{"title":"Calculating Couples: Computing Intimacy and 1980s Romance Software","authors":"Reem Hilu","doi":"10.1215/02705346-10654941","DOIUrl":null,"url":null,"abstract":"Abstract In the 1980s, as the market for computing in the home was still emerging, a category of software arose that promised computer-mediated experiences of romance and sex. These programs, which this essay is calling “romance software,” drew on popular psychological and therapeutic discourses to offer couples advice for more satisfying relationships while also managing their interactions with the computer as an intimate or romantic activity. This essay argues that romance software employed the then novel home computer as a tool that could help mediate relational and communication ideals and bolster the heterosexual couple in the context of changing expectations for relationships in the 1980s. Romance software attempted to instantiate computing intimacy — referring not only to the application of computational methods to the management of relationships but also to the romantic or erotic experience of a couple using computers together. Although they amounted to a minor subset of the software introduced during the decade, these programs envisioned computing in the home as a technology to mediate companionate relationships. Romance software demonstrates that some software companies in the 1980s conceived of personal computer users not only as abstracted masculine individuals but rather addressed users within their roles in companionate relationships, in this case as part of a couple. These programs proposed methods through which computing could be used to assist in creating better relationships for couples that had adopted computers into their homes.","PeriodicalId":44647,"journal":{"name":"CAMERA OBSCURA","volume":null,"pages":null},"PeriodicalIF":0.1000,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"CAMERA OBSCURA","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1215/02705346-10654941","RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"FILM, RADIO, TELEVISION","Score":null,"Total":0}
引用次数: 0
Abstract
Abstract In the 1980s, as the market for computing in the home was still emerging, a category of software arose that promised computer-mediated experiences of romance and sex. These programs, which this essay is calling “romance software,” drew on popular psychological and therapeutic discourses to offer couples advice for more satisfying relationships while also managing their interactions with the computer as an intimate or romantic activity. This essay argues that romance software employed the then novel home computer as a tool that could help mediate relational and communication ideals and bolster the heterosexual couple in the context of changing expectations for relationships in the 1980s. Romance software attempted to instantiate computing intimacy — referring not only to the application of computational methods to the management of relationships but also to the romantic or erotic experience of a couple using computers together. Although they amounted to a minor subset of the software introduced during the decade, these programs envisioned computing in the home as a technology to mediate companionate relationships. Romance software demonstrates that some software companies in the 1980s conceived of personal computer users not only as abstracted masculine individuals but rather addressed users within their roles in companionate relationships, in this case as part of a couple. These programs proposed methods through which computing could be used to assist in creating better relationships for couples that had adopted computers into their homes.
期刊介绍：
Since its inception, Camera Obscura has devoted itself to providing innovative feminist perspectives on film, television, and visual media. It consistently combines excellence in scholarship with imaginative presentation and a willingness to lead media studies in new directions. The journal has developed a reputation for introducing emerging writers into the field. Its debates, essays, interviews, and summary pieces encompass a spectrum of media practices, including avant-garde, alternative, fringe, international, and mainstream. Camera Obscura continues to redefine its original statement of purpose. While remaining faithful to its feminist focus, the journal also explores feminist work in relation to race studies, postcolonial studies, and queer studies.
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