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Book Review | Silicon Valley Imperialism: Techno Fantasies and Frictions in Postsocialist Times, by Erin McElroy (Duke University Press, 2024)
No full text"Mexico is a burial machine" : A conversation with Marcela Turati
No full textHow can we conceptualize and investigate the relationships between territories and the production of situated knowledge in the field of violence? This interview addresses this question and attempts to outline some possible strategies, based on the experience of a Mexican journalist. Marcela Turati’s 2023 book San Fernando: Última parada allows us to talk about the ways in which borders constitute complex nodes of human, economic, political, and criminal flows, where diverse ecologies, landscapes, territories, and social practices intersect. The violence recounted in her book shows how these nodes are also devices for selecting vulnerable or disposable people, who can be killed or disappeared without the state pursuing those responsible or seeking justice, what Turati calls “an authorized crime.”
Resumen
¿Cómo pensar e investigar las relaciones entre los territorios y la producción de conocimiento situado en el campo de la violencia? Esta entrevista aborda esta pregunta e intenta esbozar algunas posibilidades y estrategias a partir de la experiencia de una periodista mexicana. El libro San Fernando: Última parada, publicado en 2023, permite hablar sobre las maneras en que las fronteras constituyen nodos complejos de flujos humanos, económicos, políticos y criminales, donde se entrecruzan ecologías, paisajes, territorios y prácticas sociales diversas. La violencia que se relata en el libro muestra cómo esos nodos son también dispositivos de selección de personas vulnerables o desechables, que pueden ser asesinadas o desaparecidas sin que el Estado persiga a los responsables ni haga justicia. A lo anterior, la periodista le llama “un crimen autorizado.
Before and After: Dogs’ Biographies Along and Across the Mexico-US Border
No full textIn the Mexican border city of Ciudad Juárez, numerous animal protection organizations seek to rescue street dogs that have been abandoned or abused. Many of these organizations seek to place previously abused dogs in “forever homes” in the United States. To accomplish this, the dogs often go through a transformation that transforms them into objects of care, making them adoptable. In this article, I analyze how narratives and photos used in social media enable this transformation by creating individual animal biographies. These animal biographies are not innocent stories; rather, they show how care is constructed in specific contexts. The construction of these biographies is presented as a non-political attempt to make the lives of abandoned dogs better; these biographies are, in fact, filled with political implications of what the Mexico-US border is like. Thus, I argue that animal biographies have a significant social role, particularly through social media, and have to be understood as political devices that can create, challenge, or strengthen ideas about life, care, and ethics.
Resumen
En la ciudad fronteriza de Ciudad Juárez, México, las organizaciones protectoras de animales buscan rescatar perros abandonados, víctimas de abuso, o en situación de calle. Muchas de estas organizaciones intentan que los perros rescatados sean adoptados de manera permanente en los Estados Unidos. Con esta finalidad, los perros generalmente son transformados en “objetos de cuidado”, haciéndolos adoptables. En este artículo analizo cómo las narrativas y las fotos que se usan en las redes sociales permiten llevar a cabo esta transformación al crear biografías animales individuales. Estas biografías animales no son historias inocentes, más bien demuestran cómo el cuidado se construye en contextos específicos. La construcción de dichas biografías que intenta transformar, para bien, las vidas de los perros, aparenta ser un acto apolítico. Sin embargo, estas biografías están repletas de implicaciones políticas sobre la vida fronteriza entre México y los EEUU. Por lo tanto argumento que las biografías animales tienen un significado social, particularmente en las redes sociales, y que tienen que ser entendidas como artífices políticos que pueden crear, desafiar y fortalecer concepciones sobre la vida, el cuidado, y la ética.
Book Review | Not My Type: Automating Sexual Racism by Apryl Williams (Stanford University Press, 2024)
No full textFrom Stars to Standards: How Film Culture Nurtured Parasocial Relationships to Reinforce Moral Ideals among Young Women
No full textNoesis Undergraduate Journal of Philosophy: Vol. 18
No full textThis volume celebrates the academic achievements of the following contributors:
Manula Adhihetty
James Gu
En Hua Hu
Megan S. H. Tan
Howard Williams
With intervies with Sophia moreau and Martin Pickave
The Parallel of Media and Economic Staples
No full textMarshall McLuhan’s treatment of communication media as economic staples is derived directly from Harold Innis’ treatment of communication media as staples that impact all aspects of a society. Where McLuhan goes beyond Innis is that he regarded all forms of technology, all human artifacts as media and staples that impact all aspects of society, whereas Innis focused on communication media as monopolies of power and society. 
“Mine anger hath beene just”: Feeling Familicide in the Early Modern Ottoman Court in Thomas Goffe’s The Raging Turk and The Courageous Turk
No full textThis article offers an analysis of Thomas Goffe’s portrayal of Turkish persons in his plays The Raging Turk (1618) and The Courageous Turk (1619), which represent specific English understandings of Ottoman beliefs about proper sensorial behaviour in political and religious contexts, in particular those concerning law and justice. The article offers a counter to the “Othering” narrative by arguing that specific characters are represented in sensorially positive manners to protect English political interests, especially related to murders within the family that are portrayed in the national interests of Ottoman leaders. The article seeks to facilitate this aim by examining Goffe’s portrayals of Ottoman rulers and the role that sensory elements played in his representations of their power and legitimacy. In particular, the article focuses on death rituals of official violence—executions—and how the senses were involved in their depiction. It grows out of historiographical debates on perceptions of the Other and stereotypes of Ottoman Islam and Orientalism. In doing so, the article seeks to demonstrate that Goffe’s work provides an alternative view of “the Turk” from that of many contemporaries—one that is less about brutality and barbarism and more about the constraints of law in a regulated polity. It arrives at the consensus that Goffe’s representation of male Turkish rulers is demonstrative of an emerging Turkish stereotype that is less about violence for its own sake and more about lawful, justified violence within the bounds of Ottoman culture and legal institutions.Le présent article analyse la représentation des Turcs dans deux pièces de Thomas Goffe, The Raging Turk (1618) etThe Courageous Turk (1619). Ces pièces reflètent des interprétations anglaises de croyances ottomanes quant aux comportements sensoriels appropriés dans des contextes politiques et religieux, en particulier ceux ayant trait au droit et à la justice. L’article s’oppose au discours de l’« altérisation » en soulignant que, dans le but de protéger les intérêts politiques anglais, certains personnages sont représentés de manière positive sur le plan sensoriel, notamment quand il s’agit de meurtres intrafamiliaux présentés comme conformes à l’intérêt national des dirigeants ottomans. L’article examine ainsi l’image des dirigeants ottomans chez Goffe, de même que le rôle joué par les éléments sensoriels dans les représentations de leur pouvoir et de leur légitimité. Il met un accent particulier sur les rituels de mort de la violence officielle – les exécutions – et sur la place des sens dans leur représentation. L’article s’inscrit dans des débats historiographiques sur les perceptions de l’Autre et les stéréotypes de l’islam ottoman et de l’orientalisme. Partant de ce cadre, il cherche à démontrer que l’œuvre de Goffe présente une vision du « Turc » différente de celle de nombreux contemporains, moins axée sur la brutalité et la barbarie que sur les contraintes légales d’un État réglementé. Il conclut que la représentation des dirigeants turcs masculins, chez Goffe, témoigne de l’émergence d’un stéréotype turc moins axé sur la violence gratuite que sur une violence légale et justifiée, encadrée par la culture et les institutions juridiques ottomanes