Filed under book | Tags: · accelerationism, automation, cyberfeminism, feminism, futurity, gender, materialism, neorationalism, posthumanism, reproduction, technology, women, xenofeminism
“In an era of accelerating technology and increasing complexity, how should we reimagine the emancipatory potential of feminism? How should gender politics be reconfigured in a world being transformed by automation, globalization and the digital revolution?
These questions are addressed in this bold new book by Helen Hester, a founding member of the ‘Laboria Cuboniks’ collective that developed the acclaimed manifesto ‘Xenofeminism: A Politics for Alienation’. Hester develops a three-part definition of xenofeminism grounded in the ideas of technomaterialism, anti-naturalism, and gender abolitionism. She elaborates these ideas in relation to assistive reproductive technologies and interrogates the relationship between reproduction and futurity, while steering clear of a problematic anti-natalism. Finally, she examines what xenofeminist technologies might look like in practice, using the history of one specific device to argue for a future-oriented gender politics that can facilitate alternative models of reproduction.
Challenging and iconoclastic, this visionary book is the essential guide to one of the most exciting intellectual trends in contemporary feminism.”
Publisher Polity Press, 2018
Theory Redux series
ISBN 1509520627, 9781509520626
Silvia Federici: Revolution at Point Zero: Housework, Reproduction, and Feminist Struggle (2012–) [EN, ES]
Filed under book | Tags: · capitalism, commons, feminism, housework, labour, marxism, reproduction, women
“Written between 1974 and 2012, Revolution at Point Zero collects forty years of research and theorizing on the nature of housework, social reproduction, and women’s struggles on this terrain—to escape it, to better its conditions, to reconstruct it in ways that provide an alternative to capitalist relations.
Indeed, as Federici reveals, behind the capitalist organization of work and the contradictions inherent in “alienated labor” is an explosive ground zero for revolutionary practice upon which are decided the daily realities of our collective reproduction.
Beginning with Federici’s organizational work in the Wages for Housework movement, the essays collected here unravel the power and politics of wide but related issues including the international restructuring of reproductive work and its effects on the sexual division of labor, the globalization of care work and sex work, the crisis of elder care, the development of affective labor, and the politics of the commons.”
Publisher PM Press, Oakland, CA, and Common Notions, Brooklyn, NY, 2012
Creative Commons BY-NC-SA 3.0 Unported License
ISBN 9781604863338, 1604863331
Reviews: Joshua Eichen (Mute, 2012), Nicholas Beuret (Red Pepper, 2012), Ashley Bohrer (spectrezine, 2012), Seth Sandronsky (Z Magazine, 2012), Dayna Tortorici (n+1, 2013), Laura Schwartz (Labor & Society, 2013), Emma Dowling (Feminist Review, 2014), Danielle DiNovelli-Lang (Alternate Routes, 2014), Marina Vishmidt (J Cultural Economy, 2015), Sutapa Chattopadhyay (Capitalism Nature Socialism, 2015), Leontina M. Hormel (Monthly Review, 2016).Comment (0)
Filed under thesis | Tags: · archive, art, art history, curating, museum, photography, reproduction
“This study focuses on a series of fugitive operations that Marcel Duchamp incited in order to test, theorize, position, and even make his work as such. Not conventionally “artistic” in nature, even if intimately connected to the collection, presentation, reception, and valuation of art, these activities include Duchamp’s role as administrator, archivist, art advisor, curator, publicist, reproduction-maker, and salesman of his own oeuvre. Rather than merely procedural, auxiliary, or incidental, they might be thought of as constitutive, resulting in a still understudied but profoundly influential output by an artist who redefined so much of what, hence forth, would be called art. Here, those most iconic of Duchamp’s inventions, the readymades, although not the central objects of this study, are understood as significant insofar as they were not simply “nominated” to become artworks, but more importantly, because they were curated. It is precisely through curatorial operations—relative to much of Duchamp’s production, and constituting one of the central activities that this dissertation explores—that the artist rendered the discourse, institutions, marketing, and presentational strategies of art into something like his cardinal “medium.”
Tracing Duchamp’s perennial relationship to photography, reproduction, the museum, and the archive, and spanning the period between 1913 and 1969, three chapters closely examine a number of undeniably material things: chapter one considers the artist’s boxes of photographically replicated notes, the Box of 1914 (1913-14) and Boîte verte (1934); chapter two examines documentation of ephemeral exhibitions, recording Duchamp’s curatorial interventions as well as suitcases filled with miniature reproductions, the Boîte-en-valise (1938-42); and chapter three is dedicated to a permanent installation, Etant donnés 1. la chute d’eau, 2. le gaz d’éclairage (1946-66). However, the premise of this dissertation is that all of these gain a new significance if studied in relation to the elusive activities that actually constituted them as artworks. Together, they formed a counter-conception of the role of the artist, articulating—and complicating—the conceptual stakes of much of what is known of his practice and thickening into what Walter Benjamin called the artist’s “theory of the work of art.”” (Abstract)
Advisor: Hal Foster
Publisher Art and Archaeology Department, Princeton University, 2013