Judy Wajcman: TechnoFeminism (2004–) [EN, ES]

“This timely and engaging book argues that technoscientific advances are radically transforming the woman-machine relationship. However, it is feminist politics rather than the technologies themselves that make the difference. TechnoFeminism fuses the visionary insights of cyberfeminism with a materialist analysis of the sexual politics of technology.”

Publisher Polity Press, 2004
ISBN 9780745630441, 0745630448
viii+148 pages

Reviews: Martha McCaughey (American Journal of Sociology, 2006), Rosalind Gill (Science as Culture, 2005), Sarah M. Brown (NWSA Journal, 2007), Eva Patricia Gil (UOC Papers, 2007, Spanish), Isabel Clúa (n.d., Spanish).

Wikipedia (EN)
Publisher (EN)
WorldCat (EN)

TechnoFeminism (English, 30 MB)
El tecnofeminismo (Spanish, trans. Magalí Martínez Solimán, 2006, via)

See also Wajcman’s Feminism Confronts Technology, 1991.

Lucie Vágnerová: Sirens/Cyborgs: Sound Technologies and the Musical Body (2016)

“This dissertation investigates the political stakes of women’s work with sound technologies engaging the body since the 1970s by drawing on frameworks and methodologies from music history, sound studies, feminist theory, performance studies, critical theory, and the history of technology. Although the body has been one of the principal subjects of new musicology since the early 1990s, its role in electronic music is still frequently shortchanged. I argue that the way we hear electro-bodily music has been shaped by extra-musical, often male-controlled contexts. I offer a critique of the gendered and racialized foundations of terminology such as “extended,” “non-human,” and “dis/embodied,” which follows these repertories. In the work of American composers Joan La Barbara, Laurie Anderson, Wendy Carlos, Laetitia Sonami, and Pamela Z, I trace performative interventions in technoscientific paradigms of the late twentieth century.

The voice is perceived as the locus of the musical body and has long been feminized in musical discourse. The first three chapters explore how this discourse is challenged by compositions featuring the processed, broadcast, and synthesized voices of women. I focus on how these works stretch the limits of traditional vocal epistemology and, in turn, engage the bodies of listeners. In the final chapter on musical performance with gesture control, I question the characterization of hand/arm gesture as a “natural” musical interface and return to the voice, now sampled and mapped onto movement. Drawing on Cyborg feminist frameworks which privilege hybridity and multiplicity, I show that the above composers audit the dominant technoscientific imaginary by constructing musical bodies that are never essentially manifested nor completely erased.”

PhD Dissertation
Publisher Graduate School of Arts and Sciences, Columbia University, 2016
Advisor: Ellie M. Hisama
242 pages

Publisher

PDF, PDF

McKenzie Wark: Molecular Red: Theory for the Anthropocene (2015)

“In Molecular Red, McKenzie Wark creates philosophical tools for the Anthropocene, our new planetary epoch, in which human and natural forces are so entwined that the future of one determines that of the other.

Wark explores the implications of Anthropocene through the story of two empires, the Soviet and then the American. The fall of the former prefigures that of the latter. From the ruins of these mighty histories, Wark salvages ideas to help us picture what kind of worlds collective labor might yet build. From the Russian revolution, Wark unearths the work of Alexander Bogdanov—Lenin’s rival—as well as the great Proletkult writer and engineer Andrey Platonov.

The Soviet experiment emerges from the past as an allegory for the new organizational challenges of our time. From deep within the Californian military-entertainment complex, Wark retrieves Donna Haraway‘s cyborg critique and science fiction writer Kim Stanley Robinson’s Martian utopia as powerful resources for rethinking and remaking the world that climate change has wrought. Molecular Red proposes an alternative realism, where hope is found in what remains and endures.”

Publisher Verso, London and New York, March 2015
ISBN 1781688273, 9781781688274
xxiv+280 pages

Reviews: Slavoj Žižek (Verso 2015, Wark’s response), John Beck (Radical Philosophy 2015), Mark Rappolt (ArtReview 2015), Maria Chehonadskih (Mute 2015, Wark’s response), Two Grenadiers (2015), Pieter Vermeulen & Tom Chadwick (nY 2016), Jim Harper (LSE Review of Books 2016).
Commentary: Joe Guinan (Renewal 2015), Jernej Kaluža (Radio Student 2019, SL).

Video lecture (Concordia U, Apr 2015)
Publisher
WorldCat

HTML

See also Molecular Red Reader compiled by Wark (PDF).