This action might not be possible to undo. Are you sure you want to continue?
) Katie King: work in progress: book ms, Introduction to Feminism and Writing Technologies Outline presentation: Two uses of "work" as feminist concept in feminist technoscience studies--invisible work and articulation work. As contributions to understandings of new feminist narratives of technologies, with some reference to my own research. And how feminist technoscience studies overlaps with a largely European cyberfeminism. 1. (Star): surfacing invisible work 2. (Suchman): articulation work 3. Cyberfeminism's use of Cyborg and Haraway feminist technoscience studies (largely US, British, Australian): Susan Leigh Star (US) Lucy Suchman (US, teaching in England now) Donna Haraway (US) cyberfeminism (largely European and non-US English speaking international): Sadie Plant (England) VNS Matrix (Australia) Faith Wilding (US) Cyberfeminist International (Kassel, Germany) boundary objects between two groups: the Cyborg Donna Haraway, work and person Katie's two "writing technology ecologies": • the "publishing truth"--speaking, performing religious enactments, writing out and circulating in manuscript and also in print--of 17th c. Quaker Women prophets within their own time period's complex writing technological "ecology" (interrelationships of power); and a range of re-representations of them by interested groups today (a larger "ecology" across time). • the "productions-in-use" of the massive assemblages of global tv "writings"--from female fans writing their own "slash" sexual interventions into heterosexual meanings to mainstream international tv circulations of sexual & gender images--all within processes of globalization, neoliberal economic policies, new global communications infrastructures, and formal and informal processes of knowledge-making. QUOTATIONS FROM PAPER: Part 1: (Star): surfacing invisible work: Londa Schiebinger on general patterns of women's participation in craft production as: " daughters and apprentices;  wives who assisted their husbands as paid or unpaid artisans;  independent artisans; or  widows who inherited the family business." Maureen Bell: "What is particularly striking is that a large proportion of...[women's] writing [after 1640] came from women of a lower social status than the predominately aristocratic and genteel writers of the preceding sixty years, and much of it was the product of women inspired by their commitment to the radical puritan movement." Paula McDowell: "Quaker commitment to the use of the press may be inferred from the fact that in 1659 and 1660 this illegal Nonconformist sect, despite comprising less than 1 percent of the population, published about 10 percent of all the titles printed in England." Leigh Star: "Because [infrastructures of representation are] big, layered, and complex, and because [they mean] different things locally, [they are] never changed from above. Changes take time and negotiation, and adjustments with other aspects of the systems are involved."
Star: "In information infrastructure, every conceivable form of variation in practice, culture, and norm is inscribed at the deepest levels of design. Some are malleable, changeable, and programmable--if you have the knowledge, time, and other resources to do so. Others...present barriers to users that may only be changed by a full-scale social movement." Part 2: (Suchman): articulation work: Mike Hales: "Users 'construct' technology; they do this both symbolically, in their 'reading' of artefacts, and literally, in the articulation work that is essential before a concrete configuration of artefacts (as distinct from the generic system-products that emerge from usability labs in Silicon Valley) can serve as an adequate day-to-day supporting structure for a live practice." Lucy Suchman: "artifactual richness." "...a kind of archaeological layering of artifacts acquired, in bits and pieces, over time." Suchman: "...the coherence of artifacts is a contingent and ongoing achievement of practices of design-in-use, in ways and to an extent that is missing from professional talk about finished products." Suchman: "As members of a very large enterprise engaged in the production of new technologies, I and my colleagues found ourselves enmeshed in an overwhelmingly complex network of relations, for the most part made up of others we had never met and of whose work we are only dimly aware. The simple dichotomy of technology production and use masks (or indexes as we begin to respecify it) what is in actuality an increasingly dense and differentiated layering of people and activities, each operating within a limited sphere of knowing and acting that includes variously crude or sophisticated conceptualizations of the others." Suchman: "My starting place is recent moves to reframe objectivity from an established body of knowledge to knowledge in dynamic production, reproduction and transformation....The movement is from a single, asituated, master perspective that bases its claims to objectivity in the closure of debate, to multiple, located, partial perspectives that find their objective character through ongoing dialogue. The premise is that the latter is not only a better route to objectivity, but that it is in actuality the only way in which claims to objectivity are or ever could be grounded, however much the lived work of knowledge production is deleted from traditional scientific discourse. The feminist move in particular reframes the locus of objectivity from an established body of knowledge not produced or owned by anyone, to knowledges in dynamic production for which we are all responsible." Suchman: two forms such objectification or freezing or stabilization of technologies as knowledges can take:  "handing-off of technologies across multiple, discontinuous worlds each of which stands as a black box for the others," thus relying upon invisible articulation work at each boundary crossing, without challenging crude conceptualizations of others' work; and  "awareness of and orientation to the work required to achieve technology stabilization and one's location" within working relations understood in layered, complex terms, possibly with active attempts at translations across boundaries. Part 3: Cyberfeminism's use of boundary objects: cyborg and Haraway: Donna Haraway: "Irony is about contradictions that do not resolve into larger wholes, even dialectally, about the tension of holding incompatible things together because both or all are necessary and true. Irony is about humor and serious play." Haraway: "...the point is to learn to remember that we might have been otherwise, and might yet be...." As Haraway uses it, the Cyborg is a figure for a set of specific entities that "became historically possible around World War II and just after. The Cyborg is intimately involved in specific histories of militarization, of specific research projects with ties to psychiatry and communications theory, behavioral research and psychopharmacological research, theories of information and information processing....What interests me most about the cyborg is that it does unexpected things and accounts for contradictory histories while allowing for some kind of working in and of the world."
Haraway: naturecultures: "as one word--implosions of the discursive realms of nature and culture." Haraway: "...a lot of people get my stuff through the public performances first and only then find the writing more accessible....in public speaking all kinds of issues are possible to perform physically. It is such an intermedia event where voice, gesture, slides, enthusiasm all shape the density of the words. Oddly, I think people can handle the density better in a performance than on the page." Sadie Plant: "Hardware, software, wetware--before their beginnings and beyond their ends, women have been the simulators, assemblers, and programmers of the digital machines." VNS Matrix: "...we are the virus of the new world disorder / rupturing the symbolic from within / saboteurs of big daddy mainframe / the clitoris is the direct line to the matrix / VNS Matrix. Faith Wilding: "If Iʼd rather be a cyberfeminist than a goddess, Iʼd damned well better know why, and be willing to say so." Wilding questioned what she saw as "a profound ambivalence in many wired womenʼs relationship to what they perceive to be a monumental past feminist history, theory, and practice." The three manifestations of this ambivalence she described as "1. Repudiation of 'old style' (1970s) feminism"; "2. Cybergrrl-ism," by which she means an anti-theoretical practice of passionate netart; and "3. Net utopianism," needing also a critique informed by an analysis of political economy. Wilding: "While affirming new possibilities for women in cyberspace, cyberfeminists must critique utopic and mythic constructions of the Net, and strive to work with other resistant netgroups in activist coalitions. Cyberfeminists need to declare solidarity with transnational feminist and postcolonial initiatives, and work to use their access to communications technologies and electronic networks to support such initiatives."
This action might not be possible to undo. Are you sure you want to continue?
We've moved you to where you read on your other device.
Get the full title to continue reading from where you left off, or restart the preview.