Pub Date : 2021-12-01DOI: 10.1215/01642472-9408098
Macarena Gómez-Barris, Sebástian Calfuqueo
In their interview, scholar and writer Macarena Gómez-Barris and artist and performer Sebastián Calfuqueo discuss the role of art, mediation, and coloniality with respect to Indigenous majority spaces and trans embodiment. Calfuqueo's body of work, like Gómez-Barris's scholarship, addresses the colonial and neocolonial processes of extraction, dispossession, and how Mapuche peoples in the southern territories of Chile and the global South continue to be inserted into a paradigm of war and occupation. Their close collaboration, across geographical and linguistic divides, offers a way to think anew about the relationship between queer and trans decolonial connections and collaboration beyond the binary divide.
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Pub Date : 2021-12-01DOI: 10.1215/01642472-9408056
Jonathan L. Beller, Jayna Brown, Erin Manning, Minh-Hà T. Phạm, Macarena Gómez-Barris, A. Cox, N. Tadiar
This collectively written essay meditates on sociality, mediation, death, and life during Pandemic 2020.
这篇集体撰写的文章思考了2020年大流行病期间的社会性、调解、死亡和生命。
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Pub Date : 2021-12-01DOI: 10.1215/01642472-9408112
Michael Mandiberg, Robin D. G. Kelley, Jayna Brown, Tavia Nyong’o
This eclectic set of essays includes work about Zoom, the murder by police of Rayshard Brooks, blackness and public space, and black joy and uchromatism.
{"title":"Interregnum","authors":"Michael Mandiberg, Robin D. G. Kelley, Jayna Brown, Tavia Nyong’o","doi":"10.1215/01642472-9408112","DOIUrl":"https://doi.org/10.1215/01642472-9408112","url":null,"abstract":"\u0000 This eclectic set of essays includes work about Zoom, the murder by police of Rayshard Brooks, blackness and public space, and black joy and uchromatism.","PeriodicalId":47701,"journal":{"name":"Social Text","volume":" ","pages":""},"PeriodicalIF":3.3,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47947366","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}
Pub Date : 2021-12-01DOI: 10.1215/01642472-9408084
Sandy Alexandre, Kimberly Juanita Brown, Kaysha Corinealdi, Eunsong Kim
This collectively written essay meditates on the antimasker phenomenon, care, breath, and in-person teaching during the pandemic.
这篇集体撰写的文章思考了疫情期间的反口罩现象、护理、呼吸和面对面教学。
{"title":"Essays from the Dark Room","authors":"Sandy Alexandre, Kimberly Juanita Brown, Kaysha Corinealdi, Eunsong Kim","doi":"10.1215/01642472-9408084","DOIUrl":"https://doi.org/10.1215/01642472-9408084","url":null,"abstract":"\u0000 This collectively written essay meditates on the antimasker phenomenon, care, breath, and in-person teaching during the pandemic.","PeriodicalId":47701,"journal":{"name":"Social Text","volume":" ","pages":""},"PeriodicalIF":3.3,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47130494","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}
Pub Date : 2021-09-01DOI: 10.1215/01642472-9034404
Amber Jamilla Musser
It is rare to find visual representations of female sexual pleasure in sexological treatises. Robert Latou Dickinson's Atlas of Human Sex Anatomy (1932) uses illustrations of sexual response to avoid making his text sensuous or pornographic. Like the charts in William Masters and Virginia Johnson's Human Sexual Response (1966), these drawings are carefully nestled between statistics and physiological summaries to embed them within the realm of the scientific and pedagogical. However, both are presumed to be racially unmarked. This article shows how blackness disrupts visual representations of pleasure and femininity while theorizing how the line functions as a way to maintain a norm. Against this, the potential of brown jouissance emerges via the zigzag style of contemporary Filipino artist Jevijoe Vitug. In his portrait, a glimpse of racialized, sensual excess emerges.
在性学专著中很少能找到女性性快感的视觉表现。罗伯特·拉图·狄金森的《人类性解剖学图集》(1932)使用了性反应的插图，以避免使他的文字变得感性或色情。就像William Masters和Virginia Johnson的《人类性反应》(Human Sexual Response, 1966)中的图表一样，这些图表被小心翼翼地夹在统计数据和生理总结之间，将它们嵌入科学和教学领域。然而，两者都被认为是没有种族标记的。这篇文章展示了黑色如何破坏快乐和女性气质的视觉表现，同时理论化了这条线如何作为一种维持规范的方式。与此相反，棕色快感的潜力通过菲律宾当代艺术家Jevijoe Vitug的曲折风格显现出来。在他的肖像中，一种种族化的、感官过剩的一瞥浮现出来。
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Pub Date : 2021-09-01DOI: 10.1215/01642472-9034390
Jina B. Kim
Drawing together feminist- and queer-of-color critique with disability theory, this essay offers a literary-cultural reframing of the welfare queen in light of critical discourses of disability. It does so by taking up the discourse of dependency that casts racialized, low-income, and disabled populations as drains on the state, reframing this discourse as a potential site of coalition among antiracist, anticapitalist, and feminist disability politics. Whereas antiwelfare policy cast independence as a national ideal, this analysis of the welfare mother elaborates a version of disability and women-of-color feminism that not only takes dependency as a given but also mines the figure of the welfare mother for its transformative potential. To imagine the welfare mother as a site for reenvisioning dependency, this essay draws on the “ruptural possibilities” of minority literary texts, to use Roderick A. Ferguson’s coinage, and places Sapphire's 1996 novel Push in conversation with Jesmyn Ward's 2011 novel Salvage the Bones. Both novels depict young Black mothers grappling with the disabling context of public infrastructural abandonment, in which the basic support systems for maintaining life—schools, hospitals, social services—have become increasingly compromised. As such, these novels enable an elaboration of a critical disability politic centered on welfare queen mythology and its attendant structures of state neglect, one that overwrites the punitive logics of public resource distribution. This disability politic, which the author terms crip-of-color critique, foregrounds the utility of disability studies for feminist-of-color theories of gendered and sexual state regulation and ushers racialized reproduction and state violence to the forefront of disability analysis.
本文将女权主义和有色人种的批评与残疾理论结合在一起，在残疾批评话语的背景下，对福利女王进行了文学文化重构。它通过将种族化的、低收入的和残疾的人口视为国家的排水沟的依赖性的话语，将这一话语重新构建为反种族主义、反资本主义和女权主义残疾政治联盟的潜在场所，来做到这一点。尽管反福利政策将独立作为一种民族理想，但对福利母亲的分析阐述了残疾和有色人种女性主义的一个版本，它不仅将依赖视为既定的，而且还挖掘了福利母亲的形象，以挖掘其变革潜力。为了将福利母亲想象成重新设想依赖的场所，本文借鉴了少数民族文学文本的“破裂可能性”，使用罗德里克·a·弗格森(Roderick a . Ferguson)的词汇，并将萨菲尔1996年的小说《推动》(Push)与杰斯米恩·沃德(Jesmyn Ward) 2011年的小说《拯救骨头》(Salvage the Bones)进行了对话。这两部小说都描写了年轻的黑人母亲在公共基础设施被废弃的不利环境中挣扎，在这种环境中，维持生活的基本支持系统——学校、医院、社会服务——越来越受到损害。正因为如此，这些小说使得以福利女王神话为中心的批判性残疾政治及其伴随的国家忽视结构得以阐述，这种结构覆盖了公共资源分配的惩罚性逻辑。这种被作者称为“有色人种批判”(crip-of-color)的残疾政治，凸显了残疾研究对有色人种女性主义关于性别和性国家调控理论的效用，并将种族化的生殖和国家暴力引入残疾分析的前沿。
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Pub Date : 2021-09-01DOI: 10.1215/01642472-9034376
Joan Lubin, Jeanne Vaccaro
Is sexology over? What does one do with its history, at once a seemingly remote relic and a persistent logic of biopolitics today? “Sexology and Its Afterlives” begins from the premise that the history of sexology lives in the infrastructures of the present. Locating the afterlives of sexology in material and aesthetic form, this introduction to the special issue engages the largely unmarked detritus of a disaggregated sexological project, whose components have found renewed life in the biopolitical apparatus. The contributors to this issue identify not only familiar sites of sexological persistence (the sex-segregated public toilet) but also less immediately obvious ones (the Moynihan report, redlining, the army base) as executing the unfinished business of the sexological project. This breadth of sexological diffusion makes its analysis a necessarily interdisciplinary prospect, and the contributors call on disability studies, trans studies, Black studies, women-of-color feminism, visual culture, and the history of sexuality, generating emergent concepts, including crip-of-color critique (Kim), binary-abolitionist praxis (Stryker), a “trans-mad” aesthetic (Crawford), and a shift toward expressivity as a framework (Musser). Across the issue, newly imagined sites of collective politics come into view as a payoff for working through the stalled-out imaginaries of sexological binarisms.
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Pub Date : 2021-09-01DOI: 10.1215/01642472-9034418
L. Crawford
This article argues for what the author calls a trans-mad aesthetic of space, defined as designs or artworks that embark, sense, emote, and collect, in ways that queerly disrupt the norms of the public sphere. These four aesthetic operations resist, in turn, four current affective/spatial norms of mental health treatment: confinement, rationality, repression, and an individualizing model of madness. As part of unfolding this model for a trans-mad aesthetic, the article asserts that the link between transgender and madness (as categories) is not merely one of addition—say, people who are both transgender and mad—but, rather, one of mutual constitution. To make these suggestions, the article engages an eccentric archive that includes posters that advocate transgender depathologization, Greek mythologies of gendered madness, government legislation about sexual sterilization, and psych ward design protocols. Its two key case studies, however, are artistic: Hannah Hull and James Leadbitter's “Madlove: A Designer Asylum” and the oeuvre of Montreal performance artist Coral Short.
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Pub Date : 2021-09-01DOI: 10.1215/01642472-9034432
Susan Stryker
This series of elliptically interrelated autotheoretical vignettes offers a “wayward genealogy” of how the author came to be involved in the Stalled! public toilet redesign project and what that project entails. The article revolves around observations of the actions of stalling and turning and of the spatial imaginaries that make these actions both necessary and legible in a variety of contexts—of watching pelicans dive into the Pacific Ocean, living on the grounds of the Dachau concentration camp, encountering transphobic feminism, researching San Francisco's urban history, and reading psychoanalytic theory, among others. After describing the origins of the Stalled! project in recent public discourse on “transgender toilets,” and its practical designs for abolishing the gender binary in space, the article suggests that concepts of transness make sense only in relation to a spatial configuration on which the logic of the term depends: it requires difference and separation as a precondition of its transversal operations, even as it demonstrates how other arrangements—other floor plans, not just of sex and gender but of space and time and sociality—are possible.
{"title":"On Stalling and Turning","authors":"Susan Stryker","doi":"10.1215/01642472-9034432","DOIUrl":"https://doi.org/10.1215/01642472-9034432","url":null,"abstract":"\u0000 This series of elliptically interrelated autotheoretical vignettes offers a “wayward genealogy” of how the author came to be involved in the Stalled! public toilet redesign project and what that project entails. The article revolves around observations of the actions of stalling and turning and of the spatial imaginaries that make these actions both necessary and legible in a variety of contexts—of watching pelicans dive into the Pacific Ocean, living on the grounds of the Dachau concentration camp, encountering transphobic feminism, researching San Francisco's urban history, and reading psychoanalytic theory, among others. After describing the origins of the Stalled! project in recent public discourse on “transgender toilets,” and its practical designs for abolishing the gender binary in space, the article suggests that concepts of transness make sense only in relation to a spatial configuration on which the logic of the term depends: it requires difference and separation as a precondition of its transversal operations, even as it demonstrates how other arrangements—other floor plans, not just of sex and gender but of space and time and sociality—are possible.","PeriodicalId":47701,"journal":{"name":"Social Text","volume":" ","pages":""},"PeriodicalIF":3.3,"publicationDate":"2021-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43950470","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}
Pub Date : 2021-06-01DOI: 10.1215/01642472-8903591
Christen A. Smith
Examining Black women's experiences with policing, this article argues that police terror is not predicated upon gender; rather, it enacts gender by undoing gender. Thus, it requires a new arithmetic of time and space in order to read beyond normative, hypermasculine narratives of police violence. While the dominant discourse of race and policing asserts that police terror disproportionately affects Black men, the frequency of Black women's experiences with police terror attunes to a lingering yet deadly impact beyond the linear, Cartesian dimensions of body counting, a frequency the article terms sequelae. Policing stretches and bends time and space as part of its (un)gendering practice. Through a brief survey of cases in Brazil and the United States, this article considers sequelae as a new arithmetic for calculating the multiple frequencies of police terror against Black women. Specifically, the article examines the case of Luana Barbosa dos Reis, a Black lesbian mother who was beaten to death by police officers in São Paulo in 2016. The article argues that her beating was an act of (un)gendering—a desire to both discipline her as a Black female/mother and erase her potential humanity by denying her desired gender identification (female). In this sense, her death was an act of anti-Black terror “in the wake.” Through a close reading of the police ledger, the police report, and the physical violence she endured, the article argues that her story teaches us the need for a new way of counting the frequency of police terror in relationship to time, space, and the Black female/mother body.
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