feminist data visualisation

https://civic.mit.edu/feminist-data-visualizationhttps://civic.mit.edu/feminist-data-visualization

http://www.northeastern.edu/nulab/lauren-klein-feminist-data-visualization/http://www.northeastern.edu/nulab/lauren-klein-feminist-data-visualization/


https://web.archive.org/web/20141019173142/http://www.slideshare.net/laurenfklein/feminist-data-visualization

The eyes have been used to signify a perverse capacity - honed to perfection in the history of science tied to militarism, capitalism, colonialism, and male supremacy - to distance the knowing subject from everybody and everything in the interests of unfettered power. The instruments of visualization in multinationalist, postmodernist culture have compounded these meanings of disembodiment.

The visualizing technologies are without apparent limit. The eye of any ordinary primate like us can be endlessly enhanced by sonography systems, magnetic resonance imaging, artificial intelligence-linked graphic manipulation systems, scanning electron microscopes, computed tomography scanners, color-enhancement techniques, satellite surveillance systems, home and office video display terminals, cameras for every purpose from filming the mucous membrane lining the gut cavity of a marine worm living in the vent gases on a fault between continental plates to mapping a planetary hemisphere elsewhere in the solar system.

Vision in this technological feast becomes unregulated gluttony; all seems not just mythically about the god trick of seeing everything from nowhere, but to have put the myth into ordinary practice. And like the god trick, this eye fucks the world to make techno-monsters.

-- Donna Haraway in "Situated Knowledges: The Science Question in Feminism and the Privilege of Partial Perspective/Feminist Studies" (1988)

kainos

New kainos denotes "new," of that which is unaccustomed or unused, not "new" in time, recent, but "new" as to form or quality, of different nature from what is contrasted as old.

[cene]

These chthonic powers, forces, and entities are coupled with the suffix –cene, drawn from kainos, or the thick now, the present, which is not instantaneous but extends into many kinds of time, into presence. Into cultivating response-ability." Donna Haraway 

✈ ▌▌

The Dialogical Avatar Donna Haraway

“Anytime we’re talking about cultural objects like Avatar, in a corporate dominant culture, we are playing with fire, clearly. When the so-called indigenous is so-called natural, the extraordinary naturalization of the indigenous, no matter how talented, no matter how really, really, really, really great, no matter how many inventions they may have invented. But it requires the other half of the equation, which is a particular production of whiteness. Even though there were plenty of people of color occupying the category of whiteness in that film. Whiteness is a space to occupy for those who are associated with the technologies of conquest, extraction, commerce, etc. and that strikes me. Both of those two require each other. And actual, living people believe these things of each other, to damaging degrees. Such that I know no small number of white people, some of whom I’ve found in my own skin, at various moments, you know, who somehow feel less able to speak up, in a critical way, in a conversation with someone who is produced as more natural. Whether it’s in an indigenous rights discussion, a discussion about who owns race, class, and gender properties, and so on, and so on. The very much in-play ways that these story-fragments continue to set people out around these nature/technology contrasts, to perpetuate the trouble – people actually inhabit these imagined positions and do it to one another, including doing it to oneself.”

http://tripleampersand.org/donna-haraway-the-dialogical-avatar/


 

khipu / quipu

"It matters what matters we use to think other matters with; it matters what stories we tell to tell other stories with; it matters what knots knot knots, what thoughts think thoughts, what ties tie ties. It matters what stories make worlds, what worlds make stories.” (Haraway 2011: 4)

 

http://transkhipu.blogspot.co.uk/