Digital world, lifeworld, and the phenomenology of corporeality

The contemporary world is characterised by the pervasive presence of digital technologies that play a part in almost every aspect of our life. An urgent and much-debated issue consists in evaluating the repercussions of these technologies on our human condition. In this paper, I tackle this issue from the standpoint of Husserlian phenomenology. I argue that phenomenology offers a contribution to our understanding of the implications of digital technologies, in the light of its analysis of the essential structures of human experience, and especially of its corporeal grounding. In the light of this analysis, it is possible to investigate the ways in which these essential structures are affected by digital technologies. In particular, it is possible to highlight the ways in which some digital technologies involve a process of disembodiment or simply a superficial embodiment of experience

CorpoReality

I have my mother’s light eyes, my great grandmother’s round nose, and my grandfather’s gift of gab. From my father, I have inherited the rare neuromuscular disorder, Charcot Marie Tooth disease, which he was born with. Because of this, I have had to view things other people took for granted from a different perspective. Since childhood, I have had to be sharply observant of my surroundings—details such as little grooves in the pavement or uneven brick on the sidewalk could make the difference between a pleasant outing and a catastrophic fall. This need to develop an acute awareness of my surroundings, compounded with my unique physicality, eventually evolved into the desire to document the natural variations of the human body. Photography was the obvious medium, and I realized then that I had the perfect subject for my photographic journey—myself. Consequently, I spent several years creating a series of self portraits—offering the viewer a most personal glimpse into my life via pictures of my short overweight body and my misshapen feet and legs. As photography grew from hobby into passion, I began to feel a strong sense of responsibility to bring attention to the reality of living in an “imperfect” body, and started photographing other subjects in addition to myself. While it was certainly my own situation that initially attracted me to people who have faced challenges due to their physical appearance and/or functionality, the more interaction I had with the people I photographed, the more I realized that what I was trying to get at was more complicated than my initial aim. My attraction to these people’s physicality began to feel scientific and insincere. My original approach appeared as though I was viewing them in the way most others saw them, simply externally. I wanted to break through this boundary and recognize them for who they really were and what they had to offer the world. It is somewhat natural to define things by their exterior; people tend to react most to the information that is in front of them. But it presents a major problem when this tendency carries over to how we view others. When people view the bodies of those who are physically different, the information in front of them can be so foreign to their notions of normality that they are unable to move past the external and see who these people truly are. People with disabilities are immediately and consistently viewed as something different and “other” in our society, and not as human beings with much more to them than their appearances. It is this societal trend that I sought to challenge in my work. With this project, I not only wanted to create portraits of disabled people functioning out in the world; I also wanted their life stories. I wanted to go into their homes, meet their families, hold their possessions and hear their stories of perseverance. I wanted to truly capture their spirit and what it was like for them to go through life in an atypical body. I wanted others to experience their corpoReality. I never imagined where this project would take me and how rich my interactions with my subjects would become. Each person in these photographs has led me through their unique and powerful journey and I am profoundly grateful to them. Each one has showed me how their challenges have changed, shaped and inspired them. Many have told me that they believe that there is a karmic reason that were given this body, and one woman even expressed that she would truly miss her body in her next life. These people have lived their lives to the fullest, and not one of them takes their time here on earth for granted. They are the strongest, most courageous, and most beautiful human beings that I have ever met

Contemporary Representations of the Female Body: Consumerism and the Normative Discourse of Beauty

In the context of the perpetual reproduction of consumerism in contemporary western societies, the varied and often contradictory principles of third wave feminism have been misunderstood or redefined by the dominant economic discourse of the markets. The lack of homogeneity in the theoretical debates of the third wave feminism seems to be a vulnerable point in the appropriation of its emancipatory ideals by the post-modern consumerist narratives. The beauty norm, particularly, brings the most problematic questions forth in the contemporary feminist dialogues. In this paper I will examine the validity of the concept of empowerment through practices of the body, practices that constitute the socially legitimized identity of women in a consumerist western society. My thesis is that the beauty norm is constructed as a socio-political instrument in order to preserve the old, patriarchal regulation of women’s bodies. Due to the power of invisibility of the new mechanisms of social control and subjection, the consumerist discourse offers the most effective political tool for gender inequality and a complex discussion about free will and emancipation in third wave feminism debates. This delicate theoretical issues question not only the existent social order, but the very political purposes of contemporary feminism

Femme-liminale: corporeal performativity in death metal

Given the research undertaken into notions of Dark Leisure (Spracklen, 2013), space becomes an engendered negotiated terrain not only in terms of performing masculine inscribed music such as Death Metal but occupying space within the scene itself. Claiming identity through mapping one's relationship to societal constructs of self and notions of belonging within peripheric and marginalised music forms such as Death Metal means that gender becomes foregrounded. Death Metal in its socio-musical constructs is male; the virtuosity and dexterity required to compose and perform it has its legacy in patriarchal cultural practices such as lead guitar solos and traditional band formations being occupied in the majority by men. There are of course exceptions to the rule but they do not occupy leading positions in the genre. There exists a preconceived notion that girls can’t play guitar, let alone Death Metal because its difficulty levels exceed a traditional three chord structure. Women’s involvement is restricted to either bass under the assumption that it is easier than guitar (White Zombie, Bolt Thrower) or in some instances vocals However this is dealt with as a novelty; Angela Gossow (Ex- Arch Enemy) providing a viable example. Whilst an anti-hegemonic, anti-establishment ideological position is maintained in Death Metal, for women who transgress the boundary between audience member or “girlfriend” of a band member, to performing Death Metal, the liminality of experience means occupying a patriarchal space at the same time as transgressing sexist and sexualised gender tropes. Whilst it can be noted that men within the Death Metal scene do not necessarily knowingly ascribe to societal gender constructs as an overt operational paradigm of behaviour, seeing as no single person can divorce themselves in totality away from contemporary cultural texts and practices, fundamental gender codes underpin interaction on and off stage. For women who perform Death Metal, the choice to either accept or deny constructs of femininity and ‘sexiness’ exists as polemics; to acknowledge the male gaze or to reject it can act as primary signification of manoeuvrability within the scene. This paper seeks to deconstruct notions of gender performativity, subversion and extreme metal in order to present a narrative on liminality, sexualisation and corporeality

The racist bodily imaginary: the image of the body-in-pieces in (post)apartheid culture

This paper outlines a reoccurring motif within the racist imaginary of (post)apartheid culture: the black body-in-pieces. This disturbing visual idiom is approached from three conceptual perspectives. By linking ideas prevalent in Frantz Fanon’s description of colonial racism with psychoanalytic concepts such as Lacan’s notion of the corps morcelé, the paper offers, firstly, an account of the black body-in-pieces as fantasmatic preoccupation of the (post)apartheid imaginary. The role of such images is approached, secondly, through the lens of affect theory which eschews a representational ‘reading’ of such images in favour of attention to their asignifying intensities and the role they play in effectively constituting such bodies. Lastly, Judith Butler’s discussion of war photography and the conditions of grievability introduces an ethical dimension to the discussion and helps draw attention to the unsavory relations of enjoyment occasioned by such images

Call Me Caitlyn: Making and making over the 'authentic' transgender body in Anglo-American popular culture

A conception of transgender identity as an ‘authentic’ gendered core ‘trapped’ within a mismatched corporeality, and made tangible through corporeal transformations, has attained unprecedented legibility in contemporary Anglo-American media. Whilst pop-cultural articulations of this discourse have received some scholarly attention, the question of why this 'wrong body' paradigm has solidified as the normative explanation for gender transition within the popular media remains underexplored. This paper argues that this discourse has attained cultural pre-eminence through its convergence with a broader media and commercial zeitgeist, in which corporeal alteration and maintenance are perceived as means of accessing one’s ‘authentic’ self. I analyse the media representations of two transgender celebrities: Caitlyn Jenner and Nadia Almada, alongside the reality TV show TRANSform Me, exploring how these women’s gender transitions have been discursively aligned with a cultural imperative for all women, cisgender or trans, to display their authentic femininity through bodily work. This demonstrates how established tropes of authenticity-via-bodily transformation, have enabled transgender to become culturally legible through the wrong body trope. Problematically, I argue, this process has worked to demarcate ideals of ‘acceptable’ transgender subjectivity: self-sufficient, normatively feminine, and eager to embrace the possibilities for happiness and social integration provided by the commercial domain

Writing biology with mutant mice: the monstrous potential of post genomic life

Social scientific accounts identified in the biological grammars of early genomics a monstrous reductionism, ‘an example of brute life, the minimalist essence of things’ (Rabinow, 1996, p. 89). Concern about this reductionism focused particularly on its links to modernist notions of control; the possibility of calculating, predicting and intervening in the biological futures of individuals and populations. Yet, the trajectories of the post genomic sciences have not unfolded in this way, challenging scientists involved in the production and integration of complex biological data and the interpretative strategies of social scientists honed in critiquing this reductionism. The post genomic sciences are now proliferating points from which to understand relations in biology, between genes and environments, as well as between species and spaces, opening up future possibilities and different ways of thinking about life. This paper explores the emerging topologies and temporalities of one form of post genomic research, drawing upon ethnographic research on international efforts in functional genomics, which are using mutant mice to understand mammalian gene function. Using vocabularies on the monstrous from Derrida and Haraway, I suggest an alternative conceptualisation of monstrosity within biology, in which the ascendancy of mice in functional genomics acts as a constant supplement to the reductionist grammars of genomics. Rather than searching for the minimalist essence of things, this form of functional genomics has become an exercise in the production and organization of biological surplus and excess, which is experimental, corporeal and affective. The uncertain functioning of monsters in this contexts acts as a generative catalyst for scientists and social scientists, proliferating perspectives from which to listen to and engage with the mutating landscapes, forms of life, and languages of a post genomic biology

'Sexercise': Working out heterosexuality in Jane Fonda’s fitness books

This is an Author's Accepted Manuscript of an article published in Leisure Studies, 30(2), 237 - 255, 2011, copyright Taylor & Francis, available online at: http://www.tandfonline.com/10.1080/02614367.2010.523837.This paper explores the connection between the promotion of heterosexual norms in women’s fitness books written by or in the name of Jane Fonda during the 1980s and the commodification of women’s fitness space in both the public and private spheres. The paper is set in the absence of overt discussions of normative heterosexuality in leisure studies and draws on critical heterosexual scholarship as well as the growing body of work theorising geographies of corporeality and heterosexuality. Using the principles of media discourse analysis, the paper identifies three overlapping characteristics of heterosexuality represented in Jane Fonda’s fitness books, and embodied through the exercise regimes: respectable heterosexual desire, monogamous procreation and domesticity. The paper concludes that the promotion and prescription of exercise for women in the Jane Fonda workout books centred on the reproduction and embodiment of heterosexual corporeality. Set within an emerging commercial landscape of women’s fitness in the 1980s, such exercise practices were significant in the legitimation and institutionalisation of heteronormativity

Coming, Going, and Knowing. Reading Sex and Embodiment in Hebrew Narrative

This article both summarizes and analyzes recent feminist scholarship in literary studies and, in light of that analysis, examines a range of Hebrew terms for sexual intercourse. Particular attention is paid to Genesis and Judges