<html><head><style type="text/css"><!-- DIV {margin:0px;} --></style></head><body><div style="font-size: 13px;color: rgb(0, 0, 0);font-family: arial, sans-serif;"><div style="font-family: Geneva, Arial, Helvetica, sans-serif; font-size: 12px; margin: 0px;"><span style="margin: 0px; padding: 0px; border: 0px; font-size: 13px;">In Terms of Participation</span></div><div style="font-family: Geneva, Arial, Helvetica, sans-serif; font-size: 12px; margin: 0px;"><span style="margin: 0px; padding: 0px; border: 0px; font-size: 13px;">Dont Rhine, Ultra-red</span></div><div style="font-family: Geneva, Arial, Helvetica, sans-serif; font-size: 12px; margin: 0px;"><span style="margin: 0px; padding: 0px; border: 0px; font-size: 13px;">Los Angeles, 2 May 2016</span></div><div style="font-family: Geneva, Arial, Helvetica, sans-serif; font-size: 12px; margin: 0px;"><span style="margin: 0px; padding: 0px; border: 0px; font-size: 13px;"><br></span></div><div style="font-family: Geneva, Arial, Helvetica, sans-serif; font-size: 12px; margin: 0px;"><span style="margin: 0px; padding: 0px; border: 0px; font-size: 13px;">I want to thank Kyle for inviting me to contribute to this online list. Last year I had the pleasure of a prolonged conversation with him extending over several months in the lead up to my collective Ultra-red convening for several days at UC Santa Cruz. The visit brought together eight of our twelve members. It was the latest episode in a long-term process of critically reflecting on Ultra-red’s experiences with institutions, political struggles, and participatory processes.</span></div><div style="font-family: Geneva, Arial, Helvetica, sans-serif; font-size: 12px; margin: 0px;"><span style="margin: 0px; padding: 0px; border: 0px; font-size: 13px;"><br></span></div><div style="font-family: Geneva, Arial, Helvetica, sans-serif; font-size: 12px; margin: 0px;"><span style="margin: 0px; padding: 0px; border: 0px; font-size: 13px;">Putting these comments together, I have drawn extensively from the writing done by my comrades in Ultra-red. I also made a conscious decision to set aside for the moment explicit references to my own political commitments in the HIV/AIDS justice movement as well as my organizing in the L.A. Tenants Union. The textures of those situations thread throughout what I am going to say. They weave through my many references to experience, struggle, and community. Later, I can bring those situations into the dialogue more directly. But for now Kyle’s opening remarks compel me to seek out some specificity in the language we might use in our conversation. </span></div><div style="font-family: Geneva, Arial, Helvetica, sans-serif; font-size: 12px; margin: 0px;"><span style="margin: 0px; padding: 0px; border: 0px; font-size: 13px;"><br></span></div><div style="font-family: Geneva, Arial, Helvetica, sans-serif; font-size: 12px; margin: 0px;"><span style="margin: 0px; padding: 0px; border: 0px; font-size: 13px;">The first term that needs some definition would be that of participation. For those of us in Ultra-red, in order to analyze our political experiences, we have limited ourselves to investigating processes by which institutions draw working people and poor people into the state management of their own social needs such as around housing, education, health, and cultural expression. These are the specific sites of struggle where Ultra-red members organize. We could easily extend the analysis to areas of transportation, policing, migration, or labor unions. The focus on a materialist of participation has helped us interrogate what we, in Ultra-red, have long referred to as the value-form of participation; that is, the extraction of value from participation in state apparatuses. </span></div><div style="font-family: Geneva, Arial, Helvetica, sans-serif; font-size: 12px; margin: 0px;"><span style="margin: 0px; padding: 0px; border: 0px; font-size: 13px;"><br></span></div><div style="font-family: Geneva, Arial, Helvetica, sans-serif; font-size: 12px; margin: 0px;"><span style="margin: 0px; padding: 0px; border: 0px; font-size: 13px;">We have often noted how the term participation houses within it an a priori outside. When the state approaches poor and working class people and invites them to participate in a community advisory process, that invitation dwells in the power relation between the state and the community. Historically, in political struggles for democratic participation in institutions, communities typically demand civilian control and oversight. What the state delivers in response to that demand is, instead, participation.</span></div><div style="font-family: Geneva, Arial, Helvetica, sans-serif; font-size: 12px; margin: 0px;"><span style="margin: 0px; padding: 0px; border: 0px; font-size: 13px;"><br></span></div><div style="font-family: Geneva, Arial, Helvetica, sans-serif; font-size: 12px; margin: 0px;"><span style="margin: 0px; padding: 0px; border: 0px; font-size: 13px;">Defining the parameters of a material analysis of participation requires us to name the power differences and to name those who occupy social positions within those differences. Such naming has been necessary for us in order to do politics, i..e. organizing, as well as in analytically reflecting on political practice. In turn, recalling faces, names, voices, life stories, and encounters with people and communities anchors our analysis and cautions us away from intellectual debates that place the organizer at the center and thus marginalizes the protagonism of those communities in struggle. </span></div><div style="font-family: Geneva, Arial, Helvetica, sans-serif; font-size: 12px; margin: 0px;"><span style="margin: 0px; padding: 0px; border: 0px; font-size: 13px;"><br></span></div><div style="font-family: Geneva, Arial, Helvetica, sans-serif; font-size: 12px; margin: 0px;"><span style="margin: 0px; padding: 0px; border: 0px; font-size: 13px;">Recalling the protagonism of poor and working class communities in their own struggles keeps our feet on the ground when we consider what it means for a community to “participate” in a “social practice.” I put the terms in brackets in order to highlight their defamiliarized character when placed in concrete contexts. For Ultra-red, such contexts include the struggle of working people in South London to resist the destruction of their social housing community to clear the path for speculative development. Another context include people living on the streets of Hollywood who organize networks of mutual care to reduce the harm caused by criminalizing bodies that are homeless and that use injection drugs. What does it mean for people in these social groups to “participate” in “social practices” of their own making?</span></div><div style="font-family: Geneva, Arial, Helvetica, sans-serif; font-size: 12px; margin: 0px;"><span style="margin: 0px; padding: 0px; border: 0px; font-size: 13px;"><br></span></div><div style="font-family: Geneva, Arial, Helvetica, sans-serif; font-size: 12px; margin: 0px;"><span style="margin: 0px; padding: 0px; border: 0px; font-size: 13px;">Thinking through these kinds of concrete political contexts, Ultra-red members have come to define “social practices” in ways that diverge sharply from contemporary art discourse. Once we understand “social practices” within a framework of struggle, it becomes immediately clear that one’s participation is not based on authorship of a social practice. Rather, a practice, if it is “social,” has no individual author. I am not describing a norm here. Nor am I suggesting that in order for a practice to be a social practice it must fulfill certain criteria. I am merely describing what already exists in communities of struggle. Those communities do not need artists or intellectuals to define “social practices” in order for them to invent such practices. Practices already exist and their invention is a dialectical counter-attack to the realities of exploitation and oppression. </span></div><div style="font-family: Geneva, Arial, Helvetica, sans-serif; font-size: 12px; margin: 0px;"><span style="margin: 0px; padding: 0px; border: 0px; font-size: 13px;"><br></span></div><div style="font-family: Geneva, Arial, Helvetica, sans-serif; font-size: 12px; margin: 0px;"><span style="margin: 0px; padding: 0px; border: 0px; font-size: 13px;">You can see why, therefore, Ultra-red would insist that “social practice” art contributes to the gentrification of social practices. In the very process of claiming authorship and entrepreneurial expertise, artists displace communities who depend upon their own practices for survival as a social group within existing conditions. This is the case whether the agent of gentrification is the outside artist or the entrepreneur within the community who claims and monetizes authorship in the name of “best practices.” Resisting displacement entails (but is not limited to) recognizing “social practices” as non-specialized and non-entrepreneurial. That is to say, practices that are “social” enable a social group to survive and thrive under existing social conditions. </span></div><div style="font-family: Geneva, Arial, Helvetica, sans-serif; font-size: 12px; margin: 0px;"><span style="margin: 0px; padding: 0px; border: 0px; font-size: 13px;"><br></span></div><div style="font-family: Geneva, Arial, Helvetica, sans-serif; font-size: 12px; margin: 0px;"><span style="margin: 0px; padding: 0px; border: 0px; font-size: 13px;">At this point, it is important to take our analysis of these terms to the next level by asking a crucial question. What social practices do communities adapt to not merely reproduce themselves under existing conditions? But rather, what social practices become tools for transforming social conditions? </span></div><div style="font-family: Geneva, Arial, Helvetica, sans-serif; font-size: 12px; margin: 0px;"><span style="margin: 0px; padding: 0px; border: 0px; font-size: 13px;"><br></span></div><div style="font-family: Geneva, Arial, Helvetica, sans-serif; font-size: 12px; margin: 0px;"><span style="margin: 0px; padding: 0px; border: 0px; font-size: 13px;">In many of the poor and working class communities where Ultra-red members conduct our politics, specific social practices often make it possible for a group to reproduce itself AND to transform existing conditions. This is especially the case when conditions involve the destruction of the community. </span></div><div style="font-family: Geneva, Arial, Helvetica, sans-serif; font-size: 12px; margin: 0px;"><span style="margin: 0px; padding: 0px; border: 0px; font-size: 13px;"><br></span></div><div style="font-family: Geneva, Arial, Helvetica, sans-serif; font-size: 12px; margin: 0px;"><span style="margin: 0px; padding: 0px; border: 0px; font-size: 13px;">To be clear, what I am saying here is not philosophical. In a sense, I am describing a kind of popular science. I feel it is important to make this distinction because all too often, the role of art discourse becomes that of philosophizing what is a social fact; like poverty, suffering, oppression, and resistance. What, then, can lure the artist-organizer beyond the tendencies to only describe or to “theorize” social facts such as oppression or social conflict? Here I would challenge us to consider a number of questions. These are not rhetorical questions but questions that demand answers within concrete situations. </span></div><div style="font-family: Geneva, Arial, Helvetica, sans-serif; font-size: 12px; margin: 0px;"><span style="margin: 0px; padding: 0px; border: 0px; font-size: 13px;"><br></span></div><div style="font-family: Geneva, Arial, Helvetica, sans-serif; font-size: 12px; margin: 0px;"><span style="margin: 0px; padding: 0px; border: 0px; font-size: 13px;">1. What crises does the community of poor and working people face? </span></div><div style="font-family: Geneva, Arial, Helvetica, sans-serif; font-size: 12px; margin: 0px;"><span style="margin: 0px; padding: 0px; border: 0px; font-size: 13px;"><br></span></div><div style="font-family: Geneva, Arial, Helvetica, sans-serif; font-size: 12px; margin: 0px;"><span style="margin: 0px; padding: 0px; border: 0px; font-size: 13px;">2. What is the analysis of the structural causes of those crises? </span></div><div style="font-family: Geneva, Arial, Helvetica, sans-serif; font-size: 12px; margin: 0px;"><span style="margin: 0px; padding: 0px; border: 0px; font-size: 13px;"><br></span></div><div style="font-family: Geneva, Arial, Helvetica, sans-serif; font-size: 12px; margin: 0px;"><span style="margin: 0px; padding: 0px; border: 0px; font-size: 13px;">3. What strategies have emerged out of the struggle for transforming those causes—or, at the very least, for testing the analysis? </span></div><div style="font-family: Geneva, Arial, Helvetica, sans-serif; font-size: 12px; margin: 0px;"><span style="margin: 0px; padding: 0px; border: 0px; font-size: 13px;"><br></span></div><div style="font-family: Geneva, Arial, Helvetica, sans-serif; font-size: 12px; margin: 0px;"><span style="margin: 0px; padding: 0px; border: 0px; font-size: 13px;">4. What tactics embody that strategy and test it in practice? </span></div><div style="font-family: Geneva, Arial, Helvetica, sans-serif; font-size: 12px; margin: 0px;"><span style="margin: 0px; padding: 0px; border: 0px; font-size: 13px;"><br></span></div><div style="font-family: Geneva, Arial, Helvetica, sans-serif; font-size: 12px; margin: 0px;"><span style="margin: 0px; padding: 0px; border: 0px; font-size: 13px;">5. And last, who are we in relation to those tactics, that strategy, that analysis, and those who struggle amidst the crises? </span></div><div style="font-family: Geneva, Arial, Helvetica, sans-serif; font-size: 12px; margin: 0px;"><span style="margin: 0px; padding: 0px; border: 0px; font-size: 13px;"><br></span></div><div style="font-family: Geneva, Arial, Helvetica, sans-serif; font-size: 12px; margin: 0px;"><span style="margin: 0px; padding: 0px; border: 0px; font-size: 13px;">I have placed these five questions in a specific order. As artists and petite bourgeois intellectuals our formal institutions and our social position has trained us to begin our inquiries from our own position as art professionals and then to go quickly to assert the tactics and forms that define us such. Confident in our technique or method as creative professionals, we only secondarily seek out a context. This approach gives little thought to the practices of social reproduction and transformation already at work within the communities in struggle. So fixed are we on the priority of OUR expertise that all too often we give minor consideration to how our forms function within a larger political strategy or analysis. Consequently, we rarely possess the capacity to assess the efficacy of our forms because we lack the conception of (or political accountability to) the larger strategy articulated by a community in struggle for its very existence. </span></div><div style="font-family: Geneva, Arial, Helvetica, sans-serif; font-size: 12px; margin: 0px;"><span style="margin: 0px; padding: 0px; border: 0px; font-size: 13px;"><br></span></div><div style="font-family: Geneva, Arial, Helvetica, sans-serif; font-size: 12px; margin: 0px;"><span style="margin: 0px; padding: 0px; border: 0px; font-size: 13px;">“What was most important was that I did something.” </span></div><div style="font-family: Geneva, Arial, Helvetica, sans-serif; font-size: 12px; margin: 0px;"><span style="margin: 0px; padding: 0px; border: 0px; font-size: 13px;"><br></span></div><div style="font-family: Geneva, Arial, Helvetica, sans-serif; font-size: 12px; margin: 0px;"><span style="margin: 0px; padding: 0px; border: 0px; font-size: 13px;">In the arena of social conflict where the stakes related to failure can be existential, “doing something” without thought to strategy, analysis, or accountability, can have devastating consequences for the most vulnerable. One such consequence is gentrification.</span></div><div style="font-family: Geneva, Arial, Helvetica, sans-serif; font-size: 12px; margin: 0px;"><span style="margin: 0px; padding: 0px; border: 0px; font-size: 13px;"><br></span></div><div style="font-family: Geneva, Arial, Helvetica, sans-serif; font-size: 12px; margin: 0px;"><span style="margin: 0px; padding: 0px; border: 0px; font-size: 13px;">Reaching the end of my comments, I come to the most important term that needs defining in the context of social practice; solidarity. Like participation, solidarity houses within it an a priori difference. One is not in solidarity despite difference but through it. The politicization of that difference in practice (versus exclusively in philosophical thought) affects how one assigns meaning to the social practices of artists and to the social practices of communities struggling for social reproduction and transformation. Solidarity orients one’s attention to lived relations, to crises, strategies, and tactics. Militancy, as the embodiment of solidarity, sheds the valences assigned to it by an imperial war machine. </span></div><div style="font-family: Geneva, Arial, Helvetica, sans-serif; font-size: 12px; margin: 0px;"><span style="margin: 0px; padding: 0px; border: 0px; font-size: 13px;"><br></span></div><br><blockquote style="padding-left: 5px; margin-left: 0px; border-left: #0000ff 2px solid; font-weight: normal; font-style: normal; text-decoration: none; font-size: 10pt; font-family: arial,sans-serif; color: black;">-----Original Message-----
<br>From: kyle mckinley <bicirider@gmail.com>
<br>Sent: May 1, 2016 8:17 PM
<br>To: empyre@lists.artdesign.unsw.edu.au
<br>Subject: [-empyre-] Welcome to May on EMPYRE: Social Practice and Social Reproduction
<br><br><div dir="ltr">____________________________________<br><br>Welcome to May, 2016 on –empyre soft-skinned space: <br><br>Social Practice and Social Reproduction: the politics of participatory art <br>Moderated by Kyle Lane-McKinley (US) with invited discussants <br><br>May 1 to 7th Week 1: Dont Rhine, Cara Baldwin<br>May 8th to 14th Week 2: Erin McElroy, Macon Reed, Miguel Elizalde<br>May 15th to 21st Week 3: Margaretha Haughwout, Margaret Rhee<br>May 22nd to 31tst Week 4: Michaela Leslie-Rule, Corrina Mehiel<br><br><br>Happy May Day everyone! And welcome to the May discussion. “Social Practice” has emerged as a useful, if contested, term to describe a variety of contemporary art practices which situate the audience as the medium or site of creativity. Pulling on tendencies within installation and performance art, anthropology, and anti-hierarchical political movements, among others, social practice sits alongside threads of new media production as inheritors of 20th century avant-garde experimentalism. At the same time, social practice has met with various criticisms: as a fad, a-political, utopian, white, erasing past efforts, and more. <br><br>In this month’s discussion we aim to interrogate what is meant by “social practice,” what the political efficacy of such practices might be, and what the responsibilities of various actors and institutions involved might be to one another. As the title for the discussion suggests, I am particularly invested in thinking through the relationship between socially practiced art and social reproduction, by which I mean the body of radical feminist thought that has roots in the Italian “Wages for Housework” movement of the 1970s. Theories of social reproduction are particularly applicable to the task of thinking through the problems of socially practiced on two fronts: they highlight questions of whose work is valorized as work (and whose goes unwaged) and they provide a framework for politicizing the embodied experience of previously naturalized (and invisible) labors. <br><br>It is all but meaningless to discuss the politics of social practice as an abstract proposition. Rather, that section of our discussion will take up examples of socially practiced artworks created in response to the crisis of housing, gentrification, and neo-colonialism. Living in California, as I do, this subject is always on the tip of every tongue, but it is increasingly clear that the phenomenon is global, if unevenly distributed. Thinking about gentrification and social practice is itself a bifurcated proposition which entails critically examining the complicity of artists and arts institutions in displacement while also taking seriously the idea that arts practice can meaningfully combat the seeming inevitability of dispossession. <br><br>Finally, the issues of gentrification and social practice lead to the inevitable questions of funding and of the particular needs that arts practitioners have for space(s). These questions point us to the rich history of critical spatial practice that Empyre represents on the one hand, and to tactical considerations for interfacing with institutions on the other. <div><br></div><div>I am honored to have been asked to help facilitate this urgent set of themes, and look forward to watching what emerges from this conversation and beyond.</div><div><br></div><div>in solidarity,</div><div>kyle<br><br><br>TO MAKE A POST TO THE SUBSCRIPTION LIST USE:<br><<a target="_blank" href="mailto:empyre@lists.artdesign.unsw.edu.au">empyre@lists.artdesign.unsw.edu.au</a>><br><br>TO ACCESS ARCHIVES USE THIS URL:<br><a target="_blank" href="http://lists.artdesign.unsw.edu.au/pipermail/empyre/">http://lists.artdesign.unsw.edu.au/pipermail/empyre/</a><br><br>TO ACCESS THE WEBSITE FROM THE CORNELL SERVER TO FIND OUT MORE ABOUT EMPYRE GO TO:<br><a target="_blank" href="http://empyre.library.cornell.edu">http://empyre.library.cornell.edu</a><br><br>Biographies:<br><br>Moderators: Kyle Lane-McKinley is an artist and an educator in Santa Cruz, California, where he lives with his partner Madeline Lane-McKinley, and their daughter Tuli. Kyle completed an MFA in Digital Art and New Media at UC Santa Cruz in 2010, where he continues to work as a lecturer, research associate, and as associate-director of the Social Practice Arts Research Center (SPARC at UCSC). Kyle's pedagogy is informed by his background in worker collectives, popular education projects, and grassroots social movements. His research interests include theories of representation and reification, critical spatial practice, revolutionary feminism, speculative futurism, and counter-cultural history. <br><br>Weekly Guests: <br><br>Dont Rhine (US) is a sound artist and popular educator. He co-founded the international sound art collective Ultra-red in 1994. For over twenty years Rhine has contributed to the collective’s many sound-based investigations, using sound as both medium and site of inquiry in relation to social justice organizing and political education. He is a volunteer community health educator with the needle-exchange program, L.A. Community Health Project (formerly Clean Needles Now), which he co-founded in 1992 while a member of the Los Angeles chapter of ACT UP (AIDS Coalition to Unleash Power). Dont attended the Whitney Independent Study Program in 1994-95 and in 2006 received his MFA from UCLA in Interdisciplinary Studio with artist, Mary Kelly. He is faculty co-chair of the low-residency visual art program at Vermont College of Fine Arts where he has taught part-time since 2007. Dont co-facilitates the Los Angeles branch of Ultra-red’s mentorship program, School of Echoes, and is co-founder and organizer in the L.A. Tenants Union. He lives in Hollywood.<br><br>Cara Michelle Carter (US) is a cultural producer, critic and consumer living in Santa Cruz. She is a founding member of the Journal of Aesthetics & Protest and a PhD candidate in the University of California, San Diego Visual Art, History, Theory and Criticism with an emphasis on collective social practices in the expanded field.<br><br>Miguel Elizalde (Spain / US) is a Spanish artist and educator living in Winona, Minnesota. Words were his first tool, later was video and nowadays is space & sound. Nowadays, most of his work is about the presence of infrasound in public spaces, however, I continue using any of those three tools depending of the project.<br>He also has 20 years of experience creating commercial communication campaigns for all type of brands and companies. At this time, he holds the position of Assistant Professor of Transmedia at Winona State University.<br><br>Erin McElroy (US) cofounded/directs the Anti-Eviction Mapping Project - a data visualization, data analysis, and oral history collective documenting the dispossession and resistance of Bay Area residents in the wake of the Tech Boom 2.0. As a doctoral candidate in Feminist Studies at UC Santa Cruz, Erin engages postsocialist analytics and critical race and ethnicity studies to study tech-induced racialized dispossession in the Silicon Valley region and in Romania. Erin holds a MA in Cultural Anthropology, is a scholar with the “Oakland School” of Urban Studies, and is an active organizer with the mutual aid collective Eviction Free San Francisco.<br><br>Macon Reed (US) is a multi-disciplinary artist, whose works probe the notion of optimism through queer and feminist lens, examining the lines between transformation and failure, trauma and healing, playfulness and escapism. Drawing on rituals of normative enculturation with regard to team socialization and competition, her work interrogates the limits of optimism and the point(s) at which cheerfulness becomes self-destructive, with a specific interest in physical performance and sculpture.<br><br>Margaretha Haughwout's (US) personal and collaborative practice operates at the intersections of technology and wilderness in the interest of imagining the possibilities for human and ecological survival. Her “practice of survival” works across many media, often complicating the division between the technological and the natural. Margaretha engages and resists legacies found in conceptual art, socially engaged art, and biological art to think about work that connects to biological systems and that reaches beyond scarcity models for existence. She works collaboratively with the Guerrilla Grafters, the Coastal Reading Group and Hayes Valley Farm. She is a senior lecturer at California College of the Arts and holds an MFA from the University of California Santa Cruz.<div><br>Corrina Mehiel (US) is an artist / art professor, with a background in community arts education. An adjunct professor at the Art Academy of Cincinnati, Mehiel teaches social practice and studio inquiry in the BFA and MAAE programs. She holds a BA from The Pennsylvania State University and an MFA from the University of Cincinnati. With roots in Seattle, Washington and Central Pennsylvania, Mehiel identifies as an American more than from a particular city or state. She spent the greater part of the last decade abroad, living in India, Australia and Dubai. Currently a studio assistant for the social practice pioneer Mel Chin, Mehiel is a collaborator for his Fundred Dollar Bill Project which aims to educate children and families to make a lead safe environment for all. In addition to teaching, maintaining a studio practice and collaborating on socially engaged projects, Mehiel is a graduate student in the Public Policy program at Portland State University, with research on policy shaping through artistic and civic engagement. <br><br>Michaela Leslie-Rule (US), MPA, MPH is an artist and social scientist. As the owner of Fact Memory Testimony <<a target="_blank" href="http://factmemorytestimony.com">http://factmemorytestimony.com</a>>, she has been fortunate to collaborate with ITVS’ Women & Girls Lead Global, Memphis is Music Initiative, Community Foundation for Monterey County, Nike and Firelight Foundations’ Grassroots Girls Initiative. Embedded in Leslie-Rule’s approach to advocacy, communication and strategy, is a commitment to elevating community voices through the use of storytelling. She is particularly interested in participatory methods for measuring and documenting social and organizational change, and has designed and implemented participatory evaluation, strategic planning and documentation projects on four continents. Leslie-Rule also uses a storytelling approach to design and produce multimedia advocacy campaigns. As the producer of Global Fund for Women’s IGNITE: Women Fueling Science and Technology global campaign and online storytelling project, she curated and oversaw the creation of five online galleries, designed and implemented a five-city international girls’ hackathon and oversaw a coordinated advocacy effort between the Fund and UN Women demanding equal access to and control of technology for women and girls worldwide. Leslie-Rule holds Masters of Public Health and Public Administration from the University of Washington with a focus on advocacy and multimedia storytelling in global health. She also earned a BFA from New York University’s Tisch School of the Arts. You can learn more about Leslie-Rule’s approach and see samples of her work at <a target="_blank" href="http://www.factmemorytestimony.com/">http://www.factmemorytestimony.com/</a><br><br>--<br><br></div></div></div>
</bicirider@gmail.com></blockquote><br><br><br></div></body></html>