Donna Haraway, ‘The Promises of Monsters: A Regenerative Politics for Inappropriate/d Others’, pp.63-124, in:
Haraway, D.J., 2004. The Haraway reader. Routledge, New York.
This essay’s theory is modest. Not a systematic overview, it is a little siting device in a long line of such craft tools. Such sighting devices have been known to reposition worlds for their devotees-and for their opponents. Optical instruments are subject-shifters. Goddess knows, the subject is being changed relentlessly in the late twentieth century.
I have high stakes in reclaiming vision from the technopornographers, those theorists of minds, bodies, and planets who insist effectively – i.e., in practice-that sight is the sense made to realize the fantasies of the phallocrats. I think sight can be remade for the activists and advocates engaged in fitting political filters to see the world in the hues of red, green, and ultraviolet, i.e., from the perspectives of a still possible socialism, feminist and anti-racist environmentalism, and science for the people.
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Ingold, Tim. 1999. ‘Tools for the Hand, Language for the Face’: An Appreciation of Leroi-Gourhan’s Gesture and Speech, Studies in History and Philosophy of Biology & Biomedical Science. 30: 4. 411–453
What might a more inclusive theory, that would accommodate the social and technical along with the zoological dimensions of human existence, look like?
To read Le Geste et la parole, however, is to realise that Leroi-Gourhan’s contribution extended far beyond questions of art and technology, to embrace a vision of human development of quite breathtaking scope.
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Patricia T Clough, 2008. The Affective Turn: Political Economy, Biomedia and Bodies. Theory, Culture & Society 25, 1–22.
The turn to affect points instead to a dynamism immanent to bodily matter and matter generally – matter’s capacity for self-organization in being in-formational – which, I want to argue, may be the most provocative and enduring contribution of the affective turn.
Yet, many of the critics and theorists who turned to affect often focused on the circuit from affect to emotion, ending up with subjectively felt states of emotion – a return to the subject as the subject of emotion. I want to turn attention instead to those critics and theorists who, indebted to Gilles Deleuze and Felix Guattari, Baruch Spinoza and Henri Bergson, conceptualize affect as pre-individual bodily forces augmenting or diminishing a body’s capacity to act and who critically engage those technologies that are // making it possible to grasp and to manipulate the imperceptible dynamism of affect.
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Michel Serres, ‘Metamorphosis’, pp.3-31, in:
Serres, M., Burks, R., 2011. Variations on the body. Univocal Publishing, Minneapolis.
Anxiety, of course, occurs before the climb, just as fear returns after; but during it, the body progresses, on the rock face, as though it were protected. But, leaving aside guides, pitons, ropes and partners, by what, by whom?
Stretch out your arms and legs: your twenty fingers and toes attain in space a large rectangular frame or a circle – your starfish, octopus or gibbon’s maximal hold on the world. Your active force and sensibility radiate at the extreme points of this figure.
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Allan Sekula, ‘The Body and the Archive’, pp.3-64, in:
October, Vol. 39 (Winter, 1986). MIT Press.
The sheer range and volume of photographic practice offers ample evidence of the paradoxical status of photography within bourgeois culture. The simultaneous threat and promise of the new medium was recognized at a very early date, even before the daguerreotype process had proliferated.
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Edgar Gómez Cruz, ‘Photo-genic Assemblages: Photography as a connective interface’, pp.228-242, in:
Gómez Cruz, E., Lehmuskallio, A. (Eds.), 2016. Digital photography and everyday life: empirical studies on material visual practices. Routledge, London ; New York.
Photography, as we have understood it for more than a century, has radically changed and we are still in the process of those changes becoming stabilised.
The opening point of this chapter is that digital photography is shaping different ‘assemblages of visuality’ (see Wise 2013) from those of its photo-chemical predecessor.
I understand ‘assemblage’ following Latour’s (1990) ideas of a fixed arrangement between technologies, practices and discourses.
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Haraway, Donna J. “Playing String Figures with Companion Species” in:
Haraway, D.J., 2016. Staying with the trouble: making kin in the Chthulucene. Duke University Press, Durham.
String figures are like stories; they propose and enact patterns for participants to inhabit, somehow, on a vulnerable and wounded earth. My multispecies storytelling is about recuperation in complex histories that are as full of dying as living, as full of endings, even genocides, as beginnings.
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Brahnam, S., Karanikas, M., Weaver, M., 2011. (Un)dressing the interface: Exposing the foundational HCI metaphor “computer is woman.” Interacting with Computers 23, 401–412. doi:10.1016/j.intcom.2011.03.008
This focus on dialogue—interaction with a ‘‘second person’’ interface—has eroded the boundaries separating human beings from machines, calling into question the uniqueness of human intelligence and the sacredness of human personality and identity.
What both metaphors fail to acknowledge is that computers are not simply tools or personas. They are complex. In our interaction with them, they define who we are.
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Judy Wajcman, ‘Metaphor and Materiality’, pp.102-130, in:
Wajcman, J., 2004. TechnoFeminism. Polity, Cambridge ; Malden, MA.
Technology is an intimate presence in our lives and increasingly defines who we are and how we live. Just as the typewriter and the automobile were icons of freedom for women in the discourse of modernity that presaged first-wave feminism, so cyberspace and cyborgs have become ubiquitous postmodern symbols for feminism today.
Women’s lives have changed irrevocably during the twentieth century, rendering traditional sex roles increasingly untenable.