63.4 – 66.7
F
0 – 59.9
Assignment Briefs

THE WORK

01
1st Major · 50 pts
Radical Proposal — Archival Site of Struggle
Length: 2–3 pages, single-spaced · Times New Roman, 12 pt · MLA or APA · Submit via Canvas
This assignment invites you to choose a site of archival struggle—a place where memory is contested, where stories are silenced or stolen, where communities write back.
Your proposal will frame a semester-long investigation into how archival technologies, designs, and narrative structures enact violence or open possibilities for healing. This is not a neutral exercise. It is an act of refusal and reimagining. Your topic will reflect a commitment to decolonial, feminist, queer, and anti-oppressive thought, preparing you for deeper analysis in Assignments 2 and 3.
What to Include
Site of Archival Struggle: Select a specific archive, archival practice, memory project, or narrative technology where questions of power, erasure, and resistance are at stake. Your site can be institutional, grassroots, digital, or speculative.

Context & Harm: Who built or maintains this archive? Whose stories are preserved? Whose are erased, excluded, or left to decay? What historical systems does this archive continue or disrupt?

Why It Matters: Articulate the political, ethical, and existential stakes. Connect your topic to course themes: epistemic delinking and disobedience, narratological gaps, rhetoricity of technologies, decolonial feminist queer possibilities, healing justice and rematriation.

Guiding Questions: Pose 2–3 critical questions to guide your inquiry. These should be analytical and politically engaged.

Initial Approach: Describe what materials or methods you might use to investigate this site.
We are not here to reform oppressive archives. We are here to dismantle, refuse, and build otherwise.
02
2nd Major · 100 pts
Archival Rhetorics & Anti-Oppressive Interventions
Length: 10–12 pages, double-spaced (excluding citations) · MLA or APA
This assignment is an act of archival excavation and refusal. You will analyze how power operates through archival technologies, designs, and narrative structures.
Select 2–3 archival artifacts or projects linked to your semester topic that reveal how archival practices reinforce or resist systems of oppression. These can include institutional/official archives, digital archival technologies, grassroots/community archives, and resistance narratives.
Required Sections
1. Introduction (1–2 pages): Re-state your topic and its stakes within colonial, heteropatriarchal, or capitalist archival frameworks. Present your 2–3 archival artifacts with brief context for each.

2. Critical Rhetorical Analysis (5–7 pages): Examine how each artifact functions rhetorically as an archival technology. Consider selection & silence, classification & power, narratological gaps, materiality & access, design & interface, and healing & harm.

3. Discussion: Anti-Oppressive Possibilities (2–3 pages): Synthesize what your analysis reveals about how archival practices reinforce or resist colonial, heteropatriarchal, or carceral logics.

4. Conclusion: Toward Intervention (1–2 pages): Reflect on what you have learned. Pose lingering questions. Explain how this analysis informs your final project vision.

5. Works Cited: MLA or APA style. Not included in page count.
Your task is to expose how archival technologies are never innocent. They shape what is remembered and what is forgotten, who is mourned and who is erased.
03
3rd Major · 150 pts total
Final Project — Archiving Back: From Critique to Rematriation
Two Parts: I. Final Project (100 pts) | II. In-Class Presentation/Sharing (50 pts)
This is your culminating intervention—the moment where archival analysis transforms into worldmaking.
Building on your semester-long investigation, you will now propose, create, or enact a project that archives back. Your work must move beyond critique toward rematriation, healing, and decolonial futures.
Final Project Options (100 pts)
Option A: Academic Paper — Archival Blueprint for Rematriation. 10–12 pages, double-spaced. Analyze a grassroots archival practice, propose frameworks for building archival futures rooted in justice and healing.

Option B: Action Research — Groundwork with a Community Archive. Fieldwork Journal + Final Report (8–12 pages). Engage directly with a grassroots organization doing anti-oppressive archival work.

Option C: Multimodal Project — Archival Worldmaking. Create a public-facing work that remembers, resists, or prefigures liberatory archival futures. Formats include zine or chapbook, digital archive or memory project, podcast or oral history, artist’s book or speculative design, toolkit or workshop, curatorial intervention, counter-data visualization. Includes a Creator’s Statement (2–3 pages).
In-Class Presentation/Sharing (50 pts)
Share your final project with the class in a format that invites dialogue and collective learning. This is not a defense but a sharing—an offering. Be prepared to briefly introduce your project and its archival stakes, showcase your process, reflect on what this work taught you, and invite collective imagining.
Archives have been weapons of empire—and they have been lifelines of resistance. Your task is to build with intention, imagine without limits, and create what must live. Intervene with courage. Archive back. Demand the impossible.

CLASS
POLICIES

Class Policies
Attendance.
Attendance: Students make all reasonable efforts to attend all class meetings. In the event of absence: inform the instructor as soon as possible. But hey! This class is not the only life you are living. It is just a tiny fraction of your life. So, let's talk.
Class Policies
Late Work.
Late Work: Assignments submitted by posted deadlines — clearly listed here and in Canvas.

Extension: Late assignments accepted without penalty if you email at least 2 days before the deadline and an alternative deadline is mutually agreed upon.

But again, this class is not the only life you are living. It is just a tiny fraction of your life. So, let's talk and figure out the alternatives.
Inclusion & Accessibility
Every Body-Mind-Heart Learns Differently.
No two people learn exactly the same way. If you find that the materials are difficult for you to absorb, don't assume right away that you don't understand the material. Perhaps you prefer to process information through speaking or listening, but all I am providing are written handouts, making it difficult for you to process. Please come speak with me if you would like to think through other options for engaging with the material and activities in the course.

Disabilities are visible and invisible, documented and undocumented: I do not distinguish between these designations. If you have a disability, or think you may have a disability, I encourage you to speak with me as soon as you can about your learning needs and how I can best accommodate them.

If there are aspects of the design, instruction, and/or experiences within this course that result in barriers to your inclusion or accurate assessment of achievement, please notify me as soon as possible and/or contact Student Accessibility Services. You may contact Accommodations and Services without notifying me if you wish; you may also speak with me without contacting Accommodations and Services at all. I do not require documentation for accessibility in my classroom.
Life First
This Is Just a Tiny Fraction of Your Life.
Dear y'all, as we are here together, hopefully a transformative journey of exploration and reflection where we will engage in the radical work of anti-racism—a collective act of love, care, solidarity, critical thinking, and intellectual labor. Together, we will interrogate systems, cross intellectual and cultural borders, and examine anti-racism as a framework rooted in justice across intersecting identities and global contexts. Guided by and learning from scholars, artists, activists, and each other, we will envision transformations within ourselves and our communities (and if possible, beyond that). Your voices and perspectives will shape our space, teaching me as much as I hope to share with you. I am here to be with you every step of the way, so please don't hesitate to reach out with questions, concerns, or if you simply need to to de-stress. Don't let this encourage you to dehumanize yourself. Let's embark on this meaningful inquiry together by also keeping in mind that your emotional and mental wellbeing matters a lot.

And yes, this is also one of the class policies.
AI_USE_POLICY.txt — opened
AI USE
POLICY_
ACCEPTABLE
✓ Permitted Uses
LEARNING: Personalized platforms, AI tutoring, study organization.
RESEARCH: Brainstorming, ideation — critically assess and cite all AI output.
COLLAB: Facilitating group tasks — never replacing human contribution.
UNACCEPTABLE
✗ Prohibited Uses
PLAGIARISM: AI-generated assignments presented as original work. Prohibited.
EXAM_MISUSE: Unauthorized AI in assessments = academic misconduct.
PRIVACY: Collecting others' data, generating impersonation content.
DISCLOSURE REQUIRED
◎ Transparency Protocol
All AI use must be disclosed in submissions. (e.g. "Generated using ChatGPT, edited for accuracy.")
Paraphrased or quoted AI content must be cited per APA or MLA Style Guide.
Do not input sensitive personal data into AI systems. No deepfakes or misleading content.
This AI use policy was itself generated using ChatGPT and edited for accuracy.

THE ARCHIVE

Haas, "Race, Rhetoric, and Technology"
Eyman, "Defining and Locating Digital Rhetoric"
Banks, "Race, Rhetoric, and Technology" (excerpts)
Haas, "Toward a Decolonial Digital and Visual American Indian Rhetorics Pedagogy"
Gries, "Iconographic Tracking: A Digital Research Method"
Helmers & Hill, "Introduction," Defining Visual Rhetorics
Olson, "Intellectual and Conceptual Resources for Visual Rhetoric"
Jabbra, "Women, words and war: Explaining 9/11 and justifying U.S. military action"
Benjamin, "The Work of Art in the Age of Mechanical Reproduction"
Cushman, "Wampum, sequoyan, and story: Decolonizing the digital archive"
Poudyal, "Building Digital Archive through Collaborative UX Research"
Poudyal, "The 'Nature' of Ethics While Digitally Archiving the Other"
Cross & Peck, "Editorial: Special Issue on Photography, Archive and Memory"
Highfield & Leaver, "Instagrammatics and Digital Methods"
Drucker, "Image, Interpretation, and Interface"
Myers & Crockett, "Manifesto for Queer Universal Design"
Edenfeld, "Queering Consent: Design and Sexual Consent Messaging"
Killen, "Archiving the Other or Reading Online Photography as Queer Ephemera"
Khubchandani, "Cruising the Ephemeral Archives of Bangalore's Gay Nightlife"
Ray, "Rhetoric and the Archive"
Biesecker, "Of Historicity, Rhetoric: The Archive As Scene of Invention"
Haney and Schneider, "Beyond the 'African' Archive Paradigm"
Bailey, "All the Digital Humanists Are White, All the Nerds Are Men, but Some of Us Are Brave."
McPherson, "Why Are the Digital Humanities So White?"
Risam, "Toxic Femininity 4.0."
Modest, "Museums and the Emotional Afterlives of Colonial Photography"
Lotier, "What Circulation Feels Like"
Jenkins, "The Modes of Visual Rhetoric: Circulating Memes as Expressions"
Algorithms of Oppression — Safiya Noble (2018)
Assembled for Use — Kelly Wisecup (2021)
Between Banat: Queer Arab Critique and Transnational Arab Archives — Mejdulene Bernard Shomali (2023)
The black hole of empire — Partha Chatterjee (2012)
Design Justice — Sasha Costanza-Chock (2020)
Feminist, Queer, Anticolonial Propositions for Hacking the Anthropocene — Hamilton et al. (2021)
From the Tricontinental to the Global South — Anne Garland Mahler (2018)
Indigenous Archives: The Making and Unmaking of Aboriginal Art — Jorgensen & McLean (2017)
Into the Universe of Technical Images — Vilém Flusser (2011)
Make America Meme Again — Woods & Hahner (2019)
Queer Palestine and the Empire of Critique — Sa'ed Atshan (2020)
Queering Mesoamerican Diasporas — Susy J. Zepeda (2022)
Race After Technology — Ruha Benjamin (2021)
Race, Rhetoric, and Technology — Adam J. Banks (2005)
Unthinking Mastery — Julietta Singh (2017)
Visualizing Genocide — Chavez & Mithlo (2022)
The Archive and the Repertoire — Diana Taylor (2003)
Queer Indigenous Studies — Driskill, Finley et al. (2011)
Queer Times, Black Futures — Kara Keeling (2019)
Picturing Empire — James R. Ryan (1998)
Out of the Closet, Into the Archives — Stone & Cantrell (2016)
Course Schedule
Semester Timeline
Schedule page 1 Schedule page 2 Schedule page 3 Schedule page 4 Schedule page 5 Schedule page 6 Schedule page 7 Schedule page 8 Schedule page 9
Bibhushana Poudyal
Bibhushana Poudyal · WSU
Your Instructor
Bibhushana
Poudyal
Washington State University
[email protected]
bibhushanapoudyal.com
Office Hours: Tu & Th · Avery 329