The genome incorporated: constructing biodigital identity

The Genome Incorporated examines the proliferation of human genomics across contemporary media cultures. It explores questions about what it means for a technoscience to thoroughly saturate everyday life, and places the interrogation of the science/media relationship at the heart of this enquiry. The book develops a number of case studies in the mediation and consumption of genomics, including: the emergence of new direct-to-the-consumer bioinformatics companies; the mundane propagation of testing and genetic information through lifestyle television programming; and public and private engagements with art and science institutions and events. Through these novel sites, this book examines the proliferating circuits of production and consumption of genetic information and theorizes this as a process of incorporation. Its wide-ranging case studies ensure its appeal to readers across the social sciences

Public knowledge-making and the media: genes, genetics, cloning and mass observation

Media analysis of public engagement with genetics and cloning is dominated by media genre- specific or issue-specific analysis. Such analyses tend to frame genetics as a new technology, and media resources as current and immediate. Broader public discourses tend towards marginalising public knowledge as against expert voices. This article takes a broader perspective to demonstrate that people engage with multiple media genres over an extensive time frame. It explores the findings of a Mass Observation directive looking at how people know about genes, genetics cloning. We detail the specificity of using this research instrument and map the rich and detailed media culture, which emerged. Thus, we provide insight into how media cultures resource public knowledge making over time. The research also indicates a pro-science and engaged public culture in relation to genetics the UK, in which the media are key

Queer feminist media praxis: an introduction.

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What’s in a name: the politics of queer on campus

This paper draws upon oral history interviews and archival work carried out to examine the history of the LGBTQ+ student society at the University of Sussex. It reflects upon the significance of the Society’s name change over time (from GaySoc in the 1970s to its contemporary formation as the LGBTQ+ Society) and considers the role of the Society and its members as an active political and sociable group, concerned with a broad range of political and social justice movements, both on campus and across wider society, locally and nationally. It demonstrates how the experience of student societies relates to individual and group identity and how they help shape national and international politics. It looks at how the groups were positioned as political through their location and in relation to activism beyond LGBTQ+ issues and the University

Revisiting digital technologies: envisioning biodigital bodies

In this paper the contemporary practices of human genomics in the 21st century are placed alongside the digital bodies of the 1990s. The primary aim is to provide a trajectory of the biodigital as follows: First, digital bodies and biodigital bodies were both part of the spectacular imaginaries of early cybercultures. Second, these spectacular digital bodies were supplemented in the mid-1990s by digital bodywork practices that have become an important dimension of everyday communication. Third, the spectacle of biodigital bodies is in the process of being supplemented by biodigital bodywork practices, through personal or direct-to-consumer genomics. This shift moves a form of biodigital communication into the everyday. Finally, what can be learned from putting the trajectories of digital and biodigital bodies together is that the degree of this communicative shift may be obscured through the doubled attachment of personal genomics to everyday digital culture and high-tech spectacle.Keywords: genomics, biodigital, bodies, spectacle, everyda

Life and the technological: cyborgs, companions and the chthulucene

Donna Haraway’s cyborg is a widely traveled figure with an important relation to life writing. This article traces the cyborg through modes of life writing and routes through feminist science fiction and science studies. It examines attachments and anger, looking at the return of the alienated cyborg in recent accounts of Haraway’s work. One of Donna Haraway’s most charismatic and widely travelled figures is that of the cyborg. It emerges as a figure in her writing in the 1980s and 1990s, and enables important interventions in thinking about lives as always already technological and prosthetic. One of its gifts is that it offers a different way into this than either technological evolutionism or the posthumanism of actor-network theory. The cyborg is a figure of specificity, of fiction but also of real-life couplings of technology and flesh, which are neither evolutionarily determined nor neutral but, in Haraway’s terms, are non-innocent encounters. The non-innocent relationality of the cyborg is posited as one of responsibility, which, in Haraway’s lexicon, evokes both an ability to respond to others and an ethics of encounter. The cyborg is a singular figure, although, in Haraway’s work, singularity is always multiple and allows for thinking about the life of life story and technology.1 The figure has generated strong attachments, multiple stories, and anger over the last thirty years. This article traces a partial examination of the manifesto as life writing, and surveys debates about and practices of cyborg life writing, including autobiography and fiction. It examines the possibilities of the cyborg, including anger, rejection, and reconfiguration (as embryo and doppelg€anger), as well as its relation to life itself more broadly conceived

Human cloning in film: horror, ambivalence, hope

Fictional filmic representations of human cloning have shifted in relation to the 1997 announcement of the birth of Dolly the cloned sheep, and since therapeutic human cloning became a scientific practice in the early twentieth century. The operation and detail of these shifts can be seen through an analysis of the films The Island (2005) and Aeon Flux (2005). These films provide a site for the examination of how these changes in human cloning from fiction to practice, and from horror to hope, have been represented and imagined, and how these distinctions have operated visually in fiction, and in relation to genre

Making sense of sensors

The paper explores the different projects resulting from a practical workshop on making and hacking biosensors. The workshop was part of the Sussex-UCSC Digital Media partnership initiative, funded though the University of Sussex (and the EPSRC). The projects and the workshop enable a series of reflections about biosensors and their commercially offered promises and what they might offer to other constituents in digital arts theory and practice. These reflections include: issues about expertise and how to ‘make with sensors’; how inner states of being can be communicated in social situations; non-human relations and the possibility of radical communication beyond the human; and questions about materiality and performance and the role of the manifesto in relation to devices. These points are developed to argue that despite the radical promise of biosensors to offer new forms of communication, the objects they produce often fail. However, the process of design and making open up questions about the technological horizon and possibilities for connection in a device orientated culture

Who do you think you are? Children's definitions of being a ‘child'

We asked 92 children in North West England, aged 2–17, if they were children and what it meant to be a child. Our findings show that not all children think they are a ‘child’. Although different age groups defined ‘childness’ in different ways, children reproduced normative Western discourses of childhood, including ideas which subordinate them. The children in our study seemed unable to articulate their capabilities and contributions. We argue that children and adults need to co‐produce positive definitions of childness to facilitate adult acceptance of children's participation in society and continue the struggle against adultism

Biodigital publics: personal genomes as digital media artifacts

The recent proliferation of personal genomics and direct-to-consumer (DTC) genomics has attracted much attention and publicity. Concern around these developments has mainly focused on issues of biomedical regulation and hinged on questions of how people understand genomic information as biomedical and what meaning they make of it. However, this publicity amplifies genome sequences which are also made as internet texts and, as such, they generate new reading publics. The practices around the generation, circulation and reading of genome scans do not just raise questions about biomedical regulation, they also provide the focus for an exploration of how contemporary public participation in genomics works. These issues around the public features of DTC genomic testing can be pursued through a close examination of the modes of one of the best known providers—23andMe. In fact, genome sequences circulate as digital artefacts and, hence, people are addressed by them. They are read as texts, annotated and written about in browsers, blogs and wikis. This activity also yields content for media coverage which addresses an indefinite public in line with Michael Warner’s conceptualisation of publics. Digital genomic texts promise empowerment, personalisation and community, but this promise may obscure the compliance and proscription associated with these forms. The kinds of interaction here can be compared to those analysed by Andrew Barry. Direct-to-consumer genetics companies are part of a network providing an infrastructure for genomic reading publics and this network can be mapped and examined to demonstrate the ways in which this formation both exacerbates inequalities and offers possibilities for participation in biodigital culture