125 research outputs found

    Fictocritical Cyberfeminism: A Paralogical Model for Post-Internet Communication

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    This dissertation positions the understudied and experimental writing practice of fictocriticism as an analog for the convergent and indeterminate nature of “post-Internet” communication as well a cyberfeminist technology for interfering and in-tervening in metanarratives of technoscience and technocapitalism that structure contemporary media. Significant theoretical valences are established between twen-tieth century literary works of fictocriticism and the hybrid and ephemeral modes of writing endemic to emergent, twenty-first century forms of networked communica-tion such as social media. Through a critical theoretical understanding of paralogy, or that countercultural logic of deploying language outside legitimate discourses, in-volving various tactics of multivocity, mimesis and metagraphy, fictocriticism is ex-plored as a self-referencing linguistic machine which exists intentionally to occupy those liminal territories “somewhere in among/between criticism, autobiography and fiction” (Hunter qtd. in Kerr 1996). Additionally, as a writing practice that orig-inated in Canada and yet remains marginal to national and international literary scholarship, this dissertation elevates the origins and ongoing relevance of fictocriti-cism by mapping its shared aims and concerns onto proximal discourses of post-structuralism, cyberfeminism, network ecology, media art, the avant-garde, glitch feminism, and radical self-authorship in online environments. Theorized in such a matrix, I argue that fictocriticism represents a capacious framework for writing and reading media that embodies the self-reflexive politics of second-order cybernetic theory while disrupting the rhetoric of technoscientific and neoliberal economic forc-es with speech acts of calculated incoherence. Additionally, through the inclusion of my own fictocritical writing as works of research-creation that interpolate the more traditional chapters and subchapters, I theorize and demonstrate praxis of this dis-tinctively indeterminate form of criticism to empirically and meaningfully juxtapose different modes of knowing and speaking about entangled matters of language, bod-ies, and technologies. In its conclusion, this dissertation contends that the “creative paranoia” engendered by fictocritical cyberfeminism in both print and digital media environments offers a pathway towards a more paralogical media literacy that can transform the terms and expectations of our future media ecology

    Gratitude in Healthcare an interdisciplinary inquiry

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    The expression and reception of gratitude is a significant dimension of interpersonal communication in care-giving relationships. Although there is a growing body of evidence that practising gratitude has health and wellbeing benefits for the giver and receiver, gratitude as a social emotion made in interaction has received comparatively little research attention. To address this gap, this thesis draws on a portfolio of qualitative methods to explore the ways in which gratitude is constituted in care provision in personal, professional, and public discourse. This research is informed by a discursive psychology approach in which gratitude is analysed, not as a morally virtuous character trait, but as a purposeful, performative social action that is mutually co-constructed in interaction.I investigate gratitude through studies that approach it on a meta, meso, macro, and micro level. Key intellectual traditions that underpin research literature on gratitude in healthcare are explored through a metanarrative review. Six underlying metanarratives were identified: social capital; gifts; care ethics; benefits of gratitude; staff wellbeing; and gratitude as an indicator of quality of care. At the meso (institutional) level, a narrative analysis of an archive of letters between patients treated for tuberculosis and hospital almoners positions gratitude as participating in a Maussian gift-exchange ritual in which communal ties are created and consolidated.At the macro (societal) level, a discursive analysis of tweets of gratitude to the National Health Service at the outset of the Covid-19 pandemic shows that attitudes to gratitude were dynamic in response to events, with growing unease about deflecting attention from risk reduction for those working in the health and social care sectors. A follow-up analysis of the clap-for-carers movement implicates gratitude in embodied, symbolic, and imagined performances in debates about care justice. At the micro (interpersonal) level, an analysis of gratitude encounters broadcast in the BBC documentary series, Hospital, uses pragmatics and conversation analysis to argue that gratitude is an emotion made in talk, with the uptake of gratitude opportunities influencing the course of conversational sequencing. The findings challenge the oftenmade distinction between task-oriented and relational conversation in healthcare.Moral economics are paradigmatic in the philosophical conceptualisation of gratitude. My research shows that, although balance-sheet reciprocity characterised the institutional culture of the voluntary hospital, it is hardly ever a feature ofinterpersonal gratitude encounters. Instead, gratitude is accomplished as shared moments of humanity through negotiated encounters infused with affect. Gratitude should never be instrumentalised as compensating for unsafe, inadequatelyrenumerated work. Neither should its potential to enhance healthcare encounters be underestimated. Attention to gratitude can participate in culture change by affirming modes of acting, emoting, relating, expressing, and connecting that intersect with care justice.This thesis speaks to gratitude as a culturally salient indicator of what people express as worthy of appreciation. It calls for these expressions to be more closely attended to, not only as useful feedback that can inform change, but also because gratitude is a resource on which we can draw to enhance and enrich healthcare as a communal, collaborative, cooperative endeavour

    Artificial Intelligence and International Conflict in Cyberspace

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    This edited volume explores how artificial intelligence (AI) is transforming international conflict in cyberspace. Over the past three decades, cyberspace developed into a crucial frontier and issue of international conflict. However, scholarly work on the relationship between AI and conflict in cyberspace has been produced along somewhat rigid disciplinary boundaries and an even more rigid sociotechnical divide – wherein technical and social scholarship are seldomly brought into a conversation. This is the first volume to address these themes through a comprehensive and cross-disciplinary approach. With the intent of exploring the question ‘what is at stake with the use of automation in international conflict in cyberspace through AI?’, the chapters in the volume focus on three broad themes, namely: (1) technical and operational, (2) strategic and geopolitical and (3) normative and legal. These also constitute the three parts in which the chapters of this volume are organised, although these thematic sections should not be considered as an analytical or a disciplinary demarcation

    The Politics of Racial Translation : Negotiating Foreignness and Authenticity in Russophone Intersectional Feminism and Timati's Hip-hop (2012-2018)

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    Hva skjer med rase-, kjĂžnns- og seksualitetspolitikk i interseksjonell feminisme og hiphop nĂ„r de forflytter seg Ăžstover til postsovjetiske, russisksprĂ„klige kontekster? Denne avhandlingen utforsker oversettelsens betydning i sirkulasjonen av det amerikanske, engelsksprĂ„klige idiomet ‘rase som motstand’ i russisksprĂ„klige tilpasninger av hiphop og interseksjonalitet i perioden 2012-2018. Ved hjelp av digital etnografi, diskursanalyse og nĂŠrlesing av et utvalg musikkvideoer, analyseres to oversettelsesprosjekter empirisk: en russisksprĂ„klig grasrotside for interseksjonell feminisme, FIO (Feminist Intersectionality Against Oppression), og den – i Russland kontroversielle – tatarisk-jĂždiske hiphop-entreprenĂžren Timati. Denne avhandlingen, som befinner seg i skjĂŠringspunktet mellom kjĂžnns- og seksualitetsstudier, rase- og etnisitetsforskning og postsovjetiske kulturstudier, framhever oversettelse bĂ„de i sitt teoretiske rammeverk og i metodologisk forskningsdesign. Teoretisk er avhandlingens tilnĂŠrming til oversettelse inspirert av feministisk teori, feministisk antropologi og oversettelsesstudier, samt av transnasjonale perspektiver pĂ„ rasialisering og den voksende forskningen pĂ„ rase i Russland. Metodologisk trekker avhandlingen pĂ„ verktĂžy fra oversettelsesstudier og sosiolingvistikk. Ved Ă„ begrepsligjĂžre oversettelse som en forutsetning for geografisk forflytning av ideer, som et sted for forhandling der ting produseres som ‘fremmede’, og som en generativ snarere enn imiterende prosess, spĂžr den hva raseoversettelse frambringer og hvorfor noen oversettelsesprosjekter framstilles som mer fremmede enn andre. Metoden er Ă„ spore hvordan fremmedhet tilskrives ulike objekter, samt Ă„ undersĂžke de oversettelsesstrategiene som brukes i de to nevnte empiriske tilfellene nĂ„r de gjengir engelsksprĂ„klige rasekategorier som ‘white’, ‘black’, ‘people of color’ og ‘women of color’. I tillegg til Ă„ undersĂžke hvilke generative effekter oversettelsene har, bruker studien en multimodal tilnĂŠrming som overskrider de semantiske grensene til etnorasekategorier og muliggjĂžr utforsking av rasemessig oversettelse pĂ„ tvers av flere semiotiske moduser. Avhandlingen begrepsligjĂžr rasemessig oversettelse som gjennomsyret av kjĂžnns- og seksualitetsdynamikk, innebygd i geopolitiske konfrontasjoner og informert av russisk imperial arv, og argumenterer for at rasemessig oversettelse er generativ pĂ„ flere sentrale mĂ„ter. Den rasemessige oversettelsen skaper nye og moderne formsprĂ„k (russofon interseksjonell feminisme og russisk kommersiell hiphop), kronotopisk plasserte former for personlighet knyttet til bestemte oversettelsesstrategier eller motstand mot dem, samt affektive responser og bestridelser av oversettelsesvalg og oversettelsesprosjekter som stigmatiseres eller verdsettes som ‘fremmede’. De som oversetter, tilnĂŠrmer seg det engelsksprĂ„klige formsprĂ„ket ‘rase som motstand’ som ‘fremmed og moderne’, og indekserer en avansert tid og et avansert sted, USA, for Ă„ styrke, reparere og modernisere russisksprĂ„klig feminisme og russiske musikkscener. Begge oversettelsesprosjektene posisjonerer fremmedgjĂžring som en kilde til modernisering, noe som forklarer predisposisjonen for fremmedgjĂžrende oversettelsesstrategier. FremmedgjĂžrende oversettelsesstrategier og motviljen mot bokstavtrohet i postsovjetiske, russisksprĂ„klige kontekster, kan imidlertid gjĂžre oversetterne selv fremmede, noe som fremmer jakten pĂ„ originalitet, forsĂžk pĂ„ Ă„ forhandle oversettelsens stigma og Ă„ reparere kronisk inautentisitet. PĂ„ nettsidene til det russisksprĂ„klige, interseksjonelle feministiske digitale fellesskapet, skaper moderatorenes tilbĂžyelighet til translitterasjoner en form for uro, beskyldninger om uforstĂ„elighet og en slags motvilje for sprĂ„kblanding. Moderatorenes rolle som en kosmopolitisk, tosprĂ„klig, feministisk elite skiller seg fra vanlige russisksprĂ„klige lesere. Interseksjonalitet sirkulerer som en feministisk kronotop, som FIO ser for seg som en feministisk fremtid, et botemiddel mot den russisksprĂ„klige feminismens rasisme, homofobi og transfobi. Feministiske kronotoper blir brukt i diskusjoner rundt oversettelse og blant annet utnyttet i lokale kronotopiske forestillinger om russisk bakstreverskhet og slavofil trangsynthet. Den bokstavelige oversettelsen av kategorien ‘hvit’ genererer figurer som ‘hvit mann’ og ‘hvite kvinner’ og inngĂ„r i det russisksprĂ„klige interseksjonelle feministiske formsprĂ„ket. Produksjonen av modererende antirasistisk hvithet-i-oversettelse mobiliserer kronotopiske figurer av tilbakestĂ„ende rasistiske andre som komparativ kontrast til mer moderne kunnskap. Den driver ogsĂ„ frem spĂžrsmĂ„l om grensene for oversettbarheten til kategorien ‘hvit’ for den situerte antirasistiske post-sovjetiske praksisen i kommentartrĂ„dene, inkludert den skiftende kategorien КаĐČĐșазцы/Kaukasiere. Manglende oversettelse av kategoriene ‘people of color’ og ‘women of color’ genererer blant annet sĂžken etter en postsovjetisk ‘woman of color’ som et russisksprĂ„klig interseksjonelt feministisk subjekt. Slik kanoniseres “rĂ„â€ oversettelse, den transsprĂ„klige spredningen av etno-rasistiske kategorier og instrumentaliseringen av figuren ‘trans woman of color’ av russisksprĂ„klige radfem som et tegn pĂ„ den russisksprĂ„klige interseksjonalitetens totale fremmedhet. Begrepet realia brukes i materialet som en sĂžken etter Ă„ lokalisere det amerikanske raseidiomet og for Ă„ belyse sĂŠrtrekkene ved den post-sovjetiske etnorasiske maktdynamikken. I undersĂžkelsen av raseoversettelse i Timatis hiphop, vises det hvordan Timati, ved Ă„ kombinere amerikansk svart hiphop-estetikk med russisk glamour pĂ„ 2000-tallet, brukte uoversatt amerikansk svarthet som en kosmopolitisk kulturell kapital for Ă„ motvirke volden i den post-sovjetiske rasialiseringen. Ved Ă„ nĂŠrme seg amerikansk svart estetikk gjennom direkte erfaring med ‘kilden’, fikk Timati transnasjonal suksess med sin etnorasiale formbarhet og evne til Ă„ formidle mellom postsovjetiske markeder, lokale Ăžkonomiske eliter, amerikansk raseautentisitet og amerikanske hiphop-kjendiser. Han bidro derimot neppe til Ă„ avhjelpe hiphopens kroniske inautentisitet i Russland. ForsĂžk pĂ„ Ă„ hĂ„ndtere stigmaet fremmedhet og imitasjon, og Ă„ oppnĂ„ sterkere hiphop-autentisitet pĂ„ hjemmebane, markerte en reorientering av Timatis prosjekt for rasemessig oversettelse. Fra 2012-2013 figurerer Kaukasus og kaukasiske maskuliniteter som ‘regionale originaler’, noe som gjĂžr det mulig for Timati Ă„ oversette den amerikanske svarte maskuliniteten som ligger til grunn for amerikansk hiphop-autentisitet. Han tar i bruk ulike strategier, som ‘vikarierende autentisitet’, memetikk og hiphop-homofobi, og skaper en homofobisk hiphop-meykhana-cipher og visuelle, imperiale troper av et kaukasisk sublim. Skjegget som rasemessig/seksuell metonymi er sentralt for Ă„ forstĂ„ Timatis prosjekt for rasemessig oversettelse i 2014-2015, som er involvert i seksuell geopolitikk mellom Ăžst og vest. Gjennom hiphop-modernitet og tvillingfantasien om etnisk raseblanding og sentralasiatiske migranters Ăžkonomiske oppsving i Russland, oppvurderes den etniske andre fra Ă„ vĂŠre symbol pĂ„ en sikkerhetstrussel (skjeggete terrorister) til Ă„ bli moderne, homofob og kul – og slik i stand til Ă„ sikre Russlands organiske og multinasjonale fremtid mot et angivelig korrupt og seksuelt perverst Europa. HĂžydepunktet i Timatis prosjekt for rasemessig oversettelse i 2014-2016 resulterte i oppfinnelsen av en bevisst memetisk karakter, Teymuraz, som iscenesetter rasistiske klisjeer av kaukasiske og sentralasiatiske menn. Teymuraz, som en del av Russlands hybridkulturelle trend med estetisk populisme, resirkulerer elementer fra New East gopnik-stil, sovjetiske og postsovjetiske komedier om menn fra Kaukasus og Sentral-Asia, blander elementer av samfunnskritikk og tilegner seg de subalternes stemmer. Han utgjĂžr med dette et sĂŠregent patriotisk, antirasistisk prosjekt med motstridende implikasjoner. Timatis lekne fremfĂžringer av patriotisme og performativ disidentifikasjon fra USA som kilde til hiphop i 2015 forstĂ„r hiphop-patriotisme som en strategi for Ă„ lokalisere hiphop i den skiftende geopolitiske konteksten av Russlands vending bort fra Vesten. Russiske diskurser om hiphop-autentisitet, som er opptatt av Ă„ oppdage og avslĂžre plagiat i Timatis arbeid, gir stemme til et sĂŠregent arbeid med Ă„ skille ‘ekte’ hiphop fra ‘falsk’ hiphop. Dette arbeidet bygger pĂ„ rasistiske diskurser om handel og umoral, og markerer Timati som ‘fremmed’ - bĂ„de utenfor sjangerens og den russiske nasjonens grenser – og avslĂžrer en russisk etnonasjonal skjevhet som ligger til grunn for russiske diskurser om hiphop-autentisitet. NĂžkkelord: oversettelse, interseksjonalitet, rase, etnorasisk, postsovjetisk, russisk hiphop, rap, russisk rap, grasrotfeminisme, digital feminisme, feministiske kronotoper, feministisk oversettelse, feministisk aktivisme, populĂŠrmusikk, Russland, russofon, oversettelsesstrategier, litteralisme, translitterasjon, homofobi, transfobi, vikarierende autentisitet, memetikk, realia, rasemessig/seksuell metonymi, indeksikalitet, multimodalitet, den kalde krigen, russisk populĂŠrkultur, digital aktivisme, autentisitet, hiphop-maskuliniteter, rasialisering, Kaukasus, Sentral-Asia.What happens to race, gender, and sexuality politics of intersectional feminism and hip-hop when they travel eastwards into post-Soviet Russophone contexts? This thesis explores the role of translation in the circulations of the US Anglophone idiom ‘race as resistance’ in 2012-2018 Russophone adaptations of hip-hop and intersectionality. Drawing on the digital ethnography, discourse analysis, and close reading of a selection of music videos, it empirically analyzes two translation projects: a grassroots Russophone translation-based intersectional feminist page, FIO (Feminist Intersectionality Against Oppression) and – a controversial in Russia – Tatar-Jewish hip-hop entrepreneur, Timati. This thesis, situated at the intersection of gender and sexuality studies, race and ethnicity research, and post-Soviet cultural studies, foregrounds translation in its theoretical framework and methodological research design. Theoretically, the dissertation’s approach to translation is inspired by feminist theory, feminist anthropology, and translation studies, as well as by transnational perspectives on racialization and the growing scholarship on race in Russia. Methodologically it draws on the tools from translation studies and sociolinguistics. Conceptualizing translation as a precondition for travel, as a site of negotiation where things are produced as ‘foreign’ and as a generative rather than imitative process, this thesis asks what racial translation generates and why some translation projects are rendered as more foreign than others. The method is to track the attributions of foreignness and examine the translation strategies used by the two projects mentioned above when rendering English-language racial categories such as ‘white,’ ‘black,’ ‘people of color,’ and ‘women of color.’ The study also uses the multimodal approach that goes beyond the limits of the semantics of ethnoracial categories, allowing for the exploration of racial translation across multiple semiotic modes. Conceptualizing racial translation as saturated in gender and sexuality dynamics, embedded in geopolitical confrontations, and informed by Russian imperial legacies, the thesis argues that racial translation is generative in several central ways. It creates novel and modern idioms (Russophone intersectional feminism and Russian commercial hip-hop), chronotopically positioned types of personhood associated with particular translation strategies or resistance to them, as well as affective responses and contestations of translation choices and translation projects stigmatized or valorized as ‘foreign.’ The translators approach the Anglophone idiom of ‘race as resistance’ as ‘foreign and modern,’ indexing advanced time and place, the USA, brought up to invigorate, repair, and modernize Russophone feminisms and Russian music scenes. Both translation projects position foreignization as a source of modernization, explaining the predisposition for foreignizing translation strategies. However, foreignizing translation strategies and the aversion to literalism within post-Soviet Russophone contexts may render translators themselves foreign, propelling the search for originality, the attempts to negotiate the stigma of translation, and to repair chronic inauthenticity. On the pages of the Russophone intersectional feminist community, the moderators’ predisposition to transliterations generates visceral unease, accusations of unintelligibility, anxieties about the language mixing, and the roles of moderators as cosmopolitan bilingual feminist elites different from ordinary Russophone readers. Intersectionality circulates as a feminist chronotope, envisioned by FIO as a feminist future, a remedy against exclusions within Russophone feminisms such as racism, homophobia, and transphobia. Circulating feminist chronotopes are used in contestations around translation, harnessed on local chronotopic imaginaries such as Russian peasant backwardness and Slavophile parochialism. The literal translation of the category ‘white’ generates figures such as ‘white man’ and ‘white women,’ which enter the Russophone intersectional feminist idiom. The production of anti-racist whiteness-in-translation mobilizes chronotopic figures of backward racist others in comparative contrast with more modern bodies of knowledge and types of personhood. It also propels the questioning of the limits of the translatability of the category ‘white’ for the situated anti-racist post-Soviet praxis in the comment threads, including the shifting category КаĐČĐșазцы/Caucasians. Non-translation of the categories ‘people of color’ and ‘women of color’ generates, amongst other things, the search for a post-Soviet ‘woman of color’ as a Russophone intersectional feminist subject, the canonization of raw translation, the translingual proliferation of ethnoracial categories and the instrumentalization of the figure of ‘trans woman of color’ by Russophone radfem as a mark of Russophone intersectionality’s total foreignness. Finally, the term realia emerged in the empirical materials as the quest for localizing the US idiom of race, adjusting intersectionality to the specificities of post-Soviet ethnoracial power dynamics. Within the project of racial translation in Timati’s hip-hop, I show how Timati marrying of US black hip-hop aesthetics and Russian glamour in the 2000s deployed untranslated foreign US blackness as a cosmopolitan cultural capital to alleviate the violence of post-Soviet racialization. Approximating US black aesthetics through the direct experience of ‘the source,’ Timati’s ethnoracial malleability and capacity to mediate between post-Soviet markets, local economic elites, US racial authenticity, and US hip-hop celebrities brought him international success, yet hardly helped alleviate chronic hip-hop inauthenticity in Russia. Attempts to manage the stigma of foreignness and imitation and hence achieve a stronger hip-hop authenticity domestically marked a reorientation of Timati’s project of racial translation. From 2012-2013, the Caucasus and Caucasian masculinities figure as ‘regional originals,’ allowing Timati to translate the US black masculinity underpinning US hip-hop authenticity through the strategies of vicarious realness, memetics, and hip-hop homophobia in a gay bashing hip-hop meykhana cipher and visual Imperial tropes of the Caucasian sublime. The beard as racial/sexual metonymy is central for understanding Timati’s project of racial translation involved in East-West sexual geopolitics in the period of 2014-2015: through hip-hop modernity and the twin fantasy of ethnoracial mixing and Central Asian migrant economic uplift in Russia, the ethnoracial other is revalorized away from the image of the security threat (bearded terrorist) as modern, homophobic and cool, able to secure Russia’s organic and multinational future against corrupt and sexually perverse Europe. The pinnacle of Timati’s project of racial translation in 2014-2016 resulted in the invention of a deliberately memetic character, Teymuraz, enacting racialized cliches of Caucasian and Central Asian men. Teymuraz, as part of Russia’s hybrid cultural trend of aesthetic populism, recycles the elements of New East gopnik style, Soviet and post-Soviet comedies about men from the Caucasus and Central Asia, mixes elements of social critique, and appropriates the voices of the subaltern, performing a peculiar patriotic anti-racist project with contradictory implications. Timati’s 2015 ludic performances of hip-hop patriotism, coupled with performative disidentifications from the USA as a source of hip-hop, are read as a strategy of hip-hop localization in the changing geopolitical context of Russia’s turn away from the West. Russian discourses of hip-hop authenticity, preoccupied with detecting and exposing plagiarism in Timati’s work, serve to discern ‘real’ hip-hop from ‘fake’ hip-hop. These acts of discernment draw on the racialized discourses of commerce and immorality, marking Timati as ‘foreign’ - both outside the borders of the genre and the Russian nation – thus exposing the Russian ethnonational bias underpinning Russian discourses of hip-hop authenticity. Keywords: translation, intersectionality, race, ethnoracial, post-Soviet, Russian hip-hop, hip-hop, rap, Russian rap, grassroots feminism, digital feminism, feminist chronotopes, feminist translation, feminist activism, popular music, Russia, Russophone, translation strategies, literalism, transliteration, homophobia, transphobia, vicarious realness, memetics, realia, racial/sexual metonymy, indexicality, multimodality, Cold War, Russian popular culture, digital activism, authenticity, hip-hop masculinities, racialization, Caucasus, Central Asia.Doktorgradsavhandlin

    Fundamentals

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    Volume 1 establishes the foundations of this new field. It goes through all the steps from data collection, their summary and clustering, to different aspects of resource-aware learning, i.e., hardware, memory, energy, and communication awareness. Machine learning methods are inspected with respect to resource requirements and how to enhance scalability on diverse computing architectures ranging from embedded systems to large computing clusters

    The Univocity of Attention: ADHD and the Case for a Renewed Self-Advocacy

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    This dissertation uses multi-sited ethnography and socio-philosophical analysis to answer the following questions: What is the current state of ADHD’s onto-epistemological status in contemporary discourse? Is an equivalent to critical autism studies possible for ADHD? Specifically, is it possible to refigure ADHD’s ontology as an affirmative difference rather than a deficit? Drawing from my own experiences living with ADHD, as well as anecdotal and ethnographic accounts from my engagement with ADHD self-advocacy communities, I put various critical social scientific theories “to the test,” including Hacking’s looping effects, structuralist-functionalist’s medicalization and social control, Foucault’s and Rose’s theories of subjectification and governmentality, Deleuze and Guattari’s concept of becoming, the fold and related antipsychiatry approaches (e.g., in mad studies literature), and historical materialist theories of the pathologies of late-stage capitalism. My findings indicate that there is something specific about ADHD’s symptoms that pushes back against the often-totalizing nature of these critical theories. I also draw from science and technology studies to conduct an ethnographic study of an ADHD clinic in Japan, to explore how this specificity of ADHD “travels” in cross-cultural contexts without being reduced to biology or culture. The results of my research indicate that the ontological legitimacy of ADHD (what qualifies it as existing, and what it means for it to exist) in contemporary discourse has little to do with its purported neurobiological or genetic underpinnings. Instead, popular ontological beliefs appear to “swing” between two poles of what I call the “dialectic of medicalization”: in one direction, a belief in the ontological primacy of identity (a disease entity, human kind, brain type, medical label, and so on); in the other direction, a belief in the ontological primacy of individual variation (neurobiological diversity, “human distress,” statistically-associated symptoms, genetic correlates, and so on). I show how this dialectic keeps ADHD in conceptual purgatory, helps to explain the history and current state of ADHD discourse, and contributes to ADHD misrecognition and harm. Borrowing from Deleuze’s Difference & Repetition (1994), I call for a renewed ADHD self-advocacy that breaks free from this dialectic by reformulating ontologies of ADHD in terms of its “difference in itself.” My dissertation arrives at a position compatible with critical disability studies and critical autism studies, though in a way that speaks to the specificity of ADHD’s affirmative differences rather than reducing them to the generality of neurodiversity

    Post-Truth Imaginations

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    This book engages with post-truth as a problem of societal order and for scholarly analysis. It claims that post-truth discourse is more deeply entangled with main Western imaginations of knowledge societies than commonly recognised. Scholarly responses to post-truth have not fully addressed these entanglements, treating them either as something to be morally condemned or as accusations against which scholars have to defend themselves (for having somehow contributed to it). Aiming for wider problematisations, the authors of this book use post-truth to open scholarly and societal assumptions to critical scrutiny. Contributions are both conceptual and empirical, dealing with topics such as: the role of truth in public; deep penetrations of ICTs into main societal institutions; the politics of time in neoliberalism; shifting boundaries between fact – value, politics – science, nature – culture; and the importance of critique for public truth-telling. Case studies range from the politics of nuclear power and election meddling in the UK, over smart technologies and techno-regulation in Europe, to renewables in Australia. The book ends where the Corona story begins: as intensifications of Modernity’s complex dynamics, requiring new starting points for critique

    The Art of Adaptation in Film and Video Games

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    This Special Issue of Arts explores the art and practice of adaptation in several different mediums with a focus on film and video games. The topics covered include experimental game design, narrative design, film and trauma, games adapted from literature, video game cinema, film and the pandemic, film and the environment, film and immigration, and film and culture

    Orange Chinook

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    In 2015, the New Democratic Party won an unprecedented victory in Alberta. Unseating the Progressive Conservatives -- who had won every provincial election since 1971 -- they formed an NDP government for the first time in the history of the province. Orange Chinook is the first scholarly analysis of this election. It examines the legacy of the Progressive Conservative dynasty, the PC and NDP campaigns, polling, and online politics, providing context and setting the stage for the unprecedented NDP victory. It highlights the importance of Alberta's energy sector and how it relates to provincial politics with focus on the oil sands, the carbon tax, and pipelines. Examining the NDP in power, Orange Chinook draws on Indigenous, urban, and rural perspectives to explore the transition process and government finances and politics. It explores the governing style of NDP premier Rachel Notley, paying special attention to her response to the 2016 Fort McMurray wildfire and to the role of women in politics. Orange Chinook brings together Alberta's top political watchers in this fascinating, multifaceted analysis

    The evolution of language: Proceedings of the Joint Conference on Language Evolution (JCoLE)

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