Se nós nunca fomos humanos, o que fazer?

Entrevista com Donna Haraway NG: O “Manifesto Ciborgue” foi publicado originalmente na Socialist Review em 1985, há 25 anos. Quais eram seus objetivos e motivações ao escrever esse ensaio? DH: Havia dois tipos de documentos de posição pública que fui solicitada a produzir no contexto do feminismo socialista e, de modo mais amplo, dos novos movimentos de esquerda nos Estados Unidos nos anos 1980. Do ponto de vista dos Estados Unidos, logo após a eleição de Reagan, o coletivo da Socialist Revie..

La persistencia de la visión

Dossie

Sounding Situated Knowledges - Echo in Archaeoacoustics

This article proposes that feminist epistemologies via Donna Haraway's “Situated Knowledges” can be productively brought to bear upon theories of sonic knowledge production, as “sounding situated knowledges.” Sounding situated knowledges re-reads debates around the “nature of sound” with a Harawayan notion of the “natureculture of sound.” This aims to disrupt a traditional subject-object relation which I argue has perpetuated a pervasive “sonic naturalism” in sound studies. The emerging field of archaeoacoustics (acoustic archaeology), which examines the role of sound in human behaviour in archaeology, is theorized as an opening with potentially profound consequences for sonic knowledge production which are not currently being realized. The echo is conceived as a material-semiotic articulation, which akin to Haraway's infamous cyborg, serves as a feminist figuration which enables this renegotiation. Archaeoacoustics research, read following Haraway both reflectively and diffractively, is understood as a critical juncture for sound studies which exposes the necessity of both embodiedness and situatedness for sonic knowledge production. Given the potential opened up by archaeoacoustics through the figure of echo, a critical renegotiation of the subject-object relation in sound studies is suggested as central in further developing theories of sonic knowledge production