GenderOpen - Repositorium für die Geschlechterforschung
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A Response to Body Shamers in Haley Morris-Cafiero’s Self-Portraiture
Get PDFIn 2010, Memphis-based artist Haley Morris-Cafiero set out on a global photographic project entitled Wait Watchers (2010-2015), a series of self-portraits that explore the issue of body shaming. Within these works Morris-Cafiero performs the role of a vacationer, dressing in locale-appropriate attire and striking classic tourist poses. Nothing about her fashion or demeanor would strike many as unusual, but captured within the larger shot are onlookers, unaware of being photographed, who become characters in her performance as they react to her appearance. Though repeatedly capturing looks of disgust, contempt and ridicule, Morris-Cafiero does not claim to know the thoughts of passersby. She finds proof of viewers’ perceptions in hostile online comments posted to her work. Utilizing these comments Morris-Cafiero created a second performance-based series, In the Time of Trump (2015-present), in which she photographs herself adopting the role of the online trolls in order to subvert their gaze, strip the perception of online anonymity, and to re-present their words to the world. Exploring the intersection of fat studies and disability studies, this paper locates Morris-Cafiero’s two series within the framework of Tobin Siebers’ concept of disability aesthetics. Siebers argues to broaden our definition of aesthetics to encompass new conceptions of beauty and to recognize that our aesthetic response is based on an embodied experience. This paper argues that Morris-Cafiero’s work successfully embraces unique corporeality and challenges socio-cultural distinctions of the outsider‘ body
Zwischen biosozialer Komplexität und Umweltdeterminismus
Get PDFDie Umweltepigenetik erforscht, wie sich Umweltfaktoren auf die Expression des Genoms auswirken und damit auf Körper, Gesundheit und Krankheit. Dabei geht es um den Einfluss materieller Faktoren, wie etwa von Umweltgiften und Nahrungsmitteln, aber auch darum, wie soziale Erfahrungen die Genexpression verändern können. Die Umweltepigenetik konzipiert den Körper damit als ‚biosozial‘ und schafft Möglichkeitsräume, um die Auswirkungen unterschiedlicher Lebensumwelten auf die Biologie des Körpers zu untersuchen. Am Beispiel von Experimenten, die die epigenetischen Effekte ‚mütterlicher Fürsorge‘ erforschen, untersucht dieser Artikel die Potentiale, aber auch die Herausforderungen einer solchen epigenetischen Perspektive auf den Körper. Der Artikel zeigt, dass trotz eines Aufweichens der Grenzen zwischen Biologie und Sozialem traditionelle Kategorien sozialer Differenz, wie etwa Geschlecht und Schichtzugehörigkeit, häufig überraschend statisch und deterministisch gefasst werden
Merkzettel zum Thema Frauen und Gesellschaft
No full textAuch wenn das bundesdeutsche Grundgesetz in Artikel 3 die Gleichberechtigung von Männern und Frauen festschreibt, so besteht doch kein Zweifel daran, dass diese in vielen Lebensbereichen (noch?) nicht durchgesetzt worden ist. Und dies betrifft nicht nur die Repräsentanz in Aufsichtsräten, ungleiche Bezahlung von Lohnarbeit oder die Übernahme von Care-Tätigkeiten. Margarete Tjaden-Steinhauer präsentiert neun Merkzettel zum gesellschaftlichen Status der Frauen in der Bundesrepublik
Noise, Agency, and the Sound of Obsolete Technology
No full textIn a recently published collection on materiality in art Petra Lange-Berndt asks, “what does it mean to give agency to the material, to follow the material and to act with the material” (2015:13). My article attempts to consider this question, focusing on the work of a number of musicians and composers who have chosen to engage creatively with the sounds produced by obsolete – or near obsolete – technologies of sound recording and reproduction.Every sound technology has the capacity to generate as well reproduce sound: in the case of the wax cylinder or shellac disc, surface noise is generated by physical contact between the recording medium and the needle/stylus, and with magnetic tape noise is created by the oxides used to make the tape. We might think of these sounds as the sound of technology itself – a sounding of each medium’s material and technological bases. Historically these sounds have usually been treated a problem, and successive waves of technological innovation have been directed at removing or repressing the sound of technology. Thus the move from shellac to vinyl, the development of Dolby noise reduction, and the broader the shift from analogue to digital technology, have all been partly motivated by a desire to silence the medium itself. But what happens if we choose to work with these sounds rather than repress them; and following Lange-Berndt’s prompt, what would this change in attitude mean?My aim in this article is to consider what the political potential of the sound of technology might be, explored through a discussion of works by Walter Ruttmann and John Oswald.The well-established discourses around the political potential of noise in the arts have tended to construct it as a form of attack: as Jacques Attali states, “Noise is a weapon” (1985: 24). But might there be other ways in which we could consider the political dimensions of noise, and if so, how might issues of materiality and agency within play though an alternative approach to the politics of noise?In addressing these questions, my article examines the historical and temporal dynamics at work in the sound of technology. Here I argue that the temporal displacement we witness in the contemporary use of past technologies results in an intensification and re-energisation of the various forms of noise. For the artist working with archive material or obsolete sound recording and playback equipment, temporal displacement of this sort materialises the sound of technology – materializing or rematerialising the sounds with which they work - and in so doing releases forms of potentiality that can be understood in political terms
Die Hindernisse auf der akademischen Karriereleiter sind vielfältiger als angenommen
No full textWenn wir von der Abteilung für Gleichstellung bei unseren Streifzügen durch die Universität Bern Personen in führenden Funktionen nach den Gründen fragen, warum es an unserer Universität nach wie vor so wenige Professorinnen gebe (gegenwärtig 20%), hören wir meist diese Antwort: Es sei halt schwierig, Mutterschaft und akademische Karriere zu vereinbaren. Ist das wirklich so einfach
