Literatura académica sobre el tema "Haraway, Donna Jeanne (1944-....)"

Este artículo resume una investigación que determinó los factores de la agenda temática, los tipos de actores y las estrategias operativas usados en 44 páginas web y redes sociales por movimientos ciberfeministas bolivianos para denunciar, convocar a movilizaciones y aleccionar hacia los objetivos que persiguen en La Paz, El Alto, Santa Cruz, Tarija y Beni, del 2021 a 2023. La contribución de este trabajo se centra en la metodología utilizada para este tipo de fenómenos de la comunicación actual, por medio de la etnografía digital o virtual; así como el tratamiento de esta temática en la agenda temática contemporánea. Este estudio se basó en el enfoque teórico de ciencia y tecnología, bajo la mirada de Manuel Castells. La orientación ciberfeminista se asienta bajo los parámetros del “Manifiesto para ciborgs” propuesto por Donna Jeanne Haraway y el libro “Ceros y Unos” de Sadie Plant. Se presenta datos empíricos sobre la agenda temática desarrolladas, como las relaciones económicas laborales, violencia, derechos, cuerpo y sexualidad y percepciones del amor; tipos de ciberfeminismo, tipos de públicos, interacciones en la web y formatos de contenidos; así como las estrategias operativas más utilizadas y los tipos de protesta.

É com as perguntas “(1) Quem e o que eu toco quando toco em meu cachorro? e (2) Como ‘tornando-se com’ é uma prática de tornar-se conhecedor do mundo?”2 (p. 3) que a norte americana Donna Haraway (1944) inicia When Species Meet e nos convida a uma prática de curiosidade e de abertura para as experiências, os significados e os mundos possíveis despertos nas relações com os outros seres. Especialmente, mas não somente, com aqueles que partilhamos o cotidiano.

The concept of the “other” is starting to get a little worn out, as it has been used extensively. Despite this it still is a clarifying term to be used when we talk of things that we tend to marginalize. The concept is largely built on fear, for it is that which we find distant, different and threatening that we name the “other”. We construct others because of fear and then fear them because of their otherness. (Cohen 1996). One forgotten group of “others” are animals. Of course, we don’t always see the animals as others, and maybe are heading more into the direction of seeing similarities instead of differences between them and ourselves. Still, the animals are often seen as our opposites. It is through the animal that anthropocentric cultures have defined “humanity”: we are what animals are not (see Clarke & Linzey 1990). One differentiating thing is their “wildness”, and it is often the cause of fear. Unlike us supposedly “cultural” creatures, we like to see (biased as ever) the animals as irrational and instinctual beings that threaten our control. Together with wildness also the “unknown” nature of animals makes us fearful, for the silent animals (especially when lurking in the waters or forests) remain beyond our reach. This fear has given birth to animal monsters that have been meddling with our imagination for centuries: the folklores tell about wear wolves, hell hounds and dragons that brave nights have to kill so that human cultures can flourish, the Bible suggests that the fallen angle is a dragon and the anti-christ a “beast”. Especially in the Middle Ages animals were often seen as demonic beings not to be messed with. (Salisbury 1997; Serpell 1986, 46). It does not seem like a big leap to claim that sometimes we see the animal as the silent, immoral, instinctual, material and even evil enemy that needs to be destroyed so that human rationality, morality and spirituality can prevail. The animal monster has not gone anywhere. They still live in the media, in the horror films and in the urban stories. Natural nasties The animal monsters became increasingly popular in the 70’s horror film. Andrew Tudor has called the genre “eco-doom” and refers to the animal monsters as “natural nasties” (Tudor 1989, 48-62). In his opinion the increased number of animal monsters can be tied to the fear of ecological catastrophe. I’d like to add the growing attention to animal rights issues and animal welfare. All of a sudden the superior status of humans was being critically examined, and animal monsters were one way to deal with the fear of loosing the old safe position. Tudor points out that at the same time also paranoia and helplessness were being emphasised: it was in the presumably safe environment that monsters all of a sudden emerged from, and the heroes were no longer quite as strong in protecting the society against them. This could be linked to the awareness of environmental and animal welfare issues: it was the supposedly controlled area that was attacking humanity. The most famous example of “zoohorror” (perhaps a better term for specifically animal monster horror) is of course Jaws (Spielberg, USA 1975). In the film an idyllic small town with happy holiday enjoyers is attacked by a seemingly psychopathic shark. Through out the film the difference and otherness of the shark are emphasised, and it is described as an instinctual “eating machine”. The humans trying to fight it are morally upright people who care for the community, the shark on the other hand is an aggressive killer who’s only motive seems to be to eat as many people as possible. The otherness is underlined with the way the shark is constructed. He remains out of sight for the majority of the film, neither the swimmers or the viewers get to see it. When it is seen for brief few seconds it is shown as a bodily spectacle of a fin, grey glittering body and – of course – huge jaws. Tudor calls these kinds of monsters “alien”, but I think a better term in this case would be “physical”. The monster lacks all personality and its motives are nonexistent. It becomes known only through its body and aggressive actions: it is constructed as an acting body. Otherwise it remains hidden, causing fear with its invisibility and absence. This goes well together with the idea that the animal is the opposite of humans – where as the humans in the films are intentional, rational and moral heroes the animal remains an instinctually acting violent body that is unseen, unknown – and frightning. Pets gone bad As said, it is the wildness and uncontrollability of animals that often causes us to view them as “others” and make us fear them. This is most evident with wild animals, but also present when it comes to domesticated animals. Domestication has often been understood as a process of improvement, of bringing animals from the natural state into culture that is supposed to be somehow “higher” (Thomas 1980; Harris 1996). Domestication also makes it possible to take control over animals (Passariello 1999). The threatening wildness disappears, and animals are made tame creatures that follow our control (of course, this is not always the motive behind domestication). Still, the wildness never completely disappears. As Steve Baker (1993) has claimed, it seems that there always is a fear of our control breaking and the animal going back to its natural stage. A nice little puppy can turn into a hellhound over night and kill the mailman. These stories make the headlines regularly causing even hysteria. The feared others can be domesticated and tamed, but they can still any time break free. The most famous example of an animal monster that causes fear because of “dedomestication” is Cujo (Teague, USA 1983). In the film a friendly family dog turns into a killer after being bit by a bat, and goes after the local villagers with amazing determination to kill everyone in sight. Another example is Man’s Best Friend (Lafia, USA 1993), where a genetically engineered Rottweiler kills all the people he considers rivals in respect to the owner. These (and many more) films construct animal monsters on the basis of our fear that something might go wrong with the domestication. The differences to the “natural nasties” are interesting. Where as wild animals are often physical monsters, domesticated animals are closer to the “anthropomorphic” (the term from Tudor 1989, 115) or “individual” monsters, for unlike wild animals, we are familiar with them. They are not hidden away like the wild animals, but remain in the viewers’ sight. They are also not as instinctual, and we can even understand their motives. Still, they are monsters that cause fear, for they have fought our cultural control and gone back into being “wild”. Psychopathic primates Where as wild animals are far away and domesticated animals close to us, primates are understood to be like us. Their cognitive skills and DNA’s have made it difficult to categorise them, and we feel a little embarrassed of how much they are like us. Still, and perhaps even because of this, they also cause fear. Planet of the Apes (Schaffner USA 1968) plays with the idea of roles being turned upside down, Link (Franklin 1985) and Congo (Marshall 1995) on the other hand show us primates as monsters. In these films the main motive seems to be to find a difference between humans and primates. Eventually it is claimed to be (when all else fails) morality. In Link a domesticated chimpanzee, who can use language, dresses in clothes and even works as a butler for a scientist, turns into a psychopathic killer when he discovers he might be replaced. In the film the scientist keeps saying humans should never forget that they are “the dominant species” and that primates “lack morality”. In Congo there is both a well behaving domesticated gorilla, and a pack of wild gorillas. The scientist, who owns the domesticated one decides to bring her back to the jungle (where she supposedly “belongs”) and has to fight back a group of monstrous wild gorillas. In the course of the film he becomes to understand that not all primates are as nice as the one he’s had, and that some are “killer apes”. The lesson seems to be quite clear: primates can resemble us, but because they lack morality they can ultimately become viscious monsters. Where as wild animals are physical and domesticated animals somewhat closer to individual monsters, primates are completely individuated – after all, they are “closest” to us. In the films the primate monsters are portrayed much like traditional human villains: we understand their motives and they remain visible to us most of the time. Monstrosity is built on individuality that lacks a crucial feature. Conclusion The existence of animal monsters depends on our understanding of what animals are. When we want to emphasise their difference, we create dualisms and classify animals under the one headline “animal”. Through this “generic animal” we can distance ourselves from animality and nature: we are individuals, they are all part of the class of “animals”, who are determined by animality and attributes that go with it (Birke & Parisi 1999). Cultural studies generally ignore the animal others. Nature and animals are mentioned as the opposites to culture and human beings (Haraway 1991), but they usually remain just that – a mention. Certain understandings of their meaning still make us tend to believe that the analyses of animals is somehow disinteresting (Baker 1993; Steeves 1999; Simons 1997). Paradoxically animals are made the opposite of human beings, and then marginalized even in cultural studies as the disinteresting “other”. Analysing what we understand “animality” to be and why we make it our opposition is crucial in seeking to find new ways to relate to animals. Maybe if this was done, the next time the wolf from the national park or the dog that bit the mailman would not cause fear, panic, and hatred. References Baker, Steve. Picturing the beast. Animals, identity and representation. Manchester: Manchester University Press, 1993. Birke, Lynda and Parisi, Luciana. “Animals, Becoming.” Animal Others: On Ethics, Ontology and Animal Life. Ed. Peter Steeves. Albany: State University of New York Press, 1999. 55-75. Clarke, Paul & Linzey, Andrew. Political Theory and Animals Rights. London: Pluto Press, 1990. Cohen, Jeffrey. ”Monster Culture: Seven Theses.” Monster Theory: Reading Culture. Ed. Jeffrey Cohen. Minneapolis: UMP, 1996. Haraway, Donna. Simians, Cyborgs and Women: The Reinvention of Nature. New York: Routledge, 1991. Harris, David. “Domesticatory Relationships of People, Plants and Animals.” Redefining Nature: Ecology, Culture and Domestication. Eds. Roy Ellen, Katruyoshi Fukui. Berg: Oxford International Publishers, 1996. Passariello, Phylis. “Me and my totem: cross-cultural attitudes toward animals.” Attitudes to Animals: View to Animal Welfare. Ed. Francine Dolins. Cambridge: CUP, 1999. 12-26. Salisbury, Joyce. “Human Beasts and Bestial Humans in the Middle Ages.” Animal Acts: Configuring the Human in Western History. Eds. Jennifer Ham and Matthew Senior. London: Routledge, 1997. 9-23. Serpell, James. In the Company of Animals. New York: Basil Blackwell, 1986. Simons, John. “The Longest Revolution: Cultural Studies after Speciesism.” Environmental Values vol. 6, no 4 (1997): 483-497. Steeves, Peter. Introduction. Animal Others: on Ethics, Ontology and Animal Life. Ed. Peter Steeves. Albany: State University of New York Press, 1999. 1-14. Thomas, Keith. Man and the Natural World: Changing Attitudes in England 1500-1800. London: Penguing Books, 1983. Tudor, Andrew. Monsters and Mad Scientists: A Cultural History of the Horror Movie. Oxford: Basil Blackwell, 1989. Citation reference for this article MLA Style Aaltola, Elisa. "Animal Monsters and the Fear of the Wild" M/C: A Journal of Media and Culture 5.1 (2002). [your date of access] < http://www.media-culture.org.au/0203/animals.php>. Chicago Style Aaltola, Elisa, "Animal Monsters and the Fear of the Wild" M/C: A Journal of Media and Culture 5, no. 1 (2002), < http://www.media-culture.org.au/0203/animals.php> ([your date of access]). APA Style Aaltola, Elisa. (2002) Animal Monsters and the Fear of the Wild. M/C: A Journal of Media and Culture 5(1). < http://www.media-culture.org.au/0203/animals.php> ([your date of access]).

Cette thèse de recherche-création s’appuie sur le travail de création mené par r∆∆dio c∆∆rgo , collectif de création radiophonique, autour de la notion de plateau-radio, en tant que dispositif de SF dans le sens que lui donne Donna Haraway, à savoir un espace de recherche-création dans lequel s’entremêlent Spéculation Féministe, Faits Scientifiques (Science Fact, Science-Fiction et jeu de ficelle (String Figure en anglais), c’est-à- dire une pratique collective qui produit autant un échange et une circulation de la pensée interdisciplinaire, qu’elle en cartographie son propre processus. La thèse tente de démontrer que le studio radiophonique tel qu’on le connaît aujourd’hui -avec ses micros, ses casques, ses animateur·ices qui reçoivent des invité·es et sa technicité qui canalise la parole et les sons au service d’une production adressée à des auditeur·ices - peut être appréhendé d’autres manières et à d’autres fins. La thèse se construit de manière polyphonique dans deux temporalités qui se superposent. Tout d’abord celle de comptes-rendus d’expériences artistiques réalisées entre 2017 et 2021, dans lesquels des collectifs vivent et expérimentent l’objet d’étude et dont l’écriture autorise une forme de style, celui d’un journal autoreflexif permettant de rendre compte des relations que les participant·es ont entre elles et eux et avec les dispositifs. En parallèle, une partie théorique, reposant elle sur une écriture scientifique, observera l’objet d’étude du plateau-radio avec le recul nécessaire pour produire une pensée théorique. Cette partie théorique propose une approche du plateau-radio en tant que dispositif de recherche-création artistique, scientifique et politique mais aussi en tant qu’espace relationnel de création aurale et émancipatrice. L’écriture polyphonique permet ainsi une friction entre spéculation artistique et écriture scientifique afin de faire émerger, dans l’entre-deux, une méthodologie de recherche-création. Une troisième voix apparaîtra donc peu à peu pour manifester une théorie-pratique à travers la méthodologie. Pour construire cette thèse il a ainsi été nécessaire de tresser au moins trois approches méthodologiques. La recherche débute par le concept de SF de Donna Haraway. Celui-ci découle des travaux d’Isabelle Stengers et Didier Debaise sur les gestes spéculatifs qui s’intéressent à comment la théorie peut-elle passer vers la pratique. Ce glissement de la théorie à la pratique par un arc à plusieurs cordes qu’offre le concept de SF se révèle nécessaire lorsqu’il n’y a pas encore assez de faits scientifiques pour poser une hypothèse et qu’il implique de passer par la pratique pour rendre manifeste un objet d’étude. Les deux autres approches sont mentionnées dans le plan résumé.Cette recherche débute donc avec la spéculation suivante :Et si,le plateau radio était un dispositif sorcier qui permet de tracer le cercle, dans le sens que lui donne Isabelle Stengers, à savoir un espace temporairement clos qui permet [aux sorcières éco-féministes] de récupérer les pouvoirs dont iels ont besoin ?
This creative research thesis is based on the creative work carried out by r∆∆dio c∆∆rgo, a collective of radio creation, around the notion of the radio platform, understood as a science fiction device in the sense given by Donna Haraway, that is, a space of research-creation where Feminist Speculation, Scientific Facts (Science Fact, Science Fiction), and String Figures intertwine. This approach constitutes a collective practice that produces not only an exchange and circulation of interdisciplinary thought but also maps its own process. The thesis aims to demonstrate that the radio studio as we know it today—with its microphones, headsets, hosts who invite guests, and its technical apparatus that channels speech and sounds for the purpose of production aimed at an audience—can be approached in other ways and for other purposes.The thesis is constructed in a polyphonic manner, unfolding in two overlapping temporalities. First, through reports on artistic experiments conducted between 2017 and 2021, in which collectives live and experiment with the object of study, and where the writing adopts a particular style—a self-reflexive journal that reflects on the relationships between the participants and with the devices. In parallel, a theoretical part, written in a scientific style, observes the object of study—the radio platform—with enough distance to produce theoretical thought. This theoretical section proposes an approach to the radio platform as a device for artistic, scientific, and political research-creation, but also as a relational space for aural and emancipatory creation. The polyphonic writing thus allows for friction between artistic speculation and scientific writing, to bring forth, in the in-between, a research-creation methodology. A third voice will gradually emerge to manifest a theory-practice through the methodology. In constructing this thesis, it was necessary to weave together at least three methodological approaches. The research begins with Donna Haraway’s concept of SF (science fiction/speculative fabulation), drawing from the work of Isabelle Stengers and Didier Debaise on speculative gestures, which examine how theory can move into practice. This shift from theory to practice, through the multi-string arc offered by the concept of SF, becomes necessary when there are not yet enough scientific facts to formulate a hypothesis, requiring practice to make the object of study manifest. The other two approaches are outlined in the summarized plan.Thus, this research begins with the following speculation:What if the radio platform was a witch’s device, enabling the drawing of the circle, in the sense given by Isabelle Stengers—namely, a temporarily enclosed space that allows [eco-feminist witches] to reclaim the powers they need ?

Ce mémoire pose l'enjeu de la remise en question du corps propre de Donna Haraway à partir de son célèbre exemple du cyborg : un être qui subvertit les identités politiques par sa transgression des frontières qui fondent la naturalité des corps. Métaphore politique, les corps cyborgs sont pour Haraway l'occasion d'enraciner une politique qui allie les humains à la nature pour reconnaître la relation active et transformationnelle qu'ils entretiennent avec le monde. Les trois frontières de son manifeste sont développées : la frontière entre l'humain et l'animal, celle avec la machine et celle entre le monde physique et non-physique. Biologie / social; nature / culture; homme / femme : le cyborg transgresse la dualité avec sa politique émancipatoire hors dialectique. Le cyborg questionne l’origine des corps (ses définitions, ses fondements conceptuels) et déstabilise la notion du corps propre de l'individu pour centrer sur les relations elles-mêmes.

A pesquisa busca analisar as tensões humano-máquina em materiais pedagógicos utilizados pela enfermagem em terapia intensiva e, entre esses materiais pedagógicos foram analisados os manuais e protocolos assistenciais. Para desenvolvê-la, apóio-me na teorização cultural e no trabalho de autores e autoras que têm problematizado a noção de corpo e de sujeito na pós-modernidade a partir dos pressupostos teóricos do pós-estruturalismo. Entre os/as autores /as utilizados, indico os estudos de Donna Haraway e seu entendimento de ciborgue – uma idéia produtiva que possibilita explorar a ciborguização da cultura contemporânea e suas implicações para a enfermagem em terapia intensiva. Utilizo a abordagem metodológica da análise cultural tal como esta vem sendo desenvolvida pelos Estudos Culturais que se aproximam do Pós-estruturalismo, para descrever e analisar, em três lições, alguns dos diferentes tipos de ciborguização que se materializam na prática da enfermagem em terapia intensiva. Para tal intento, selecionei alguns acontecimentos que sintetizam significados importantes da terapia intensiva na contemporaneidade, a saber: o atendimento avançado de reanimação cardiorrespiratória, a produção de imagens de corpos doentes através de um complexo sistema de monitoramento e o deslocamento das fronteiras entre a vida e a morte. Com base nessa análise, discuto no final, os desdobramentos dessas tensões no discurso da humanização da assistência na área da saúde.

Ce travail de thèse vise à interroger le phénomène de dépassement du dualisme qui émerge lors du passage du contexte postfordiste de la production, à un autre contexte que nous tentons d’examiner selon l’approche du courant des nouveaux matérialismes. Il s’agit en filigrane et finalement, de la machine d’abstraction et de spéculation, et donc de la créativité à notre époque actuelle d’abstraction réelle, du capitalisme financier, cognitif et de l’anthropocène. Du point de vue posthumaniste qui prétend que tout est matériel en processus, nous proposons de repenser la pratique de la créativité, le praticien, et le monde commun à venir en termes d’intrication des devenirs, qui se transforment en « devenir-avec». Cette thèse se divise en trois parties : La première, s’appuie sur Paolo Virno et Gilbert Simondon pour examiner des productions artistiques, comme une création de forme sociale et collective, dont les tendances de dépassement sont omniprésentes et remettent en question l’autonomie, l’aliénation et la production de la subjectivité. Dans la partie 2, pour cerner le rapport entre la créativité et le dépassement du dualisme, nous prendrons appui sur la pensée spéculative de Alfred North Whitehead, en comparaison notamment avec l’idée d’abstraction réelle et de la spéculation comme production. Puis, nous explorerons l’idée d’engagement spéculatif, et les cosmopolitiques avec Isabelle Stengers, Bruno Latour, Donna Haraway dans une approche esthético-politico-écologique et posthumaniste. Dans la partie 3, nous étudierons les diverses pensées des nouveaux matérialismes dont celles de Manuel De Landa, Bruno Latour, Rosi Braidotti, et Karen Barad, qui mettent l’accent sur l’agency de la matière en remettant en question le dualisme. Ainsi, nous proposons de repenser l’oeuvre et le public, en tant qu’assemblage des humains-non-humains, et l’effet transformateur de l’art dans le « devenir-avec », qui se situe entre le sujet et la pratique posthumaniste, et qui agit comme une correspondance avec les flux de matières, et ce, dans une écologie des pratiques
This dissertation aims to question the phenomenon of going beyond the dualism that emerges during the passage from the postfordist context of production, to another context that we try to examine according to the approach of the current of new materialism. It is a watermark and finally, the machine of abstraction and speculation, and therefore creativity in our current era of real abstraction, financial, cognitive capitalism and the Anthropocene. From the posthumanist point of view that claims that everything is material in process, we propose to rethink the practice of creativity, the practitioner, and the coming common world in terms of the entanglement of becoming, which is transformed into "becoming-with". This thesis is divided into three parts: The first, based on Paolo Virno and Gilbert Simondon to examine artistic productions, as a creation of social and collective form, whose overriding tendencies are omnipresent and question autonomy, the alienation and the production of subjectivity. In Part 2, to delineate the relationship between creativity and the overcoming of dualism, we will rely on the speculative thinking of Alfred North Whitehead, particularly in comparison with the idea of real abstraction and speculation as production. Then, we will explore the idea of speculative engagement, and cosmopolitics with Isabelle Stengers, Latour Bruno, Donna Haraway in an aesthetic-politico-ecological and posthumanist approach. In Part 3, we will study the various thoughts of new materialism, including those by Manuel De Landa, Bruno Latour, Rosi Braidotti, and Karen Barad, who emphasize the agency of matter by questioning dualism. Thus, we propose to rethink the work and the public, as an assembly of human-non-humans, and the transformative effect of art in the "becoming-with," which lies between the subject and the posthumanist practice, which acts as a correspondence with material flows in an ecology of practice

This thesis investigates the figure of the cyborg as conceptualised by Donna Haraway in The Cyborg Manifesto (1991). The figure of the cyborg, as a transgressive figure in the late twentieth century within socialist feminist discourse, is problematized with regard to its efficacy as a creature that challenges the constructed nature of gender and contests the boundary between human and machine through its ambiguous nature. Haraway’s notions of the cyborg, which she bases partly on cyborg characters from Science Fiction literature, deny the ocularcentric traditions that have structured gender and the body. Similarly, Haraway does not engage adequately with the figure of the cyborg with regard to situating it historically. This thesis unpacks both the visual and the historical aspects that have structured the cyborg body. By engaging with these concepts, the cyborg emerges as a figure that is identified through visual signifiers of female deviance and pathology. By reading female deviance and pathology on the body of the nineteenth-century hysteric, similarities can be drawn between the hysteric and the cyborg. Through a reading of Alien (1979); Blade Runner (1982); and Star Trek: First Contact (1996) key cyborg texts of the late twentieth century, the figure of the cyborg, and its relation to the deviant pathologised female can be understood when read against the body of the hysteric and how it was visually coded and communicated

In an attempt to talk about my experimental artistic process I found inspiration from some artists and authors: Donna Haraway, biologist and philosopher, who believes in the power of storytelling as a possibility to reinvent ways of living in a damaged world; Octavia Butler, author of science fiction books that raise questions about patterns that are shown to us throughout our Western society. Maria Lassnig, is a painter who experimented with the artistic movements of her time but even so allowed herself to tell her own internal narratives. And other artists who continue to resist and make art even with all the adversities that consist of being in this world today. Thus, i begin with a research about the different forms of life, a desire to unveil the constant and diverse concepts that are created to define a living being. I made some questions about organic life and artificial life. The differences we constantly create between what is considered organic for what would be mechanical, technological. From this idea a curiosity emerged in thinking of forms of mutation, the human being as a network of chemical reactions that has as final result what we see superficially. I write about some artists who seek new visualities, which contrast what has been determined to us as standard or normal. During the process of investigation I looked for ways to translate this theoretical interest with a visual work thought through the pictorial essence, which has been used for many centuries as illustration of narratives. I use the structure of the painting, like the composition of colors and shapes, and I transport it to 3D image editing software and virtual reality applications to materialize my projects. I refer also to electronic games as a potent learning possibility and as a new way of making art.

This study focuses on the investigation and deconstruction of the phenomena of the South African dystopian society, as reflected in the novels of Lauren Beukes and films by Neill Blomkamp. The characteristics and signifiers of a uniquely South African dystopian society are established and investigated through a posthuman lens. The theoretical framework of this study is principally concerned with the critical posthuman writings of Rosi Braidotti, Donna Haraway and, to a lesser extent, Cary Wolfe. Feminism and post-colonialism, and their influences on posthuman theory, are applied as the secondary theoretical framework, in this study. The study is practice led, with the study of the literature serving as mutually informative to the execution of a body of work centred on the dystopian theme. The paintings are intended to be metonyms for the wide range of manifestations of social decline evident in contemporary South African narratives.
Arts and Music
M.A. (Visual Arts)