Sophie Maddocks

Dr Noah Amir Arjomand

The Audience in Arkansas: How fixers shape global news production in Turkey, Syria and Mexico

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The Audience in Arkansas: How fixers shape global news production in Turkey, Syria and Mexico

How Climate News Framing Impacts Readers

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How Climate News Framing Impacts Readers

Infographic titled “AI Agents 101” from the Center for Media at Risk. At the top, colorful abstract waves frame the header. Below, cartoon-style robot illustrations appear throughout the design. A section labeled “What Are AI Agents?” explains that an AI agent is a system that perceives an environment, makes decisions, and takes autonomous actions to achieve goals. Additional text defines agents as technology that simulates human learning and as entities that act on behalf of another. Two side-by-side boxes compare Early AI and AI Now. Early AI: stand-alone models; simple rule‑based systems; followed fixed “if‑then” instructions; could not handle ambiguity; used predefined logic; required manual updates. AI Now: compound systems; combine models with tools, memory, and feedback loops; alternate between reasoning (Think) and taking actions (React); display adaptive, interactive behavior. A mid-page section notes that using Amazon services means interacting with agentic AI systems. A small technical diagram appears beside this text. Another box lists sectors that use AI agents most actively, including: software engineering; customer service and e‑commerce; finance and accounting; cybersecurity; marketing and copywriting; academic research. At the bottom, a section labeled “Components of an AI Agent System” explains that AI agents coordinate real‑world tasks and may include goal‑directed technologies, large language models, tools (such as calculators, web search, or databases), and memory systems. Small robot illustrations line the bottom of the graphic.

AI Agents 101

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AI Agents 101

Stock image of an art gallery with blue highlights on each art work. Image is abstract.

Cultural Memory at Risk: The Global Crackdown on Museums and Memorials

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Cultural Memory at Risk: The Global Crackdown on Museums and Memorials

Journalism in Africa: What the Global North Can Learn from the Global South

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Journalism in Africa: What the Global North Can Learn from the Global South

A vertically oriented infographic titled “Cross‑Border Digital Security for researchers & journalists.” It is divided into four sections: What to Expect, Before Traveling, At the Border, and Secondary Screening. The design uses teal, purple, black, and grey accents, with icons for search, devices, and borders. Section 1: What to Expect A box with two subsections: Basic search: Manual search of information on your devices. Advanced search: Use of external equipment to forensically analyze and copy data. A dotted line surrounds a grey bubble stating: “Information solely stored in the cloud cannot legally be searched.” Section 2: Before Traveling A bulleted list: Update software Create strong passwords Deactivate TouchID & FaceID Backup devices to the cloud Log out of email & social media accounts Delete sensitive content Clear “Recently Deleted” Put sensitive apps in a password‑protected folder Encrypt laptop using BitLocker or FileVault Print travel documents Delete sensitive public posts on social media Bring a travel phone instead of your usual device Ensure someone knows your port‑of‑entry location Consider temporarily suspending work accounts Print out your attorney’s contact details Section 3: At the Border Guidance for device handling: Disable cellular and Wi‑Fi network access Keep your device in airplane mode Turn off device before going through customs To the right is an illustration of a smartphone and a note saying: “Decide in advance whether you will unlock your device or provide the passcode for a search.” Section 4: Secondary Screening A bulleted list: Be polite and try not to escalate the situation Do not lie, but do not offer unrequested information If you choose to unlock your device, ask to type the passcode yourself If your device is seized, ask for a custody receipt with name and contact for the supervising officer In an advanced search, document all details for potential legal action (names, badge numbers, equipment used, changes to your device or data)

Cross-Border Digital Security for researchers and journalists

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Cross-Border Digital Security for researchers and journalists

A two-page layout combines quotations about abolition, incarceration, and survival with historical text and a contemporary photograph. Left side: At the top left, the sentence “Abolition is not absence, it is presence.” appears in plain black text. Below it, another quote reads: “Being in here, death always feels imminent. I have to manufacture hope. And the way I manufacture hope is by writing music.” attributed to James “JJ88” Jacobs, Songs from the Hole. Further down is a quote from Ruth Wilson Gilmore: “What the world will become already exists in fragments and pieces, experiments and possibilities.” At the bottom left is a large photograph of a young person outdoors in a prison yard. They wear a white T-shirt and have short twisted braids that extend upward. Their arms are outstretched as they move, with a chain-link fence topped with razor wire and prison watchtowers visible in the background. Right side: At the top is a passage printed in an old book layout with the heading “XXI. The Loophole of Retreat.” Next to it is a quote from Harriet Jacobs’s Incidents in the Life of a Slave Girl: “But I was not comfortless. I heard the voices of my children. There was joy and there was sadness in the sound. It made my tears flow.” Below, additional text from Jacobs describes being confined in a tiny, airless garret and hearing the noises of her children while suffering through total darkness. The stacked quotations emphasize enclosure, survival, and the emotional experience of confinement.

Hemmed in, but not quite: An interview with Songs from the Hole Documentary Team

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Hemmed in, but not quite: An interview with Songs from the Hole Documentary Team

Poster Text Research Questions ● How do Black women using #ProtectBlackWomen on Instagram navigate the intersectionality of their gender and racial identities while discussing domestic and sexual violence occurring within Black communities? ● Are Black women challenging the culture of dissemblance within #ProtectBlackWomen discourse on Instagram? If so, how do we see dissemblance challenged and/or addressed in their posts? Abstract This study explores Black women’s online discussions of intraracial, gender–based violence through a study of the hashtag #ProtectBlackWomen on Instagram. Using the theoretical framework of historian Darlene Clark Hine’s culture of dissemblance, I aimed to understand how Black women online navigate conversations about victimhood while facing intra–community needs for protection from white supremacy. The culture of dissemblance describes how Black women maintain silence around their experiences of sexual and domestic violence, sexuality, sexual desire, and their inner lives as a form of self protection. Methodology ● Semi–structured, in depth interviews with 5 Black women and femmes familiar with #ProtectBlackWomen ● Critical discourse analysis of 44 Instagram posts relevant to #ProtectBlackWomen from 2020-2021 Thematic findings: Instagram 1. Demanding accountability from Black men/Black communities 2. Drawing parallels between state and interpersonal violence 3. Empowerment and mutual support among Black women Thematic findings: Interviews 1. #ProtectBlackWomen as a call to everyone 2. Centering Black women’s voices through the hashtag 3. Empowerment and mutual support among Black women Conclusion Through #ProtectBlackWomen, Black women have sought to break the patterns of silence that limited their ability to discuss intracommunity violence to broad audiences. Instead of allowing secrecy to define Black women’s experiences of gender-based violence as a form of self–protection, #ProtectBlackWomen posts use disclosure and education to resist harmful images and demand change.

Protect Black Women

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Protect Black Women

This image shows two individuals in a side-by-side format. Left: j. Siguru Wahutu, wearing glasses and a plaid blazer with red accents, standing outdoors with a blurred urban cityscape in the background. Right: Arwa Mahdawi wearing a navy top with a turquoise beaded neckline, standing indoors against a brick wall.

Center for Media at Risk Welcomes New Scholar and Practitioner in Residence

Center for Media at Risk Welcomes New Scholar and Practitioner in Residence

Image of James Salanga standing in front of a white wooden wall with red hair, glasses, and wearing a white mask. They are wearing a white top with a black strap visible, perhaps from a cross body bag. They are looking away from the camera at an angle. Photo by Abby Mahler.

Disability, Solidarity and Possibility

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Disability, Solidarity and Possibility