This paper focuses on two recurring cinematic spaces of water: the sea and shore and the furo (Japanese bathroom) in the films of the contemporary Japanese auteur Kore-eda Hirokazu. 1 To develop a somatechnical perspective to address the dynamics between water, bodies and technologies, I deploy the notion of ‘the domestication of water’ ( Macauley 2005 ), denoting the process of how humans make a constant effort to maintain water in a state between liquidity and stillness. This lived interaction between humans and water can illuminate the leitmotif of kinship through the two cinematic spaces. In so doing, I firstly focus on the final shots of the sea and shore from Maborosi (1995) and Our Little Sister (2015). The mise-en-scène of the sea and the shore can create a vision of stillness on the surface but also a sense of liquidity underneath, illustrating that kinship is an ongoing process which can never be shaped but is constantly being re-shaped. Following the flow of water, I then observe the space of the furo in Still Walking (2008) and Like Father, Like Son (2013). By examining two bath routines, co-bathing with children and bathing-in-turn, I argue that the water in furo is by no means in a still state but rather is always circulating between different bodies. The circulation can not only help nurture the parent-child intimacy through co-bathing, but it also enables a theatrical stage on which to convey conflicts of kinship via bathing-in-turn. In conclusion, by further linking the representation of water and kinship in Kore-eda’s cinema, I propose the idea of liquid kinship: a lived process of making rather than a static state of being. The domestication of water between stillness and liquidity epitomises this liquid form of kinship.
本文主要关注当代日本导演是枝裕和电影中两个反复出现的水电影空间:海洋和海岸以及furo(日本浴室)。1为了从身体技术的角度来解决水、身体和技术之间的动态关系，我采用了“水的驯化”(Macauley 2005)的概念，表示人类如何不断努力将水保持在流动和静止之间的过程。这种人与水之间的活生生的互动可以通过两个电影空间来阐明亲属关系的主题。在此过程中，我首先关注了《马博罗西》(1995)和《我们的小妹妹》(2015)中最后的海洋和海岸镜头。大海和海岸的场景可以创造一种表面上静止的视觉，但也可以创造一种流动的感觉，说明亲情是一个持续的过程，永远不会被塑造，但不断被重新塑造。随着水的流动，我在《Still Walking》(2008)和《Like Father, Like Son》(2013)中观察了furo的空间。通过研究两种洗澡方式，与孩子一起洗澡和轮流洗澡，我认为，水中的水绝不是静止的，而是在不同的身体之间循环。这种循环不仅可以通过共同洗澡来培养亲子的亲密关系，还可以通过轮流洗澡来传达亲属关系的冲突。总之，通过进一步将是枝裕和电影中水和亲属关系的表现联系起来，我提出了液态亲属关系的概念:一种活生生的制造过程，而不是一种静态的存在状态。水在静止和流动之间的驯化体现了这种液态的亲属关系。
{"title":"Liquidity and Stillness: The Sea and Shore and the <i>Furo</i> in Kore-eda Hirokazu’s Cinema","authors":"Yue Su","doi":"10.3366/soma.2023.0401","DOIUrl":"https://doi.org/10.3366/soma.2023.0401","url":null,"abstract":"This paper focuses on two recurring cinematic spaces of water: the sea and shore and the furo (Japanese bathroom) in the films of the contemporary Japanese auteur Kore-eda Hirokazu. 1 To develop a somatechnical perspective to address the dynamics between water, bodies and technologies, I deploy the notion of ‘the domestication of water’ ( Macauley 2005 ), denoting the process of how humans make a constant effort to maintain water in a state between liquidity and stillness. This lived interaction between humans and water can illuminate the leitmotif of kinship through the two cinematic spaces. In so doing, I firstly focus on the final shots of the sea and shore from Maborosi (1995) and Our Little Sister (2015). The mise-en-scène of the sea and the shore can create a vision of stillness on the surface but also a sense of liquidity underneath, illustrating that kinship is an ongoing process which can never be shaped but is constantly being re-shaped. Following the flow of water, I then observe the space of the furo in Still Walking (2008) and Like Father, Like Son (2013). By examining two bath routines, co-bathing with children and bathing-in-turn, I argue that the water in furo is by no means in a still state but rather is always circulating between different bodies. The circulation can not only help nurture the parent-child intimacy through co-bathing, but it also enables a theatrical stage on which to convey conflicts of kinship via bathing-in-turn. In conclusion, by further linking the representation of water and kinship in Kore-eda’s cinema, I propose the idea of liquid kinship: a lived process of making rather than a static state of being. The domestication of water between stillness and liquidity epitomises this liquid form of kinship.","PeriodicalId":43420,"journal":{"name":"Somatechnics","volume":"37 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135004110","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
While most Canadians have access to potable drinking water, those without are overwhelmingly Indigenous people living on reserves, constituting a racialised form of water injustice. Suicide rates for First Nations are also disproportionate to the general population, but lessor known is the relationship of suicide in communities experiencing long-term drinking water advisories. In this paper, drawing on Indigenous feminist conceptualisations of affect, I consider the affective relationship between long-term water advisories, suicide, and hydrocolonialism. I argue that long-term drinking water advisories are a kind of somatechnic that elucidate the hydrocolonial and necropolitical states of exception that threaten and devalue Indigenous life. Under such somatechnics, I work with the analytic of felt theory, to understand the hydrocolonial affects at play in the prevalence of suicide in communities experiencing long-term water advisories. By making felt the necropolitical connections between bodies of water and the bodies of suicidal people, these affects upend dominant claims about suicide, and invite us towards more fulsome structural analyses of suicide, more agentic renderings of suicidal people, and more politically enlivened ways of addressing suicide. Finally, hydrocolonial affects invite consideration of the possibilities of care and resistance for human and older-than-human relations. In summary, this paper theorises the hydrocolonial affects produced by dead and dying water and suicidal people as a profound challenge to the settler colonial state, and an invitation to produce futures committed to liveability.
{"title":"Hydrocolonial Affects: Suicide and the Somatechnics of Long-term Drinking Water Advisories in First Nations in Canada","authors":"Jeffrey Ansloos","doi":"10.3366/soma.2023.0403","DOIUrl":"https://doi.org/10.3366/soma.2023.0403","url":null,"abstract":"While most Canadians have access to potable drinking water, those without are overwhelmingly Indigenous people living on reserves, constituting a racialised form of water injustice. Suicide rates for First Nations are also disproportionate to the general population, but lessor known is the relationship of suicide in communities experiencing long-term drinking water advisories. In this paper, drawing on Indigenous feminist conceptualisations of affect, I consider the affective relationship between long-term water advisories, suicide, and hydrocolonialism. I argue that long-term drinking water advisories are a kind of somatechnic that elucidate the hydrocolonial and necropolitical states of exception that threaten and devalue Indigenous life. Under such somatechnics, I work with the analytic of felt theory, to understand the hydrocolonial affects at play in the prevalence of suicide in communities experiencing long-term water advisories. By making felt the necropolitical connections between bodies of water and the bodies of suicidal people, these affects upend dominant claims about suicide, and invite us towards more fulsome structural analyses of suicide, more agentic renderings of suicidal people, and more politically enlivened ways of addressing suicide. Finally, hydrocolonial affects invite consideration of the possibilities of care and resistance for human and older-than-human relations. In summary, this paper theorises the hydrocolonial affects produced by dead and dying water and suicidal people as a profound challenge to the settler colonial state, and an invitation to produce futures committed to liveability.","PeriodicalId":43420,"journal":{"name":"Somatechnics","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135005510","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In the Eastern James Bay Cree Nation, a region known as Eeyou Istchee, water (neebee/Nîpîy) is a multiplicity of things and qualities: it is quantified as potentials in the reservoirs of HydroQuébec’s hydroelectric power generating system; it is also a mobile element in the hydrological cycle, the platform for colonial mobilities and the past trapping economy; as well as an Eenouch (Cree) symbolic force and a liquid that saturates the James Bay landscape. This paper proposes a somatechnics of waterbodies. It considers a regional situation in which nature is both technological and biophysical. Waters appear as a hydrocommons that saturates the biophysics, culture, and economies of the Eenouch. Both humans and non-humans are amenable to a somatechnical lens: both are bodies of water. Our paper explores the potential for extending somatechnics beyond organic bodies and what this reveals about all bodies as a category in cross-cultural perspective – their abilities to enter into spatiotemporal relations of kinship, agency, recalcitrance, affect, virtuality, and materiality.
在东詹姆斯湾克里族，一个被称为Eeyou Istchee的地区，水(neebee/ n p y)是多种事物和品质的综合体:它被量化为hydro qu忧郁的水力发电系统的蓄水池的潜力;它也是水文循环中的一个流动要素，是殖民地流动和过去的陷阱经济的平台;还有一种伊诺奇(克里语)的象征力量和一种浸透了詹姆斯湾景观的液体。本文提出了一种水体体技术。它考虑了一种区域情况，其中自然既是技术的又是生物物理的。水似乎是一种水公地，它渗透在伊诺奇的生物物理、文化和经济中。人类和非人类都可以用身体技术的视角来看待:两者都是水体。我们的论文探讨了将身体技术扩展到有机身体之外的潜力，以及这在跨文化视角下对所有身体的揭示——它们进入亲属关系、代理、抗拒、情感、虚拟和物质性的时空关系的能力。
{"title":"Eeyou Istchee Bodies of Water","authors":"Rob Shields, Juan David Guevara-Salamanca","doi":"10.3366/soma.2023.0402","DOIUrl":"https://doi.org/10.3366/soma.2023.0402","url":null,"abstract":"In the Eastern James Bay Cree Nation, a region known as Eeyou Istchee, water (neebee/Nîpîy) is a multiplicity of things and qualities: it is quantified as potentials in the reservoirs of HydroQuébec’s hydroelectric power generating system; it is also a mobile element in the hydrological cycle, the platform for colonial mobilities and the past trapping economy; as well as an Eenouch (Cree) symbolic force and a liquid that saturates the James Bay landscape. This paper proposes a somatechnics of waterbodies. It considers a regional situation in which nature is both technological and biophysical. Waters appear as a hydrocommons that saturates the biophysics, culture, and economies of the Eenouch. Both humans and non-humans are amenable to a somatechnical lens: both are bodies of water. Our paper explores the potential for extending somatechnics beyond organic bodies and what this reveals about all bodies as a category in cross-cultural perspective – their abilities to enter into spatiotemporal relations of kinship, agency, recalcitrance, affect, virtuality, and materiality.","PeriodicalId":43420,"journal":{"name":"Somatechnics","volume":"106 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135005503","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Somatechnics of Water: Part 1","authors":"Holly Eva Katherine Randell-Moon","doi":"10.3366/soma.2023.0400","DOIUrl":"https://doi.org/10.3366/soma.2023.0400","url":null,"abstract":"","PeriodicalId":43420,"journal":{"name":"Somatechnics","volume":"37 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135005504","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"List of Contributors","authors":"","doi":"10.3366/soma.2023.0406","DOIUrl":"https://doi.org/10.3366/soma.2023.0406","url":null,"abstract":"","PeriodicalId":43420,"journal":{"name":"Somatechnics","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135005501","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In recent years, more media attention has been given to the routinisation of police strip-searches in Canada. As with many violent policing practices, the routine use of strip-searching disproportionately affects Black, Indigenous, and racialised women. This article investigates the legal archives of two cases of the strip-searching of Black women and girls in Canada – the case of S.B. who was violently strip-searched by four Ottawa police officers in 2008 and the case of three 12-year-old girls who were strip-searched in a Halifax public school in 1995. This article demonstrates that the exposure of Black women’s and girls’ bodies that occurs in the strip-search encounter is part of the matrix of gendered anti-Blackness. In tracing the moves that the state makes to erase the sexualised violence of the strip-search, this paper suggests that the strip search be understood as a form of gendered anti-Black terror – a technology of violence that functions to evict Black women and girls from personhood. The disciplinary technology of the strip-search is one way in which the state exercises its sovereign power and marks Black women’s and girls’ bodies as violable bodies. I argue that the weaponisation of bodily exposure has a long legacy, and as a highly visual and spectacular encounter, the strip-search cases point to a particular kind of persistent corporeal violence.
{"title":"Violent Exposures, Exposing Violence: Gender, Anti-Blackness and the Strip-Searching of Black Women and Girls in Canada","authors":"S. Latty","doi":"10.3366/soma.2023.0394","DOIUrl":"https://doi.org/10.3366/soma.2023.0394","url":null,"abstract":"In recent years, more media attention has been given to the routinisation of police strip-searches in Canada. As with many violent policing practices, the routine use of strip-searching disproportionately affects Black, Indigenous, and racialised women. This article investigates the legal archives of two cases of the strip-searching of Black women and girls in Canada – the case of S.B. who was violently strip-searched by four Ottawa police officers in 2008 and the case of three 12-year-old girls who were strip-searched in a Halifax public school in 1995. This article demonstrates that the exposure of Black women’s and girls’ bodies that occurs in the strip-search encounter is part of the matrix of gendered anti-Blackness. In tracing the moves that the state makes to erase the sexualised violence of the strip-search, this paper suggests that the strip search be understood as a form of gendered anti-Black terror – a technology of violence that functions to evict Black women and girls from personhood. The disciplinary technology of the strip-search is one way in which the state exercises its sovereign power and marks Black women’s and girls’ bodies as violable bodies. I argue that the weaponisation of bodily exposure has a long legacy, and as a highly visual and spectacular encounter, the strip-search cases point to a particular kind of persistent corporeal violence.","PeriodicalId":43420,"journal":{"name":"Somatechnics","volume":"13 2","pages":""},"PeriodicalIF":0.9,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41268918","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This essay engages with pandemic-era artistic practice, asking how digital technologies are being taken up out of desires and attempts to be intimate with, proximate to, ‘contemporary’ with one another. Drawing on theories of pandemic temporality and on media analysis approaches that highlight the digital’s materiality, affectivity, and self-reflexivity, we think with three first-person, visual-digital works composed, circulated, and archived during the COVID-19 pandemic: Ella Comberg’s research creation photo-essay on Google Street View, titled ‘Eye of the Storm,’ Bo Burnham’s Netflix streaming special Inside, and Richard Fung’s short documentary film ‘[…],’ shot on iPad. We suggest that these visual-digital pieces open onto the promises and limitations of mediated intimacies – with others, with ourselves, and with the space-time of lockdown. Their commitments to texture and tension draw out the ‘impurity’ ( Shotwell 2016 ) of our digital lifeworlds, while also attuning us to possibilities for ‘waiting with’ ( Baraitser and Salisbury 2020 ) one another amidst what Nadine Chan (2020) calls the ‘distal temporalities’ of late capitalism. To deliberately dwell in stuck or looped time and linger over the touch of distant, distal others – or what we call asynchronous encounters – is not to indulge or excuse the ways in which contemporary media platforms capitalise on affective and creative labour or surveil digital lifeworlds. Instead, we posit that the textures, glitches, and flickering bonds of mediated intimacy may offer new, multiple, reflexive and recursive pathways ‘toward inhabited futures that are not so distal’ ( Chan 2020 : 13.6).
{"title":"Asynchronous Encounters: Artistic Practice and Mediated Intimacy in the Space-Time of Lockdown","authors":"Emily Goodwin, S. Brophy","doi":"10.3366/soma.2023.0393","DOIUrl":"https://doi.org/10.3366/soma.2023.0393","url":null,"abstract":"This essay engages with pandemic-era artistic practice, asking how digital technologies are being taken up out of desires and attempts to be intimate with, proximate to, ‘contemporary’ with one another. Drawing on theories of pandemic temporality and on media analysis approaches that highlight the digital’s materiality, affectivity, and self-reflexivity, we think with three first-person, visual-digital works composed, circulated, and archived during the COVID-19 pandemic: Ella Comberg’s research creation photo-essay on Google Street View, titled ‘Eye of the Storm,’ Bo Burnham’s Netflix streaming special Inside, and Richard Fung’s short documentary film ‘[…],’ shot on iPad. We suggest that these visual-digital pieces open onto the promises and limitations of mediated intimacies – with others, with ourselves, and with the space-time of lockdown. Their commitments to texture and tension draw out the ‘impurity’ ( Shotwell 2016 ) of our digital lifeworlds, while also attuning us to possibilities for ‘waiting with’ ( Baraitser and Salisbury 2020 ) one another amidst what Nadine Chan (2020) calls the ‘distal temporalities’ of late capitalism. To deliberately dwell in stuck or looped time and linger over the touch of distant, distal others – or what we call asynchronous encounters – is not to indulge or excuse the ways in which contemporary media platforms capitalise on affective and creative labour or surveil digital lifeworlds. Instead, we posit that the textures, glitches, and flickering bonds of mediated intimacy may offer new, multiple, reflexive and recursive pathways ‘toward inhabited futures that are not so distal’ ( Chan 2020 : 13.6).","PeriodicalId":43420,"journal":{"name":"Somatechnics","volume":" ","pages":""},"PeriodicalIF":0.9,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44604215","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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