Pub Date : 2021-07-01DOI: 10.1177/01417789211006141
Oana Bǎluțǎ
The mainstream discourse on the communist regime, which imagines that people could only have experienced suffering, converges with liberal ‘end of history’ narratives that celebrate the unique virtues of capitalism and liberal democracy and are relatively silent about growing inequalities and the dismantling of social benefits. Looking at the everyday lives of women and men as Jill Massino does in Ambiguous Transitions: Gender, the State, and Everyday Life in Socialist and Postsocialist Romania, building a narrative from their experiences and understanding other aspects of what it meant to live under communism—to go to work, have a family, go to parties, enjoy holidays and genuinely connect with other human beings—does not mean that one ignores lived injustices, disregards people’s suffering, or legitimises the communist regime.
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Pub Date : 2021-07-01DOI: 10.1177/01417789211016438
Sara Shroff
In June 2016, Qandeel Baloch, a 26-year-old Pakistani social media star, was murdered. Her death sparked both public outrage and a policy debate around ‘honour killing’, digital rights and sex-positive sexuality across Pakistan and its diasporas. Qandeel challenged what constitutes a proper Pakistani woman, an authentic Baloch and a respectable digital citizen. As a national sex symbol, she failed at the gendered workings of respectable heterosexuality, and during her short lifetime she optimised this failure and public fetish as a technologically mediated social currency (clicks, hashtags, comments, likes, reposts) to build a transnational celebrity brand. I centre Qandeel Baloch’s life and afterlives to think through the economic entanglements of honour, racialised ethnicity, coloniality, sexual violence and social media at the intersections of globalised anti-Blackness and honourable brownness as a matter of global capital. Within these complex registers of coloniality, Qandeel’s life and brutal murder necessitate a rethinking of categories of racialised ethnicity (Baloch), sexual labour (racial capital) and social media (digitality) as vectors of value for capitalism and nationalism. By centring Qandeel, I define honour as a form of racialised property relations. This rereading of honour, as an economic metric of heteropatriarchy, shifts my lens of honour killing from a crime of culture to a crime of property. Women’s honour functions as a necrocapitalist technology that constructs female and feminine bodies as the debris of heterosexual empire through racialised, gendered and sexualised property relations. These relations and registers of honour get further complicated by social media currency and discussions around digital rights, privacy and freedom of expression. Honour is, therefore, the economic management of sexual morality produced through race, religion and imperialism.
{"title":"Bold Women, Bad Assets: Honour, Property and Techno-Promiscuities","authors":"Sara Shroff","doi":"10.1177/01417789211016438","DOIUrl":"https://doi.org/10.1177/01417789211016438","url":null,"abstract":"In June 2016, Qandeel Baloch, a 26-year-old Pakistani social media star, was murdered. Her death sparked both public outrage and a policy debate around ‘honour killing’, digital rights and sex-positive sexuality across Pakistan and its diasporas. Qandeel challenged what constitutes a proper Pakistani woman, an authentic Baloch and a respectable digital citizen. As a national sex symbol, she failed at the gendered workings of respectable heterosexuality, and during her short lifetime she optimised this failure and public fetish as a technologically mediated social currency (clicks, hashtags, comments, likes, reposts) to build a transnational celebrity brand. I centre Qandeel Baloch’s life and afterlives to think through the economic entanglements of honour, racialised ethnicity, coloniality, sexual violence and social media at the intersections of globalised anti-Blackness and honourable brownness as a matter of global capital. Within these complex registers of coloniality, Qandeel’s life and brutal murder necessitate a rethinking of categories of racialised ethnicity (Baloch), sexual labour (racial capital) and social media (digitality) as vectors of value for capitalism and nationalism. By centring Qandeel, I define honour as a form of racialised property relations. This rereading of honour, as an economic metric of heteropatriarchy, shifts my lens of honour killing from a crime of culture to a crime of property. Women’s honour functions as a necrocapitalist technology that constructs female and feminine bodies as the debris of heterosexual empire through racialised, gendered and sexualised property relations. These relations and registers of honour get further complicated by social media currency and discussions around digital rights, privacy and freedom of expression. Honour is, therefore, the economic management of sexual morality produced through race, religion and imperialism.","PeriodicalId":47487,"journal":{"name":"Feminist Review","volume":null,"pages":null},"PeriodicalIF":1.8,"publicationDate":"2021-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41657080","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-07-01DOI: 10.1177/01417789211020249
N. Purewal, Jennifer Ung Loh
Feminist studies remains mired in coloniality. While the formal transfer from European empires to independent nation states appeared to mark a transition away from direct domination, rule and subjugation, continuities exist in the contemporary that have been strikingly reproduced through feminist alliances and loyalties with the new/old world order in line with the directives of capitalism, neoliberalism and nationalism. By positing that feminist studies has been both implicit and complicit in coloniality over time, this themed issue contests the notion of ‘post’colonial as ‘past’colonial, and instead recognises coloniality as the colonial past and present (Gregory, 2004). Thus, coloniality reflects a longue durée that requires a recognition not only of continuity but of epistemic violence and the ongoing hegemony of the coloniality of power (Quijano, 2000, 2007). Sylvia Wynter (2003, p. 262) reminds us that the empirical outcomes of ‘the rise of Europe’ and its centring of itself within world civilisational narratives enabled and justified African enslavement, Latin American and other settler colonial projects of conquest and Asian subjugation. This is what Wynter (2003, p. 263) identifies as ‘the master code of symbolic life and death’, hinged on the notion of differential/hierarchical degrees of rationality based on distance or proximity to the apex of Western knowledge and power. Feminist studies, in its proximate positionality, like other academic fields, has been implicit and complicit with the modern episteme of coloniality by envisaging a feminism that can operate within the coloniality of power rather than viewing the dismantling of its tools and edifice as a necessary step for epistemic change. As Audre Lorde so resoundingly warns:
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Pub Date : 2021-07-01DOI: 10.1177/01417789211006149
Delaney Mitchell
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Pub Date : 2021-07-01DOI: 10.1177/01417789211016490
N. Kaul
This article identifies the colonial imperative of ‘we must develop them, with or without their consent’, which is used by the Indian state in order to dominate Kashmiri Muslims, and argues that this notion of development combines patriarchal silencing of the subjugated as well as a gendered fantasy of liberating oppressed Kashmiri women and minorities. While the colonial nature of Indian rule over Kashmir has been a long-term phenomenon, the focus in this article will primarily be on a specific political transformation imposed by the Indian state since August 2019, when even the pretence of autonomy and recognition was given up, and all phenomena constituting coloniality became conspicuous and acute. Adopting a feminist lens, I highlight nine features of contemporary Indian coloniality in Kashmir: denial of consent, paternalism, violence, enforced silencing, lack of accountability, arbitrariness, divide and rule, humiliation and a specious idea of development. I further argue that such a notion of coloniality as development is better understood as ‘econonationalism’ (akin to homonationalism and femonationalism), where the supposed liberatory ideas are rhetorically deployed to mask a dehumanising subjugation.
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Pub Date : 2021-03-01DOI: 10.1177/0141778920969598
Valéria Bonafé, Lílian Campesato
What follows is the creation of a script for an imaginary radiophonic piece on the Brazilian sound artist Janete El Haouli (1955–), a key radio art reference in Latin America. Author of various radiophonic pieces, she also created and directed the radio programme Música Nova: Rádio para Ouvidos Pensantes (New Music: Radio for Thinking Ears), which was transmitted between 1991 and 2005 by Rádio UEL (Londrina State University’s radio station). Both her pieces as well as her programme move away from the traditional radio model in which the listener is understood as a passive receiver. What El Haouli proposes is not a radio as mere medium of transmission, but rather an experimental radio that invites the listener to perform a reflexive and imaginative listening. While inspired by this latter model, we, Valéria Bonafé and Lílian Campesato, have here developed a script for an imaginary radiophonic programme seeking not only to present Janete El Haouli, the artist, to the reader/listener—her biography, her works and poetics—but also to invite this reader/listener to participate in a network of intersubjective listening combining different agents and narrative lines. The script presents five sound works by El Haouli and a selection of fragments of an audio testimony where she reflects autobiographically on her life. The script also collects three affective reports from listening carried out by women artists who were impacted, in different ways, by the ethical and poetic dimensions involved in the work of El Haouli: Valéria Bonafé, Lílian Campesato and Thaís D’Abronzo. Both El Haouli’s testimony and the three affective reports1 from listening were made originally in Portuguese and were translated by the authors 969598 FER0010.1177/0141778920969598Feminist ReviewValéria Bonafé and Lílian Campesato other2021
接下来是为巴西声音艺术家Janete El Haouli（1955–）的一首想象中的无线电作品创作剧本，这是拉丁美洲的一个重要无线电艺术参考。她还创作并导演了广播节目《Música Nova:Rádio para Ouvidos Pensantes》（新音乐：思考耳朵广播），该节目于1991年至2005年间由Rádio UEL（隆德里纳州立大学的广播电台）播出。她的作品和节目都偏离了传统的广播模式，在这种模式中，听众被理解为被动的接受者。El Haouli提出的并不是一种仅仅作为传播媒介的收音机，而是一种实验性的收音机，它邀请听众进行反射性和想象力的聆听。在后一种模式的启发下，我们Valéria Bonafé和Lílian Campesato在这里为一个想象中的无线电节目开发了一个剧本，不仅试图向读者/听众展示艺术家Janete El Haouli——她的传记，她的作品和诗学——同时也邀请这位读者/听众参与到一个结合不同主体和叙事线的主体间倾听网络中。剧本呈现了El Haouli的五部声音作品和一段音频证词的片段，她在其中自传体地反映了自己的生活。剧本还收集了三份女性艺术家的聆听情感报告，她们以不同的方式受到了El Haouli作品中伦理和诗歌层面的影响：Valéria Bonafé、Lílian Campesato和Thaís D’Abronzo。El Haouli的证词和听力中的三份情感报告1最初都是用葡萄牙语制作的，由作者969598 FER0010.1177/0141778920969598女权主义评论Valéria Bonafé和Lílian Campesato other2021翻译
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Pub Date : 2021-03-01DOI: 10.1177/0141778920973221
Joanne L. Armitage, H. Thornham
Live coding is an embodied, sensorial and live technological–human relationship that is recursively iterated through sonic and visual outputs based on what we argue are kinship relations between and through bodies and technology. At the same time, and in a familiar moment of déjà vu for feminist scholars, live coding is most often discussed not in relation to the lived and sensory human–technology kinship, but in terms of fetishised code or software, output and agency. As feminist scholars have long argued, emphasising and fetishising code or software, and celebrating output and agency are normatively masculine, white and Western conceptions of technology that feed into the growing valorisation of accelerationist logic whilst also negating embodied, not to mention other (non-white, Western, masculine) bodies, expertise or histories per se. In this article, we want to redress this by drawing on our empirical material on live coding to focus on human–technology kinship and, in so doing, think about failure, slowness and embodiment and about human–technology relations that are more akin to what Alison Kafer (drawing on the work of Donna Haraway) has termed ‘becoming with’ or ‘making kin’. This, we argue, has the potential to shift the focus from the potentialities of technologies on or through the body, towards the generative capacities of mediation (including failure), which are caught up in lived experiences. The question is not only about how the relations of bodies and technologies are played out in certain circumstances but about what might be played out if we reconceptualise these relations in these terms.
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Pub Date : 2021-03-01DOI: 10.1177/0141778920963826
Asha Tamirisa
Feminist and activist efforts in electronic music and sonic arts often have focused on empowerment through the acquisition of technical skills such as circuit design, hacking, instrument-building and interactive audio coding. Many of these efforts seek to ‘close the gender gap’, operating under the premise that electronics engineering and computation are white, masculine domains that leave women and people of colour at the margins. While it is true that power and profit are unequally distributed in technical fields, and that spaces of technical learning carry an air of masculinity, feminist activism that focuses solely on upsetting the archetypical white, masculine coder and electronics engineer forecloses reckoning with the gendered and racialised conditions of high-tech’s global underclass.
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Pub Date : 2021-03-01DOI: 10.1177/0141778920973208
Robin M. James
I argue that sound-centric scholarship can be of use to feminist theorists if and only if it begins from a non-ideal theory of sound; this article develops such a theory. To do this, I first develop more fully my claim that perceptual coding was a good metaphor for the ways that neoliberal market logics (re)produce relations of domination and subordination, such as white supremacist patriarchy. Because it was developed to facilitate the enclosure of the audio bandwidth, perceptual coding is especially helpful in centring the ways that patriarchal racial capitalism structures our concepts and experiences of both sound and technology. The first section identifies sonic cyberfeminist practices that function as a kind of perceptual coding because they subject ‘sound’ and/or ‘women’ to enclosure and accumulation by dispossession. The second section identifies a type of sonic cyberfeminism that tunes into the parts of the spectrum that this perceptual coding discards, building models of community and aesthetic value that do not rely on the exclusion of women, especially black women, from both humanist and posthuman concepts of personhood. Here I focus especially on Alexander Weheliye’s ‘phonographic’ approach to sound, technology and theoretical text. This approach, which he develops in his 2005 book of that title and in recent work in collaboration with Katherine McKittrick, avoids fetishising tech and self-transformation and focuses on practices that build registers of existence that hegemonic institutions perceptually code out of circulation. I conclude with examples of such phonographic compression, including Masters At Work’s ballroom classic ‘The Ha Dance’ and Nicki Minaj’s ‘Anaconda’.
我认为，以声音为中心的学术对女权主义理论家来说是有用的，前提是它始于非理想的声音理论；这篇文章发展了这样一个理论。为了做到这一点，我首先更充分地阐述了我的主张，即感知编码是新自由主义市场逻辑（重新）产生统治和从属关系的一个很好的隐喻，比如白人至上主义父权制。因为它是为了方便音频带宽的封闭而开发的，所以感知编码特别有助于集中父权制种族资本主义构建我们的声音和技术概念和体验的方式。第一部分确定了声音网络女权主义实践，这些实践是一种感知编码，因为它们通过剥夺“声音”和/或“女性”来封闭和积累。第二部分确定了一种声音网络女权主义，它融入了这种感知编码所抛弃的部分，构建了不依赖于将女性，尤其是黑人女性排除在人道主义和后人类人格概念之外的社区和美学价值模型。在这里，我特别关注亚历山大·韦赫利耶对声音、技术和理论文本的“留声机”方法。这种方法是他在2005年出版的同名书中以及最近与凯瑟琳·麦基特里克合作的作品中发展起来的，避免了对技术和自我改造的恋物癖，并专注于建立存在登记册的做法，霸权机构在感知上将其编码为不流通。最后，我列举了这种留声机压缩的例子，包括Masters At Work的舞厅经典作品《哈舞》和Nicki Minaj的《蟒蛇》。
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Pub Date : 2021-03-01DOI: 10.1177/0141778920963784
Ruby Thelot
{"title":"‘Crimes’: a Sonic Exploration of Colonial Injuries","authors":"Ruby Thelot","doi":"10.1177/0141778920963784","DOIUrl":"https://doi.org/10.1177/0141778920963784","url":null,"abstract":"","PeriodicalId":47487,"journal":{"name":"Feminist Review","volume":null,"pages":null},"PeriodicalIF":1.8,"publicationDate":"2021-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/0141778920963784","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42477739","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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