CYBORG PERSPECTIVES: women and technology today

MENU :: OVERVIEW :: RESOURCES :: DISCUSSION :: TIMETABLE :: MANIFESTO :: MENU

WEEK :: TWO :: THREE :: FOUR :: FIVE :: SIX :: SEVEN :: EIGHT :: NINE :: TEN :: WEEK

taught by Ann Kaloski and Julie Palmer, Centre for Women's Studies, autumn term 2005.

WEEK FOUR
CYBORG IMAGININGS: TAKING PHOTOGRAPHS/ USING VISION

Single vision produces worse illusions than double vision or many-headed monsters. 'Manifesto', p.154.

The overall aim of this session is to explore Haraway's ideas of objectivity and subjectivity. We're going to approach this by 'entering into the theory' and taking literally Haraway's metaphorical construction of vision. Our strategy is to play with the idea of 'situated' and 'multiple' seeing by a) taking photographs and b) using the images alongside Haraway's texts to produce a visual essay which will then be discussed in class.

KEY READING:

Donna Haraway 'Situated Knowledges: The science question in feminism and the privilege of particle perspective' in her Simians, Cyborgs and Women: The re-invention of nature (Free Association Books, 1991).

EXERCISE:

During the week, your task will be to take photos of 'cyborgs' in whatever sense you wish to use that term, and to then produce a short visual essay as a way of teasing out your responses to Haraway's work. This assignment does not have to be autobiographical, although it may be. You may, for instance, wish to examine ideas of global capitalism and consumer goods, or knowledge transfer. You should also re-read the Manifesto as well as your technobiography, if appropriate.

This exercise may be undertaken either collaboratively or individually.

At some stage, either before or after taking the photos, think of a question about cyborgs that you wish to address. You might like to use a quote from the manifesto, turn it into a question if necessary and then investigate it via your visual essay. You don't need to 'answer' the question but, as with all essay questions, think of ways to respond to and open up the question.

In class:

Bring along your visual essay and be prepared to discuss your work alongside those of your classmates.

After class:

If you wish, we can display your essays in the web room.

ADDITIONAL READING:

Jo Spence and Joan Solomon (eds) What can a woman do with a camera (Scarlet Press. 1995) To help inspire your photographic sensibility.

Celia Lury Prosthetic Culture: Photography, memory and identity (Routledge, 1998). This is quite a difficult theoretical book which deals with, among other things, the effects of digital imaging on what it means to be human. You might like to start with sections 'The reversal of motivation' and 'Backstories and depth of character' in ch 8 'Humans and non-humand and heroes' (pp185-193) and then see if you want to go further. Don't worry unduly if you don't 'get' it, Lury's ideas are just one way of viewing cyborg-ness, and there are plenty of others around.

Any problems? Contact Ann Kaloski or Julie Palmer