Author: dorimentor

Final Project: doriwatch

Just as the most popular original cam girls’ websites (JenniCam, AnaCam, etc.) in the early ages of the Internet, DoriWatch, a channel featuring a series of live broadcasts, allows viewers access into the private space of one of the project’s creators, Dori Julian’s, bedroom on a daily basis. Viewers are able to watch and contact her in real-time through an online chat function, or by email.

The project aims to compare the differences between the public’s interests in making private space and bodies’ public on the web, during the rise of cam girls in the 1990’s, as opposed to now.The project also aims to understand the phenomenon of representing private space online through both a viewer’s and a broadcaster’s perspective.

Through this experimental social, media-based project, we have developed an informed standpoint on the “realness” and gradual banality of these unedited broadcasts.  The project explores issues of interest such as authenticity, the relationship between surveillance and self-surveillance, technology’s involvement in making such private content publicly available, etc.


Modern Day Camgirl: doriwatch

Don’t be afraid to live chat with Dori! We want to know your thoughts on the project, given your specific insight on the topics discussed in class which are explored throughout this live webcasting project (identity, self-surveillance, private space, public space, virtual space, etc.).


Blog Post 3: What the Removal of Rupi Kaur’s Photo Says About Our Society

Drawing on Rupi Kaur’s recent Instagram post displaying menstrual blood on her pants and bed, having been removed twice before being restored to her profile, the different bodies that are “allowed” to take up online space remain governed by minds (still) ruled by the asymmetrical gender norms established by our society.


As menstrual blood is something that women are meant to hide and “keep quiet” about, Rupi Kaur refused to pertain to that social norm, and chose instead to share the realities of womanhood by posting a photo considered explicit to Instagram. In a Facebook post that went viral this past weekend, Kaur explained her horror at the removal of the photo and her disbelief at the stigmatized notions surrounding menstruation, as demonstrated by the initial deletion of the photo.

The lack of self-surveillance represented by Kaur’s post, as it was non-conforming to what is expected and accepted by the dominant hegemony, exposed a truth that half of the world should be able to publicly identify with. Instead, for many, the notions of shame attached to menstruation lead to an initial reaction of rejection of that particular identity of the woman, as characterized by menstruation, displayed by Kaur.

Although Kaur is an “attractive” woman by most stereotypical standards: an able-bodied, fairly light-skinned young woman, her body was rejected from the public online space of Instagram because of the direct affiliation between her body and the period stains representing menstruation which remains a stigmatized topic.

What is fascinating about her post going viral is that these archaic notions surrounding menstruation are being confronted and discussed by those who have viewed, and shared, the photo. Dominant ideologies concerning menstruation that involve silence and shame, are now being criticized and re-conceptualized as empowering. In her Facebook post (which has 71 301 likes and 71 206 shares) Kaur encourages people to think of menstruation not as a disgusting bodily process but, rather, as “a source of life for our species,” considered holy by many civilizations. In this way, Kaur questions the mysogyny and patriarchy demonstrated by the people working at Instagram, and how these old-fashion ideals must be confronted with vigour.

One might even say that Kaur has become a micro-celebrity with this post. Characterized by the interaction she has with her followers online, she has inspired many to openly critique the negative reactions of those at Instagram, and of society at large. In fact Rupi continues to interact with her followers through a website that she has created which features a photo series of similar work: The photo series publicly displays the realities of her body in private space, dealing with the realities of the natural process of menstruation. Once again, through another online space, Kaur calls into question censorship, gender, and identity.

Do you think that Rupi’s work would have been as well received if it was placed in a public space such as a gallery rather than made public through an online space? Do you think that the fact that Rupi has an “attractive” body facilitated the acceptance and popularity of the post?

Blog Post 2—Re-orientation Exercise


In my previous blog post I had talked about how the lighthouse on the waterfront in Fredericton was one of my favorite spaces. When I pictured that spot I imagined that it was summer and that was sunny out because otherwise it normally would not be open to the public. This space is restricted to all bodies depending on season and weather conditions.
Aside from the limitations imposed by the weather, the lighthouse is also a space reserved for those who can afford the food at the restaurant inside the lighthouse. The food is fairly expensive so this space is therefore intended for an upper-middle class clientele. If there are tables available on the deck then anyone is welcome to sit in those empty chairs, but if there are customers’ looking for seats their presence takes priority over those that have not ordered any food.
Because this is a public space, those who do not respect typical dining rules are not welcome. For example, those entering the space that talk extremely loudly or cause a ruckus will sense other guest’s dismay by means of dirty looks and maybe even remarks. It is through these subtle actions that the dominant class (those with pre-determined amounts of money) shapes the body, orientation, embodiment, and lived experience of others frequenting the space. There is pressure for other guests to conform to the “normal” behaviors of this space from those dominating it because they re-produce and reinforce this behavior.
Although the regulation of the space is largely social, (the space is physically accessible to anyone thanks to a ramp and stairs) there are physical effects. Because of this “hierarchy” of guests, those who do not feel they are a part of this upper class might, for example, avoid the space entirely. Age, race, gender, sexual orientation, etc. are all factors by which these visitors judge whether or not they would be “qualified” to enter the space. In other words, individuals must assess whether or not they think they would be welcomed into the space (by entering unnoticed) based on who usually frequents the space.

This supposed social rejection or exclusion of certain people at the lighthouse is an example of the final third of Lefebvre’s triad: spatial practice of a society. Lefebvre explains that “in terms of social space, and of each member of a given society’s relationship to that space, this cohesion implies a guaranteed level of competence and a specific level of performance” (290). In other words, the typical lighthouse restaurant-goers conform to the behavior that is already practiced and reproduced there and end up reproducing that behavior which affects others (both usual clients and unusual guests).

Documentary: Exploring The lives of Those Affected by the Canadian Government’s Use of Security Certificates

One of this week’s assigned readings, “Canada’s Unwanted: Non-Citizens paid to leave, jailed without charge, die in secret” by Anna Paperny, reminded me of a documentary that Cinema Politica Concordia screened last semester.

“The Secret Trial 5” is a documentary that follows the lives of several individuals that spend years in prison without being charged with a crime or knowing exactly what they’re accused of. The film interogates the Canadian government’s use of security certificates, a tool that allows for indefinite detention without charges, based on evidence not revealed to the accused or their lawyers.

If any of you are interested here is a link to the trailer and more information about the project:

Students Take Part in Interactive Urban Culture Course

If anyone is interested this is an article about a group of university students who study urban culture and public space and took part in a course called ‘Iconic City: Dialectics between imaginary and materialities’. The article also mentions my part of the presentation from today (The relationships between the SI and Henri Lefebvre’s notion of space).

Blog Post 1: About Me

Hello, my name is Dori Julian. I’m from Fredericton, New Brunswick and am currently completing my second year of my Communication Studies undergraduate degree. I am very involved in Concordia’s community and am interested in the arts and culture community of Montreal as I volunteer for Fresh Paint Gallery, write for The Link, and work for Concordia as a Student Success Mentor.
I spend most of my time at school (either in class or at work), planning/working events for the gallery or work, interviewing, writing articles, hanging out with friends, and of course, watching New Girl or The Mindy Project, two of my favorite TV shows.
My goal for the class is to learn about different ways of thinking about bodies in relation to space. I also hope to develop my creativity and openness to new ideas as I engage with the course material and work through the assignments.
One of my favorite spaces is a lighthouse downtown, near the river flowing through my home town. This is one of my favorite spaces because there are usually some people walking by on the trail by the lighthouse, but not too many. In the summer, when it is sunny and warm, this space is a perfect spot to look across the river. It is a peaceful, beautiful space that makes me feel at home. It is ideal to be able-bodied in this space in order to walk around or sit down on the benches nearby. When the weather permits, I typically walk along the trail then have lunch on one of the benches.
Faculty make learning difficult by:
1. Not giving clear outlines of what is expected for assignments;
2. Speaking the entire lecture time without giving students a chance to discuss their ideas of the topic;
3. Shutting certain students opinions down when they do speak up in class;
4. Not giving enough feedback on assignments;
5. Not setting standard expectations for the entire class (ex: being “wishy-washy” about when and how assignments are due).
Faculty make it easy to learn by:
1. Setting realistic expectations for the weekly amount of work required;
2. Assigning engaging, creative projects and assignments;
3. When going over assigned readings, giving a quick, concise summary/break-down of what should be taken away from each reading;
4. Breaking up lecture time with discussion, activities, videos, etc.;
5. Giving clear outlines of what is expected for each assignment ahead of time.