#corps

La dictature du mental
▻https://infokiosques.net/spip.php?article1600

Petite BD de folie qui aborde les moments où le mental prend le pouvoir. A la fin de la BD vous trouverez les conseils et astuces de l’auteure pour faire face à ces situations.

#D

/ #Antipsychiatrie, Infokiosque fantôme (partout), Corps, santé

#Infokiosque_fantôme_partout_ #Corps,_santé
▻https://infokiosques.net/IMG/pdf/dictature_du_mental-cahier.pdf
▻https://infokiosques.net/IMG/pdf/dictature_du_mental-pageparpage.pdf

Mordre la machine
▻http://liminaire.fr/palimpseste/article/mordre-la-machine

http://liminaire.fr/IMG/arton2053.jpg

Le #Musée d’Art Contemporain [mac] de #Marseille, présente, en collaboration avec le Festival Actoral, une importante exposition monographique du plasticien Julien Prévieux, Mordre la machine, du 26 septembre 2018 au 13 février 2019. L’exposition regroupe une vingtaine d’œuvres récentes de l’artiste ou réalisées spécifiquement pour l’occasion. C’est une véritable rétrospective du travail artistique de Julien Prévieux proposant une lecture spécifique de son parcours, mettant en lumière le caractère (...)

#Palimpseste / Marseille, Musée, #Regard, #Quotidien, #Politique, #Corps, #Traces, #Sens, Société, #Photographie, #Vidéo, #Numérique, #Art, #Danse, (...)

#Société #Écriture
« ▻http://www.marseille.fr/node/637 »
« ▻http://actoral.org »
« ►http://www.previeux.net »
▻http://www.nga.mil
« ▻https://www.operadeparis.fr »

EU border ’lie detector’ system criticised as pseudoscience

Technology that analyses facial expressions being trialled in Hungary, Greece and Latvia.

The EU has been accused of promoting pseudoscience after announcing plans for a “#smart_lie-detection_system” at its busiest borders in an attempt to identify illegal migrants.

The “#lie_detector”, to be trialled in Hungary, Greece and Latvia, involves the use of a computer animation of a border guard, personalised to the traveller’s gender, ethnicity and language, asking questions via a webcam.

The “deception detection” system will analyse the micro-expressions of those seeking to enter EU territory to see if they are being truthful about their personal background and intentions. Those arriving at the border will be required to have uploaded pictures of their passport, visa and proof of funds.

According to an article published by the European commission, the “unique approach to ‘deception detection’ analyses the micro-expressions of travellers to figure out if the interviewee is lying”.

The project’s coordinator, George Boultadakis, who works for the technology supplier, European Dynamics, in Luxembourg, said: “We’re employing existing and proven technologies – as well as novel ones – to empower border agents to increase the accuracy and efficiency of border checks. The system will collect data that will move beyond biometrics and on to biomarkers of deceit.”

Travellers who have been flagged as low risk by the #avatar, and its lie detector, will go through a short re-evaluation of their information for entry. Those judged to be of higher risk will undergo a more detailed check.

Border officials will use a handheld device to automatically crosscheck information, comparing the facial images captured during the pre-screening stage to passports and photos taken on previous border crossings.

When documents have been reassessed, and fingerprinting, palm-vein scanning and face matching have been carried out, the potential risk will be recalculated. A border guard will then take over from the automated system.

The project, which has received €4.5m (£3.95m) in EU funding, has been heavily criticised by experts.

Bruno Verschuere, a senior lecturer in forensic psychology at the University of Amsterdam, told the Dutch newspaper De Volskrant he believed the system would deliver unfair outcomes.
A neuroscientist explains: the need for ‘empathetic citizens’ - podcast

“Non-verbal signals, such as micro-expressions, really do not say anything about whether someone is lying or not,” he said. “This is the embodiment of everything that can go wrong with lie detection. There is no scientific foundation for the methods that are going to be used now.

“Once these systems are put into use, they will not go away. The public will only hear the success stories and not the stories about those who have been wrongly stopped.”

Verschuere said there was no evidence for the assumption that liars were stressed and that this translated to into fidgeting or subtle facial movements.

Bennett Kleinberg, an assistant professor in data science at University College London, said: “This can lead to the implementation of a pseudoscientific border control.”

A spokesman for the project said: “The border crossing decision is not based on the single tool (ie lie detection) but on the aggregated risk estimations based on a risk-based approach and technology that has been used widely in custom procedures.

“Therefore, the overall procedure is safe because it is not relying in the risk on one analysis (ie the lie detector) but on the correlated risks from various analysis.”

The technology has been designed by a consortium of the Hungarian national police, Latvian customs, and Manchester Metropolitan and Leibnitz universities. Similar technology is being developed in the US, where lie detection is widely used in law enforcement, despite scepticism over its scientific utility in much of the rest of the world.

Last month, engineers at the University of Arizona said they had developed a system that they hoped to install on the US-Mexico border known as the #Automated_Virtual_Agent_for_Truth_Assessments_in_Real-Time, or Avatar.

▻https://www.theguardian.com/world/2018/nov/02/eu-border-lie-detection-system-criticised-as-pseudoscience?CMP=share_bt
#wtf #what_the_fuck #frontières #contrôles_frontaliers #technologie #expressions_faciales #Grèce #Hongrie #Lettonie #mensonge #abus #gardes-frontière #biométrie #biomarqueurs #corps #smart_borders #risques #université #science-fiction
ping @reka @isskein

Disque Course à pied
Par le Groupe son de Jef Klak

▻http://jefklak.org/disque-course-a-pied

On ne change pas les bonnes habitudes : le dernier numéro de la revue Jef Klak , (n°5 - « Course à pied ») enflamme vos esgourdes d’un disque de créations sonores inédit. Concocté par le groupe son du collectif tout au long de l’année 2018, il prolonge l’exploration du thème papier. À écouter de toute urgence pour, tour à tour, se sauver, se remémorer, s’arracher, fuir les condés, garder la forme ou même rêver en sprint. Reportages, musiques, interludes du futur : Oï Oï Oyez !

http://jefklak.org/wordpress/wp-content/uploads/2018/10/Une_Disque_CoureAPied_Klak.jpg

The Everyday Consumption of “#Whiteness”: The #Gaikokujin-fū (Foreign-Like) Hair Trend in Japan

In feminist literature, the beauty and the fashion industries have at times been criticized for being one of the means through which women are objectified.1 Likewise, Critical Race Studies have often pinpointed how the existence of a global beauty industry has the effect of propagating Eurocentric beauty ideals.2 Throughout this article I aim to explore the complicated ways in which beauty and racialized categories intersect in Japan through an analysis of the female-targeted hair trend of the gaikokujin-fū (foreigner-like) hair.

Essentialism is what prompts us to divide the world into two, “us” versus “them,” negating all that is in between the two categories or even changes within the categories themselves. Although this binary thinking has been subject to criticism by various disciplines, such as Critical Race Studies and Postcolonial Studies, it is still among the dominant ways in which human relations are performed in Japanese society. The essentialistic opposing duality between Foreignness and Japaneseness has been constructed in post-war Japan through widespread discourses known by the name nihonjinron (lit. the theories on the Japanese).3 Even though it could be understood as a powerful reply to American racism towards the Japanese, nihonjinron only confirms stereotypes by reversing their value, from negative to positive. Moreover, these theories have had the effect of emphasizing Japanese racial and cultural purity through the alienation and exoticization of the other, most often represented by the white “Westerner”4 (obeijin, seiyōjin, hakujin).

The ambivalent exoticism that surrounds the foreigner (gaikokujin) has made it possible for racialised categories and consumerism to intersect in the archipelago. The beauty industry is particularly susceptible to the segmentation between “self” and “other,” and the global white hegemony has a certain influence over it. However, as Miller rightly observes, dominant beauty standards in Japan are equally influenced by local values of “Japaneseness.”5 Torigoe goes even farther: in her essay, she positions whiteness as a power relation and through her analysis she demonstrates how white women are constructed as Others in Japanese media representations, thus creating “a racial ladder that places Japanese people on top.”6 The link between whiteness and widespread beauty practices has been criticized also in studies of the neighbouring country of Korea, with scholars arguing that cosmetic surgeries in the country are successful only if they enhance the body’s natural “Koreanness.”7

My aim in this paper is to tackle the capitalistic commercialization and fetishization of whiteness in contemporary Japan. As it will become clear throughout the analysis, the Japanese beauty industry is creating a particular image of whiteness that is suitable to the consumers’ needs and desires: this toned-down, less threating way of becoming “foreigner-like” is marketed as an accessory that far from overriding one’s natural features, is instrumental in accentuating and valorizing them. Investigating the peculiar position of this beauty trend, which has been affected by the influence of the two contrasting hegemonic discourses of white supremacy and the purity/superiority of the Japanese race, might be helpful in shedding some light on the increasingly complicated ways the concept of race is being constructed in a setting that has been often considered “other” to the Eurocentric gaze.

Whiteness and the Global Beauty Industry

Beauty is an important practice in our daily life, and as such it has been at the center of animated discussions about its social function. Seen as one of the practices through which gender is performed, it has been put into scrutiny by feminist literature. The approach used to analyze beauty has been dualistic. On the one hand, the beauty and fashion industries have been criticized for being among the reasons of women’s subordination, depriving them financially8 and imposing on them male normative standards of beauty.9 On the other, it has been cited as one of the ways in which female consumers could express their individuality in an oppressive world.10

The increasingly globalized beauty and fashion industries have also been subjects of criticism from the viewpoint of Critical Race Studies. It is not uncommon to hear that these industries are guilty of spreading Eurocentric tastes, thus privileging pale-skinned, thin women with light hair.11 The massive sale of skin-whitening creams in Asia and Africa as well as the creation of new beauty standards that privilege thinness over traditionally preferred plump forms are often cited to defend this argument. At the same time, there have been instances in which this denouncing of Eurocentrism itself has been charged guilty of the same evil. Practices such as plastic surgery in South Korea and Japanese preference for white skin have been often criticized as being born out of the desire to be “Western”: these analyses have been contested as simplistic and ignoring the cultural significance of local standards of beauty in shaping beauty ideals.12

Answers to these diatribes have not been yet found.13 It is nonetheless clear that beauty practices articulate a series of complex understandings about gender and race, often oscillating between particularisms and universalisms. Throughout this article I would like to contribute to this ongoing discussion analyzing how pre-existing notions of race and gender intersect and are re-shaped in a newly emerging trend aptly called gaikokujin-fū (foreigner-like) hair.

Us/Others in Japan: The Essentialization of the Foreign
Japan and the tan’itsu minzoku

It is not uncommon to hear that Japan is one of the most ethnically homogenous countries in the world. In Japanese, the locution tan’itsu minzoku (single/unique ethnic group, people, nation), was often used as a slogan when comparing the archipelago with significantly multi-ethnic countries such as the USA.14 The notion of Japan as a mono-ethnic country is being starkly criticized in recent years:15 minorities such as the zainichi Koreans and Chinese who have been living in the country since the end of the second world war, the conspicuous populations of foreign immigrants from Asia and Latin America, as well as mixed-race people, who were thought of as a social problem until these last ten years,16 have been making their voices heard. In the following paragraphs, I will trace how the idea of a racially homogeneous Japan was constructed.

The word minzoku (ethnic group, people, nation) first appeared in the Japanese language in the Taishō Period (1912-1926), as an alternative to the term jinshū (race).17 The concept of race did not exist prior to the Meiji period (1868-1912), when it was introduced by scholars as one of the ideas from the “West” that would have helped Japan become a modernized nation.18 It could be argued that while the opening up of Japan after the sakoku period was not the first time that the Japanese government had to interact with people of different racial features,19 it was the first time that the idea of racial hierarchies were introduced to the country. Japanese scholars recognized themselves to be part of the ōshoku jinshū (“yellow race”), hierarchically subordinate to the “white race.”20 With rising nationalism and the beginning of the colonization project during the Taishō period, the need arose for a concept that could further differentiate the Japanese people from the neighboring Asian countries such as the newly annexed Taiwan and Korea:21 the newly created minzoku fit this purpose well. Scholar Kawai Yuko compared the term to the German concept of Volk, which indicates a group whose identity is defined by shared language and culture. These traits are racialized, as they are defined as being “biological,” a natural component of the member of the ethnic group who acquires them at birth.22 It was the attribution of these intrinsic qualities that allowed the members of the naichi (mainland Japan) to be assigned in a superior position to the gaichi (colonies). Interestingly, the nationalistic discourse of the pre-war and of the war period had the double intent of both establishing Japanese supremacy and legitimizing its role as a “guide” for the colonies grounding it in their racial affinities: unlike the conquerors from Europe, the Japanese were of similar breed.

These hierarchies were ultimately dissociated from the term minzoku after the end of the Second World War, when it was appropriated by Leftist discourse. Opposing it to ta-minzoku (multiethnic nation or people)23

that at the time implied divisions and inequalities and was perceived as a characteristic of the Japanese Empire, Left-leaning intellectuals advocated a tan’itsu minzoku nation based on equality. The Leftist discourse emphasized the need of the “Japanese minzoku” to stand up to the American occupation, but the term gradually lost its critical nuance when Japan reached economic prosperity and tan’itsu minzoku came to mean racial homogeneity as a unique characteristic of Japanese society, advocated by the Right.24

Self-Orientalism

The term minzoku might have “lost his Volk-ish qualities,”25 but homogeneity in Japan is also perceived to be of a cultural nature. Sociologists Mouer and Sugimoto26 lament that many Japanese people believe to be the carriers of an “unique” and essentialized cultural heritage, that renders them completely alien to foreigners. According to the two scholars, the distinctive qualities that have been usually (self-)ascribed to Japanese people are the following: a weak individuality, the tendency to act in groups, and the tendency to privilege harmony in social situations.27 Essentialized “Japaneseness” is a mixture of these psychological traits with the products of Japanese history and culture. The perception that Japaneseness is ever unchanging and a cultural given of each Japanese individual was further increased by the popularity of the nihonjinron discourse editorial genre, which gained mass-media prominence in the archipelago after the 1970s along with Japan’s economic growth.28 Drawing on Said’s notion of Orientalism,29 Miller states that “in the case of Japan, we have to deal […] with the spectacle of a culture vigorously determined to orientalize itself.”30 According to Roy Miller, Japan has effectively constructed Japaneseness through a process of self-othering, which he refers to as self-Orientalism. The nihonjinron publications were very much influenced by cultural anthropologist Ruth Benedict’s highly influential “The Chrysanthemum and the Sword,” published in 1946. Benedict’s study of the “Japanese people” is based on the assumption that the USA and Japan are polar opposites where the former stands for modernity and individualism whereas the latter is characterized by tradition and groupism.31

Japanese anthropologists and psychoanalysts, such as Nakane and Doi32 further contributed to the study of Japaneseness, never once challenging the polar opposition between the “Japanese” and the “Westernerners.”

It would seem contradictory at first for a large number of people in Japan to have this tendency to think and consume their own culture through stereotypes. However, Iwabuchi draws attention to the fact that Japan’s self-Orientalism is not just a passive acceptance of “Western” values but is in fact used to assert the nation’s cultural superiority. It remains nonetheless profoundly complicit with Euro-American Orientalism insofar that it is an essentializing and reifying process: it erases all internal differences and external similarities.33 This essentialization that Japan is capitalizing on proves fundamental for the “West,” as it is the tool through which it maintains its cultural hegemony.

Images of the Foreigner

Images of the foreigner are not equal, and they form an important node in the (self-)Orientalistic relations that Japan entertains with the rest of the world. An essentialized view of both the Euro-American and Asian foreigner functions in different ways as a counterweight to the “we-Japanese” (ware ware Nihonjin) rhethoric.

In the Japanese language, gaikokujin (foreigner) refers to every person who doesn’t have the same nationality as the country she/he lives in.34 The term gaikokujin does not have racial connotations and can be used to effectively describe anyone that is not a Japanese citizen. However, the racially-charged related term gaijin35 refers especially to the “white” foreigner.36 Written very similarly to gaikokujin, the word gaijin actually has a different origin and the double meaning of “foreigner” and “outsider.” The word carries strong implications of “othering,” and refers to the construction of the Europe and America as other to the young nation-state in the Meiji period, during which knowledge was routinely imported from the “West.”37 Thus, gaijin and the representation of foreigners-as-other came to reflect the dominant hierarchies of nineteenth-century “Western” knowledge.38

Putting every white-skinned individual in the same category functions as a strategy to create the antithetical “West” that is so important as a marker of difference in self-Orientalism: it serves to create an “Other” that makes it possible to recognize the “Self.”39 At the same time, it perpetuates the perception of whiteness as the dominant position in America and Europe. In her analysis on the use of foreigner models in Japanese advertisements, Creighton notes that representation of gaijin positions them both as a source of innovation and style and as a potential moral threat.40

This splitting is not uncommon when dealing with representations of the Other. What generates it is the fetishistic component that is always present in the stereotype.41 Bhabha argues that this characteristic allows the Other to be understood in a contradictory way as a source of both pleasure and anxiety for the Non-Other. Stuart Hall draws on Bhabha’s theories to state that the stereotype makes it so that this binary description can be the only way in which is possible to think of the Other–they generate essentialized identities.42 In the Japanese context, the gaijin, fulfilling his role as a racially visible minority,43 is thus inscribed in the double definition of source of disruption and person to admire (akogare no taishō).

Whiteness in the Japanese Context

Akogare (admiration, longing, desire) is a word that young women44 in Japan often use when talking about the “white, Western” foreigner. Kelsky explains that the word indicates the longing for something that is impossible to obtain and she maintains that “it is a rather precise gloss […] of the term “desire” in Lacanian usage. […] Desire arises from lack and finds expression in the fetish. The fetish substitutes the thing that is desired but impossible to obtain.”45 Fulfilment of this unattainable desire can be realized through activities such as participation in English conversation classes and engaging in conversation with “Western” people.46 The consumption of “Western” images and representations as well as everyday practices associated with the Euro-American foreigner could also be considered a fetish that substitutes the unattainable object of desire. In this sense, the gaikokujin-fū hairstyle trend might be for the producers one such way of catering to young Japanese women’s akogare for the “Western” world.

Gaikokujin-fū is inextricably connected to gaijin, “white” foreigners. For instance, the Hair Encyclopedia section of the website Hotpepper Beauty reports two entries with the keyword gaikokujin-fū: gaikokujin-fū karā (foreigner-like color) and gaikokujin-fū asshu (foreigner-like ash). The “color” entry states the following:

Gaikokujin-fū karā means, as the name suggests, a dye that colors the hair in a tint similar to that of foreigners. The word “foreigner” here mostly stands for people with white skin and blond hair that are usually called “American” and “European.”47

Similarly, the “ash” entry explains the following:

The coloring that aims for the kind of blond hair with little red pigments that is often found among Americans is called gaikokujin-fū asshu.

Asshu means “grey” and its characteristic is to give a slightly dull (dark?) impression. It fits well with many hairstyles ranging from short cuts to long hair, and it can be done in a way to make you look like a “western” hāfu (mixed race individual).

It is clear from these descriptions that the term gaikokujin-fū is racially charged. What hairdresser discourse is trying to reproduce is a kind of hair color associated with America and Europe’s Caucasian population. They are selling “whiteness.”

Writing from the viewpoint of multicultural England, Dyer writes that the study of the representation of white people is important because “as long as white people are not racially seen and named, they/we function as a human norm.”49 White discourse is ubiquitous, and it is precisely this unmarked invisibility that makes it a position of dominance. The representation of people belonging to minority groups is inevitably marked or tied to their race or skin color, but Caucasians are often “just people.” At the base of white privilege there is this characteristic of universality that is implied in whiteness.

The marked positioning of the white foreigner in Japanese society would seem an exception to this rule. Torigoe, while acknowledging that the Japanese media “saturated [her] with images of young white females as the standard of beauty,”50 analyzes in her article how white beauty actually embodies values such as overt sexual attractiveness that would be considered deviant or over the top by standard societal norms.51 Likewise, Russell points to the scrutiny that the bodies of the white female woman receive on Japanese mass media, dominated by a male gaze. White females become subject to the sexual curiosity of the Japanese male, and being accompanied by one of them often makes him look more sophisticated and competitive in a globalized world.52 As the most easily, less controversially portrayed Other through which Japanese self-identity is created, the white individual is often subject to stereotyping and essentialization. Russell notes this happening in both advertisement and the portrayal of white local celebrities, that assume even “whiter” characteristics in order to better market their persona in the Japanese television environment.

However, it is my opinion that we must be careful to not be exceedingly uncritical of the marginality that Caucasians are subject to in Japanese society. I argue that whiteness is in an ambiguous position in the Japanese context: it would be wrong to say that in the archipelago white people do not benefit from the privileges that have accompanied their racialization up to the present times. The othering processes that whites are subject to is more often than not related to them being brought up and representing a different culture than to their racial difference.54 The word hakujin (lit. white person) is barely used in everyday conversation, whereas it is more common to hear the term kokujin (lit. black person): white people are not reduced to their racial characteristics in the same way as black people might be.55 Whiteness might not be the completely hegemonic in the Japanese context, but the country does not exist in a vacuum, and its standards have been influenced by the globally hegemonic white euro-centric values to some extent.

To reiterate, white people in the Japanese archipelago experience the contradictory position of being a visible minority subject to reifying “othering” processes while at the same time reaping many of the benefits and privileges that are usually associated with the color of their skin. They are socially and politically located at the margins but are a hegemonic presence in the aesthetic consciousness as an ideal to which aspire to. In the following sections, I will expand on gaikokujin’s ambiguous location by looking at the ways in which whiteness is consumed through the gaikokujin-fū hairstyle trend.

Producing Whiteness: Selling gaikokujin-fū Hair
Creating the “New”

In order to understand the meanings shaping the catchphrase gaikokujin-fū, I have used a mixture of different approaches. My research began by applying the methods of Visual Analysis56 to the latest online promotional material. I have tried to semiotically analyze the pictures on the websites in relation to the copywriting. In addition, I have complemented it with fieldwork, interviewing a total of seven hairdressers and four girls aged from 20 to 2457 in the period between April and June 2017. It was while doing fieldwork that I realized how important social networking is for the establishment of contemporary trends: this is frequently acknowledged also in the press by textually referencing hashtags.58 Instagram is a very important part of Japanese girls’ everyday life, and is used both as a tool for self-expression/self-promotion as well as a compass to navigate the ever-growing ocean of lifestyle trends. Japanese internet spaces had been previously analyzed as relatively closed spaces created and accessed by predominantly Japanese people, and this had implications on how online discourses about races were carried on.59 However, being a predominantly visual medium, Instagram also functions as a site where information can, to a large extent, overcome language barriers.

The gaikokujin-fū hashtag counts 499,103 posts on Instagram, whereas 381,615 pictures have been tagged gaikokujin-fū karā.60 Most of them are published by professional whose aim is to publicize their work, and it is not uncommon to find pricing and information for booking in the description.

Scrolling down the results of the Instagram search, it is easy to notice the high number of back and profile shots; what the hairdressers are trying to show through these pictures is their hairdressing skills. By cutting out the face they are putting the hair itself at the center of the viewer’s attention and eliminating any possibility of identification. The aim here is to sell “whiteness” as an object. The trendsetters are capitalizing on a term (gaikokujin-fū) that has already an appealing meaning outside the field of hair coloring, and that is usually associated with the wider desire or longing (akogare) for “Western” people, culture and lifestyle.

To the non-initiated, the term gaikokujin-fū might indicate anything that is not “Japanese like” such as curly hair, or blonde hair. However, it became clear when speaking to my hairdresser informants that they only used the term referring to the ash-like coloring. Professionals in the field are reclaiming it to define a new, emerging niche of products that only started appearing a couple of years ago.61 In doing so, Japanese hairdressers are creating a new kind of “whiteness” that goes beyond the “Western” cultural conception of white as blonde and blue-eyed, in order to make it more acceptable to Japanese societal standards. In fact, fair hair is considered extremely unnatural.62 The advantage that ash brown hair has over blonde is the relatively darker shade that allows consumers to stand out without being completely out of place.63

However, gaikokujin-fū hair comes at a cost. All of my informants told me during the interviews that the colors usually associated with this trend involve dyes have a blue or green base, and are very difficult to recreate on most people of the East Asia whose naturally black hair has a red base. The difficulty they experienced in reproducing the Ash (asshu) and Matt colors on Japanese hair constituted a fundamental charm point for hair technicians, and precisely because of this being able to produce a neat ash coloring might be considered synonymous with keeping on pace with the last technology in hair dying. The Wella “Illumina Color”64 series came out in September 2015, while Throw,65 a Japanese-produced series of hair dyes that eliminate the reddish undertones of Japanese black hair, went on sale very recently in June 2016.66 Another Japanese maker, Milbon, released its “Addichty Color”67 series as recently as February 2017. The globally dominant but locally peripheral whiteness has been “appropriated” and domesticated by Japanese hairdressers as a propeller of the latest trends, as a vital tool in creating the “new.”

To summarize, the technological developments in hair dyes certainly gave a big push to the popularizing of the gaikokujin-fū hairstyle trend. Moreover, in a very chicken-and-egg-like fashion, the technological advancing itself was at the same time motivated by the admiration and desire towards Euro-American countries. However, this desire for “Westerness” does not entail adopting whiteness in its essentialized “purest” form,68 as that would have negative implications in the context of Japanese society. Rather, Japanese trendsetters have operated a selection and chosen the variant of whiteness that would be different enough to allow the creation of the “latest” while minimizing its more threatening aspects.
Branding the “New”

In the previous section I mentioned the fact that most of pictures posted on the social network Instagram serve to amplify and diffuse existing values for consumption, and constantly refer to a set of meanings that are generated elsewhere reifying them. Throughout this section I will examine the production of these values through the branding of the aforementioned hair dye brands: Wella’s “Illumina Color,” THROW, and Milbon’s “Addichty Color.”

Wella’s “Illumina Color” offers an interesting case study as it is produced by an American multinational brand. Comparing the Japanese website with the international one, it is clear that we have before our eyes a prime example of “glocalization.”69 While on the international webpage70 the eye-catch is a picture of a white, blue-eyed blonde woman that sports an intricate braided hairstyle with some purplish accents in the braid, the Japanese71 version features a hāfu-like72 young woman with long, flowing straight dark brown hair. The description of the product also contains the suggestive sentence “even the hard and visible hair typical of the Japanese [can become] of a pale, soft color.” The keywords here are the terms hard (katai) and soft (yawaraka). Hardness is defined as being a characteristic typical of the Japanese hair texture (nihonjin tokuyū) and it is opposed to the desired effect, softness. The sentence implies by contrasting the two terms that softness is not a characteristic of Japanese hair, and the assumption could be taken further to understand that it is a quality typical of the “foreign.” Perhaps unsurprisingly, the international webpage contains no such reference and instead vaguely praises the hair dye’s ability to provide a light color. The visuals of the latter are consistent with Dyer’s definition of whiteness.

Unlike Wella, Milbon and beauty experience are Japanese companies, and their products ORDEVE Addichty and THROW are only geared to the Japanese marketplace. Milbon’s ORDEVE Addichty dye series is the most recent of the two. The product’s promotional webpage is almost entirely composed of pictures: the top half features 14 moving pictures, two for each of the seven colours available. The pictures slide in a way that shows the customer all the four sides of the model’s bust up, and each one of the girls is holding a sign with the name of the product. To the center left, we see a GIF image with the name of the brand in the roman and Japanese alphabet, accompanied by the catchphrase hajimete mitsukaru, atarashii watashirashisa (“I found it for the first time, a new way of being myself”), that slides into another text-filled picture that explains the concepts behind the branding.

Occidental-like (ōbeijin) voluminous hair with a shine (tsuya) never seen before. This incredible feeling of translucence (tōmeikan) that even shows on your Instagram [pictures], will receive a lot of likes from everybody. Let’s find the charm of a freer myself with Addichty color!

The red-diminishing dyes are here associated with both physical and ideological characteristics identified as “Western,” like the “feeling of translucence” (tōmeikan)73 and “freedom” (jiyū). The word tōmeikan is a constant of technical descriptions of gaikokujin-fū and it is generally very difficult for the hairdressers to explain what does it mean. My hairdresser informant N. quickly explained to me that having translucent hair means to have a hair color that has a low red component. Informants H. and S., also hair professionals, further explained that translucency is a characteristic typical of hair that seems to be semi-transparent when hit by light. While in the English-speaking world it would certainly be unusual to positively describe somebody’s hair as translucent, tōmeikan is a positive adjective often used as a compliment in other different contexts and it indicates clarity and brightness. In fact, the Japanese Daijisen dictionary lists two definitions for translucent, the second of which reads “clear, without impurities.”74 It is perhaps in relation to this meaning that the melanin-filled black core of the Japanese hair is considered “heavy” (omoi) and strong. Reddish and lighter brown colors are also defined in the same way. What is more, even hair colors at the other end of the spectrum can be “muddy”（nigori no aru）: blonde hair is also described as such.75 It is clear that while tōmeikan is a quality of “occidental hair,” it is not a characteristic of all the shades that are usually associated with whiteness.

In the last sentence, “freedom” is linked to charm (miryoku) and the individual. These three concepts are also very often associated with the foreigner. The freedom of the gaijin is a freedom from social constraints and from the sameness that pervades dominant representations of Japaneseness.76 Individualism is further emphasized by the pronoun “myself,” which in the original Japanese is a possessive pronoun to the word “charm” (miryoku). As a word, miryoku has an openly sexual connotation, and because of this it might be linked to the concept of “foreignness.” As Torigoe found out in her analysis of Japanese advertisements, white women are often represented as a sexualized counterpart to the more innocent Japanese woman.77 Gaikokujin-fū hair offers customers the possibility to become closer to obtaining this sexiness, that distances the self from the monotone standards of society.

Of the three, THROW is possibly the most interesting to analyze, mostly because of the huge quantity of content they released in order to strengthen the brand image. In addition to the incredibly detailed homepage, they are constantly releasing new media contents related to gaikokujin-fū coloring on their “THROW Journal.”78

The “story” page of the website serves as an explanation of the brand identity. It is a vertically designed page heavy on images, possibly designed to be optimally visualized in mobile devices such as smartphones and tablets. The first image that the viewer encounters is that of a girl whose brown hair is flowing in the wind, which results in some strands covering the features of her pale-white face. This makes it hard to understand her nationality and makes it so that all the attention is focused on the light, airy qualities of the hair. As I said before, “lightness” (karusa) is associated to translucency and is one of the characteristics at the center of the marketing of gaikokujin-fū. This picture very clearly renders those sensations in a way that is very pleasant to the eye and indeed invites consumption.

Under the picture we find a very short narration that complements it. In bigger characters, the words dare de mo nai, watashi ni naru, that roughly translates as “I’ll become a myself, that is nobody else.” Here again we find an emphasis on individuality and difference. Scrolling down, we find the following paragraph written in a smaller font:

I leave my body to the blowing wind.

My hair is enveloped in light, and is filled by the pleasant air.

What I needed was this [facial] expression.

I got rid of what I did not need, and refreshingly freed my mind.

Gracefully, freely.

I should just enjoy myself more.79

Unlike the tagline in the Addichty webpage, THROW’s brand identity is here described in ideological terms only. Once again, “freedom” is the central theme, and is associated with a sensation of freshness (kaze, “the wind”; also, the onomatopoeia sutto, here rendered as “refreshingly”). The image of release is further emphasized by the fact that “I” of this text is in close contact with nature: her skin feels the wind, she is shrouded in light and breathes pure air. But what is the subject being released from? The fourth and the last line would suggest that she is being trapped by social constraints, something akin to the Freudian super-ego, that somehow renders her unable to enjoy herself for what she really is. My literal translation of the sixth line makes it hard to understand the hedonistic implications of its meaning: what the original Japanese implies is not simply that she should “have fun,” but she should be finding pleasure in what she is and not what she is expected to be. It is perhaps strange to the eyes of the Euro-American observer accustomed to the discourse of white supremacy that the consumption of whiteness comes with an invitation to spontaneity. The whiteness being sold here is certainly perceived in a radically different way from the Eurocentric “West,” where it is associated with self-constraint.80 It is being marketed to the Japanese public in a way that reminds the portrayal of minorities in the white-dominated world,81 and that makes it particularly appealing to the archipelago’s consumers.

Listening to the producers’ interviews, it becomes clear for them that the red pigments of the hair, as a symbol of this self-Orientalistically represented “Japaneseness” are represented as a further constraint. Producer Kimura Naoto speaks of a “liberation from redness for the women who hate it”;82 fellow member of the production team Horiuchi brings up the ever-present desire in Japanese women to “become like foreigners,”83 but neither of the two explains the connection between the deletion of red pigments from the hair and the possibility of becoming foreigner-like. It is perhaps this lack of an explicit connection in an explanation from an expert that makes it perceived as an “obvious truth.” In fact, nobody seems to refer to the fact that red undertones are common overseas as well, not to mention the existence of redheads in predominantly Caucasian regions. By hiding these facts, the red pigments are constructed as something that is peculiarly Japanese and juxtaposed to the exclusively foreign blue pigments, further contributing to the essentializing of the gaikokujin that propels self-Orientalism.

Consuming Whiteness: Gaikokujin-fū and Everyday Life

To understand the ways that gaikokujin-fū was being interpreted and consumed I conducted fieldwork for two months (April-June 2017) in Tokyo. Engaging in participant observation proved to be relatively easy, since superficial conversation about beauty trends is one of the most common ways that young women around my age use to socialize. Most of my peers were very quick to react every time I lightly introduced the subject. However, due to the perceived “lightness” of the topic, not many people showed to be willing to talk prolongedly about it. This prompted me to supplement the fieldwork with semi-structured interviews I conducted with four people aged 20-22.

The general reaction to the gaikokujin-fū buzzword was one of recognition–the existence of the trend was acknowledged both by people who were actually familiar with it as well as by others who were not really interested but had seen the phrase and recognized a more general idea behind it. As the reader might expect after having gone through the previous chapter, consumers of gaikokujin-fū hair all brought up the difficulties they had in obtaining the desired results. When I first contacted K., a 23-year-old university student in Tokyo, she told me to wait till the following week for the interview since she had an appointment to dye her hair of an ash-like color. Seven days later, I was surprised to see that her hair had not changed much. Turns out that her virgin hair was a very difficult base to work with: having never bleached it, it proved to be very resistant to blue-green dyes. Dying the hair of an ash-like color would have been impossible as the naturally red pigments of the hair would have completely nullified the effect.

Whiteness as Empowerment, Whiteness as Difference

K. was nonetheless very accommodating and answered my questions very enthusiastically. To her, the word gaikokujin had indeed a very positive meaning, and she specifically associated it to difference. My informant used a very harsh word when talking about her fellow Japanese: to her, Japanese style equals mass-production. Her image of Japan was perfectly congruent with those described by Mouer and Sugimoto in their critique of Nihonjinron. “Ordinary” Japanese girls were, in her opinion, the cutesy and quiet girls with straight black hair and bangs covering their foreheads. Why did she feel attracted to gaikokujin-fū in the first place? K. felt that the “traditional” Japanese image was constraining, and she had both very physical and empirical reasons (she does not like face with bangs) as well as a specific ideological background. It is worth nothing here that K. has had since her childhood a very strong akogare towards “Western countries”: she has studied English since she was a small child and is now studying Italian, which led her to spend a year abroad in the University of Venice. Moreover, she attended a very liberal protestant high school in Tokyo, where students were allowed to dye their hair and had no obligation to wear the school uniform. She herself stated that the liberal environment she was brought up in had a huge influence on her view of the world and thus she did not feel the need to “conform.” K. speaks from a privileged position that allowed her to glimpse a “different” world, in which she is promised freedom. In a similar fashion to the representations I analysed in the previous chapter, “Western” foreign becomes a symbol of liberation from the societal constraints of a traditionalistic society.

The liberating qualities of the akogare towards the essentialized “Western” foreign have been brought up in previous research as a space for young women to astray themselves from the hierarchies of everyday life. The link between freedom and diversity was indeed particularly strong in K., who feels somehow “oppressed” by certain aspects of society. However, this is far from being a universal mode of consumption: in fact, the other three girls never even mentioned anything ideological. To S., a 22-year-old girl I met while studying in Tokyo two years ago, dying her hair of an ash-like hue was an act genuinely finalized to the enhancement of her beauty: she thought the color made her face look brighter. While she too stated during the interview that foreigners are viewed as cool and fashionable, she did not allude to a desire to “become” one nor she mentioned any ideological values associated with them that she emphasized with. In her everyday practice, whiteness is consumed as a tool regardless of its hegemonic signified. Informants A. and H. talked about the trend in a similar way. H. initially dyed her hair because she liked how cute ash hair looked on her favourite model, and had little more to say other than that. Her friend A., who recently graduated from a fashion school, confessed that in her environment standing out was more the rule than a subversive act. Her ash phase was brief and followed by even more explosive hues such as blue and pink. S., A., and H., were very much less conscious of their ways of consumption, but, as French theorist Michel de Certeau argues,84 it is precisely the aimlessness of their wandering that make their practices subvert the hegemony established by the global white supremacy. Having gaikokujin-fū hair is one of the strategies that Japanese women have at their disposition to attain beauty, and while it is trendy, it is far from being superior to different styles. Whiteness becomes an accessory that enhances the natural beauty of the self, and it is not employed to override one’s original racial features but rather to enrich them through the display of individuality. Under this light, it is possible to see the consumption of foreign-like hair as an unconscious tentative of overcoming the racialized barriers that might generate uncanny feelings in the eyes of the “white” spectator.

Subdued Subversion and the Ambiguities of Consumption

There are however at least two factors that complicate the consumption of gaikokujin-fū hair, making it a multifaceted and complex process. Firstly, during my interview with K. we discussed the differences between this and other fashion trends that tend to refuse the stereotypical sameness of the constructed Japanese image. K. suggested the existence of an even more individualistic trend–Harajuku–style fashion. The Harajuku district of Tokyo is famous world-wide for hosting a wide range of colourful subcultures,85 which my interviewee described with terms such as dokusouteki (creative) and yancha (mischievous). Harajuku fashion is individuality taken to such a level in which it becomes even more openly contestant of society. S. described these subcultures as referencing the image of “an invented fantasy world, completely out of touch with reality.” The gaikokujin-fū hair colour is indeed a way to break out of the “factory mould,” but it is a relatively tame way of doing it as it is the consumption of a domesticized otherness. As I also pointed out during the analysis of the production processes, the aesthetics of the trend are largely shaped in relation to societal norms and purposely do not excessively break out of them. Especially in its darker tones, foreign-like ash hair is visually closer (albeit chemically harder to obtain) than platinum blonde, and it is precisely in these shades that the hue is being consumed by girls like K. and S.

Furthermore, one could say that Gaikokujin-fū hues can at times be experimentations instrumental to the formation of one’s identity. H. and S. both explained that they tried out ash dyes as a phase, only then to move on to something that they thought better reflected their own selves. In both cases, that meant going back to their natural black color and to darker tones. H., in particular, after spending her three years of freedom in university experimenting with various hues, finally concluded in her fourth and final year that natural black hair was “what suits Japanese people best.”. After trying out the “Other” and recognizing it as such, her identification acted as what Stuart Hall might have called a suture between her as an acting subject and the discursive practices of “Japaneseness.”86 As “foreignness,” and whiteness as one of its variants, cannot be easily conceived outside the dominant self-Orientalistic discourses, even gaikokujin-fū is inevitably bound to the essentialized “Japaneseness” of the Nihonjinron. This is only worsened by the fact that foreign-like hair colors are a product in the beauty market: they need to be marketed to the consumers, and this necessitates simplification. Essentialization and the reinforcement of self-Orientalism are the high prices that one must pay for the consumption of the other, and constitute a big limitation of its subversive power.

Conclusion

I have attempted to analyse the ways in which whiteness is produced and consumed in Japan, a country with significant economic and cultural power that does not have a significant Caucasian population. I have chosen as the topic a feature of the human body that is usually considered peripherical to the construction of racialized categories, and I have attempted to demonstrate how it becomes central in the production of an occidentalistic image of “whiteness” in the Japanese Archipelago.

What this trend helps us to understand is the complexities and multiplicities of whiteness. By shedding some light on the way that hairdressers in Japan construct and sell the gaikokujin-fū trend we become aware of the fact that an aspect such as hair color that we do not usually pay much attention to in relation to this racialized category can be central when the same is consumed in a different setting. It is significant that what is being marketed here it is a slightly different paradigm from the Eurocentric or conventional idea of “white” people, that sees at its center blonde-haired, fair-skinned people with blue or green eyes: whiteness is mitigated and familiarized in order to make it more desirable to wider audiences. Its localized production and its consumption as a disposable accessory might be taken as challenging to the global dominance of Caucasian aesthetic.

Acting in the (locally) ambiguous field of racial representations,87 hairdressers in Japan are creating their own whiteness, one that is starkly defined by what is socially acceptable and what is rejected.88 It thus becomes apparent the fact that racialized categories are nothing but discourses, constantly morphing in relation to time and space. The existence of a different whiteness created by and for the use of people who are not considered as belonging to this racialized category creates conflict with the discourse of a global, hegemonic whiteness by demonstrating its artificiality and construction.

However, the use of the word gaikokujin inevitably generates ambivalent meanings. The trend becomes linked to the discourse of “foreignness” and the desires associated with it. Eventually, it ends up reproducing the essentialist and reifying stereotypes that are creating through the occidentalistic (and self-Orientalistic) practices of nihonjinron. The trend potentially reinforces the “us/them” barriers that are at the basis of essentialistic thought by juxtaposing the desired “foreign hair” as a polar opposite of the more conservative and traditional “Japanese hair.”

To reiterate, gaikokujin-fū might be subversive on the global scale, but it is nonetheless an expression of the oppressive mainstream on the local level, as it restates notions of difference and exclusivity that form the basis for social exclusion of phenotypically alien foreigners. Unfortunately, the practices of marketing necessitate simplifications, and makes it is hard to achieve what I believe would be the most subversive action: the elimination of these reifying barriers. It is imperative that we start to think about ways to talk about race and culture in a non-essentializing manner while maintaining an anti-white-centric stance.

Although the problem of essentialization cannot be resolved by looking at representation only, by looking at how the product is effectively consumed in everyday life we might find that these semi-conscious practices already offer some hints on how to overcome the barriers that reification builds around us. It is indeed true that consumers answer to the “call” of the marketers, and that they identify themselves to some extent with the images of racialized whiteness created by the beauty industry. However, what the interviews revealed is that often times the link between image and product is broken in the immediacy of consumption. By using whiteness as an accessory, some of the consumers open up a space in which they contest the seriousness and rigidity of racialized categories–a space that allows hybridity to exist.

http://zapruderworld.org/wp-content/uploads/2018/06/Pellicano_Fig_2-720x1024.jpg

#Données_fantômes : ce qui n’est pas compté et qui compte

La #discrimination par la collecte de données et la #catégorisation_informatique.

Certaines données sont collectées, d’autres sont manquantes. Qu’est-ce qui préside à ce choix ? L’artiste et chercheuse nigérienne-américaine #Mimi_Onuoha interroge les façons dont les individus sont catégorisés. Elle s’attache à mettre en évidence que la #collecte, l’#enregistrement et l’#archivage des données sont liés aux questions de #contrôle et de #pouvoir.

Le travail de Mimi Onuoha autour des « #banques_de_données_manquantes » éclaire la discrimination et la #violence algorithmique qui est infligée aux #queers, aux #migrants et aux #minorités, souvent exclus et mal représentés par les systèmes de #décision_automatique. Alors que les algorithmes sont de plus en plus utilisés dans l’élaboration des politiques civiques, sociales et culturelles, il devient crucial de réfléchir de manière critique aux politiques qui façonnent nos infrastructures numériques.

►https://gaite-lyrique.net/article/donnees-fantomes-ce-qui-nest-pas-compte-et-qui-compte
#données #bases_de_données #invisibilité #catégorisation #inclus #exclus #exclusion #algorithmes
signalé par @fil

La privatisation du vivant - pratiques
▻https://pratiques.fr/La-privatisation-du-vivant

Pratiques : Le corps des femmes est particulièrement exploité.

À l’échelle internationale, le commerce d’ovules est très organisé. Certaines femmes indiennes peuvent accéder à la FIV parce qu’en contrepartie, elles donnent leurs ovules. Ce commerce se développe beaucoup au Mexique. En Europe, ce sont l’Espagne et Chypre qui en sont la plaque tournante.

Ce commerce sert à la recherche, mais il est aussi très bien connu des citoyens français, anglais… On sait qu’en général les gens vont acheter des ovules en Espagne parce qu’ils proviennent de femmes d’Europe de l’Est qui ont des caractéristiques génétiques recherchées : blondes aux yeux bleus, grandes… Et dans le cadre de la grossesse pour autrui (GPA), ils vont aller faire porter les grossesses par des femmes indiennes. Ce sont des enjeux raciaux et d’exploitation graves. Il y a là plusieurs femmes en jeu, ce qui complexifie encore plus ce commerce des corps. Les impacts sur les mères porteuses sont au premier plan, mais pour les pourvoyeuses d’ovules, les conséquences sur leur santé semblent occultées. Ce sont souvent de très jeunes femmes, les stimulations ovariennes à répétition, les prélèvements d’ovules affectent leur propre santé reproductive, d’autant que lorsqu’elles repartent chez elles, elles n’ont pas toujours le suivi nécessaire. Des documentaires, tels que Eggsploitation aux États-Unis, montrent les effets de l’hyperstimulation ovarienne sur ces jeunes filles, dont certaines ont développé des cancers en lien avec l’utilisation massive d’hormones. Ce sont les femmes invisibles de tous ces discours, les gens ont très peu de connaissances sur les procédures médicales utilisées pour amener une femme à produire dix à quinze ovules dans un mois. C’est dans une logique de marché : transformer le corps des femmes pour qu’il soit plus productif.

#GPA #don_d'organes

#Sexe, #race & #colonies. La #domination des #corps du XVe siècle à nos jours

Reposant sur plus de mille peintures, illustrations, photographies et objets répartis sur six siècles d’histoire au creuset de tous les #empires_coloniaux, depuis les conquistadors, en passant par les systèmes esclavagistes, notamment aux États-Unis, et jusqu’aux #décolonisations, ce livre s’attache à une #histoire complexe et #taboue. Une histoire dont les traces sont toujours visibles de nos jours, dans les enjeux postcoloniaux, les questions migratoires ou le métissage des identités.
C’est le récit d’une #fascination et d’une #violence multiforme. C’est aussi la révélation de l’incroyable production d’#images qui ont fabriqué le regard exotique et les fantasmes de l’Occident. Projet inédit tant par son ambition éditoriale, que par sa volonté de rassembler les meilleurs spécialistes internationaux, l’objectif de Sexe, race & colonies est de dresser un panorama complet de ce passé oublié et ignoré, en suivant pas à pas ce long récit de la #domination_des_corps.

https://extranet.editis.com/it-yonixweb/IMAGES/DEC/P3/9782348036002.jpg

Miradas críticas del territorio desde el feminismo

Somos personas activistas, entusiastas, enérgicas, que creen en la transformación y el poder que tiene el pensar la vida en común. Nacimos en distintos países del mundo (Ecuador, México, España, Brasil, Uruguay) y nos encontramos en Quito hace ya 5 años, lugar que se convirtió en nuestro espacio de conspiraciones. Nos ubicamos en el feminismo latinoamericano y caribeño como lugar de lucha, invención, creación, transformación y pensamiento. Nuestras miradas tejen el vínculo entre los cuerpos diversos y los territorios.

Pensamos el cuerpo como nuestro primer territorio y al territorio lo reconocemos en nuestros cuerpos: cuando se violentan los lugares donde habitamos se afectan nuestros cuerpos, cuando se afectan nuestros cuerpos se violentan los lugares donde habitamos. Reivindicamos la importancia de la experiencia sensible, son nuestros cuerpos los que encarnan nuestra vida, nuestra memoria y son los sentidos los que nos conectan con los territorios. Sobre el cuerpo queda impreso lo que ocurre en los territorios: la tristeza por la explotación, la angustia por la contaminación, la alegría por estar construyendo otros mundos pese a tanta violencia. Frente al despojo, tratamos de tranzar puentes entre el feminismo, el ecologismo, la naturaleza y los territorios que nos permitan mirar de manera más integral y a la vez sensible el mundo y sobre todo que este pensarnos se convierta en acciones que transformen nuestra vida. A menudo, lo hacemos a través de metodologías corporales, que tratan de conectar la experiencia con las reflexiones, para buscar estrategias colectivas de resistencia.

¿Cómo nos miramos?

Somos urbanas, ese es el lugar desde donde nos miramos, nos pensamos, reproducimos nuestras vidas y desde donde queremos establecer puentes con otros territorios. Partimos de diferentes condiciones y posiciones, revisamos nuestros privilegios y también luchamos contra nuestras opresiones. No queremos hablar por “las otras” sino desde nuestras propias experiencias, pensamientos, rebeldías y lugares para desde ahí generar diálogos y entendernos con las otras. Somos diversas y por eso reconocemos y nos sumamos a otras luchas. Y aprendemos de ellas. Nos interrogamos cómo desde nuestros lugares urbanos podemos aportar a las resistencias de otros espacios y viceversa. Queremos entender la potencia que tiene las conexiones entre lo urbano y los otros territorios. Consideramos importante tejer alianzas y establecer estrategias conjuntas para frenar la destrucción de nuestros territorios-cuerpos, de nuestro planeta, de nuestra Tierra.

▻https://territorioyfeminismos.org

#géographie #féminisme #corps

et... #cartoexperiment pour @reka: Le corps comme #territoire...

https://miradascriticasdelterritoriodesdeelfeminismo.files.wordpress.com/2013/07/mapas2.jpg https://miradascriticasdelterritoriodesdeelfeminismo.files.wordpress.com/2013/07/mapas1.jpg?w=600&h=450

L’essor des sites #Web valorisant l’#anorexie a contribué à l’émergence d’un #débat_public sur les troubles du comportement alimentaire. Mais comment lutter sur Internet contre ces troubles ?

►https://sms.hypotheses.org/11593

https://sms.hypotheses.org/files/2018/05/zzfezfe-300x297.png

#anorexie, #TCA, #alimentation, #alimentaire, #pro-ana, #publicité, #discours, #corps, #internet, #maladie, #blog, #solidarités, #relation, #guérison, #soutien, #réseaux_sociaux, #censure

#Exposition en plein air sur les #interdits à #Grenoble

https://i.imgur.com/PQ30ACk.jpg https://i.imgur.com/kJRgj55.jpg https://i.imgur.com/He6kZry.jpg https://i.imgur.com/x6d5uS3.jpg https://i.imgur.com/RptyNTU.jpg https://i.imgur.com/uXmiWhM.jpg https://i.imgur.com/phRow5Y.jpg https://i.imgur.com/PC8N2wk.jpg https://i.imgur.com/Qf6wETu.jpg https://i.imgur.com/udgQB4z.jpg https://i.imgur.com/XZECLfV.jpg https://i.imgur.com/nH73VxG.jpg https://i.imgur.com/mROlUHE.jpg https://i.imgur.com/XyVcKfz.jpg https://i.imgur.com/jYoZPLQ.jpg https://i.imgur.com/68jjf1c.jpg https://i.imgur.com/1BZ7Za4.jpg https://i.imgur.com/i99AMa9.jpg https://i.imgur.com/FiXtVmX.jpg https://i.imgur.com/gruxn2b.jpg https://i.imgur.com/jvtF9zJ.jpg https://i.imgur.com/OLZ6KTV.jpg https://i.imgur.com/zNg07XN.jpg https://i.imgur.com/FIHlQNS.jpg https://i.imgur.com/BGcrk3M.jpg https://i.imgur.com/v8YQUJP.jpg https://i.imgur.com/rhsJ0Ra.jpg https://i.imgur.com/ToyzqdV.jpg https://i.imgur.com/O6M3rpS.jpg https://i.imgur.com/EzikIgI.jpg https://i.imgur.com/ierfUHk.jpg https://i.imgur.com/1TIUEb5.jpg https://i.imgur.com/haA7r6g.jpg https://i.imgur.com/du7nKjo.jpg https://i.imgur.com/PPN5ucP.jpg https://i.imgur.com/kvBSkZu.jpg https://i.imgur.com/1H65wC9.jpg https://i.imgur.com/Sfyg1Vc.jpg https://i.imgur.com/b8e61K2.jpg https://i.imgur.com/0k4sPLj.jpg https://i.imgur.com/1Pdi2oP.jpg https://i.imgur.com/lLlbBHq.jpg https://i.imgur.com/Me3Ggu2.jpg https://i.imgur.com/UqgeKIw.jpg

#street-art #art_de_rue #interdiction #témoignages #portraits #amour #drogue #délit_de_solidarité #secte #mort #inceste #tabou #corps #nudité #vol #classe_sociale #valeurs #humanisme #squats #sans-papiers #solidarité #accident #handicap #grossesse #langue #rouge_à_lèvre #SDF #sans-abri #parentalité #avoir_des_enfants #non-travailleur #chômage #identité_féminine #prépa #rectangle_blanc #ordre_établi #NDDL #ZAD #notre_dame_des_landes #sexualité #LGBT #homosexualité #interdit_social #toxicomanie

cc @reka

Arrête de la toucher laaaaaaaaaa. Nos corps ne sont ni vos jouets ni vos poupons.

Posté par @CherCherjournal sur twitter.

https://i.imgur.com/EXDwsXK.png

J’ajoute aussi #exotisme #colonialisme #paternalisme au tags

ping @aude_v

Les zoos humains, une réalité française (une interview de Pascal Blanchard)

Dans cet entretien avec la journaliste Dolores Bakela, Pascal Blanchard parle de la domination blanche, l’exotisation des corps, de la naissance du racisme et de la distinction entre les races... bref, d’une histoire française qui a laissé des traces durables dans le présent. Attention, les images et même les propos de Monsieur Blanchard peuvent heurter.

> ▻https://peertube.heraut.eu/videos/watch/6cdadeb3-db47-4f55-9a0f-6651493511d3

Le documentaire lui même est disponible en replay par ici : ▻https://www.arte.tv/fr/videos/067797-000-A/sauvages-au-coeur-des-zoos-humains

#peertube #lemedia #arte #documentaire #interview #PascalBlanchard #colonialisme #Histoire

Le sexe des colonies | Mediapart
▻https://www.mediapart.fr/journal/culture-idees/220918/le-sexe-des-colonies?onglet=full

Un livre-somme consacré aux rapports entre sexe, race et colonies explore les images et les imaginaires qui ont structuré les relations entre #sexualité, #domination et #colonisation. Entretien avec Pascal Blanchard, co-directeur de l’ouvrage.

▻https://www.youtube.com/watch?v=pVW96mYnhQ0

#racisme #métissage #sexisme #livre

Je ne suis pas l’autre
▻http://liminaire.fr/palimpseste/article/je-ne-suis-pas-l-autre

http://liminaire.fr/local/cache-vignettes/L640xH480/tumblr_ntp4hvm81f1r9pzsmo1_1280-e3324.jpg

Cela fait longtemps que je lis le blog texte et photo de Céline Saby que j’apprécie pour la sensibilité, la beauté de ses images et le troublant récit d’un quotidien décrit avec franchise et sensualité : Ma vie et celle des autres. Elle expose jusqu’au 23 septembre, au 59 rue Notre Dame de Nazareth, à #Paris dans le 3ème arrondissement. Cette exposition est l’occasion de découvrir ses plus récentes images mises en scène comme un bouquet sur les murs et l’espace de la galerie, et de lire son travail (...)

#Palimpseste / #Lecture, #Art, #Architecture, #Écriture, #Livre, #Photographie, #Portrait, #Sicile, Paris, #Amour, #Corps, #Ciel, #Enfance, (...)

#Biographie
« ▻https://cargocollective.com/celinesaby »
« ▻http://mavieetcelledesautres.tumblr.com »
« ▻http://dunelunel.com/index.html »
« ▻http://www.adriengodin.com »
« ▻https://cargocollective.com/celinesaby/Je-ne-suis-pas-l-autre »

My Walking Is My Dancing
▻http://liminaire.fr/derives/article/my-walking-is-my-dancing

http://liminaire.fr/local/cache-vignettes/L640xH433/marche3-d7504.jpg

Dans ses ouvrages publiés au début des années 1990, le philosophe et urbaniste Paul Virilio qui vient de mourir à l’âge de 86 ans, soulignait que la vitesse, sans cesse augmentée sous l’effet des progrès technologiques, non contente d’occuper une place prépondérante dans notre représentation du réel, finirait par constituer la réalité elle-même. L’accélération du temps humain change notre rapport au monde. Il interrogeait dans ses livres les mutations de l’espace-temps, notre fascination à l’immédiateté et au (...)

#Dérives / #Danse, #Corps, #Dérive, #Sensation, #Regard, #Paris, #Ville, #Architecture, #Art, #Vidéo

« ▻https://www.festival-automne.com »
« ▻https://www.rosas.be/fr »
« ▻http://www.mywalking.be/paris/fr »
« ▻http://www.centre-kalachakra.com »

Maps of subjective feelings | PNAS
▻http://www.pnas.org/content/early/2018/08/27/1807390115

Subjective feelings are a central feature of human life, yet their relative organization has remained elusive. We mapped the “human feeling space” for 100 core feelings ranging from cognitive and affective processes to somatic sensations; in the analysis, we combined basic dimension rating, similarity mapping, bodily sensation mapping, and neuroimaging meta-analysis.

http://www.pnas.org/content/pnas/early/2018/08/27/1807390115/F3.large.jpg?width=800&height=600&carousel=1

#corps #topologie #cartographie #sensation

État de l’Union en 2018 — La Commission propose les derniers éléments qui doivent permettre de dégager un compromis sur la réforme en matière de migration et de gestion des #frontières
Un corps européen de garde-frontières et de garde-côtes parfaitement équipé

S’appuyant sur deux années de travail, la Commission propose de renforcer le #corps_européen_de_garde-frontières_et_de_garde-côtes et de lui conférer un degré d’ambition qui soit à la mesure des défis communs auxquels l’Europe est confrontée dans la gestion des migrations et des frontières. Si le mandat du corps européen de garde-frontières et de garde-côtes s’élargit, le but consiste à seconder les États membres et non à se substituer à eux pour la gestion des frontières extérieures et les retours. La proposition comprend les éléments suivants.

Un corps permanent de 10 000 agents opérationnels d’ici à 2020 - Pour pouvoir mobiliser des ressources prévisibles et suffisantes, l’agence disposera de son propre personnel et de ses propres équipements, tels que des navires, des avions et des véhicules.
Pouvoirs d’exécution - Afin de garantir pleinement leur efficacité opérationnelle, les membres du corps de garde-frontières et de garde-côtes de l’Union seront habilités à effectuer, sous l’autorité et le contrôle de l’État membre dans lequel ils sont déployés, des tâches nécessitant des pouvoirs d’exécution, comme procéder à des contrôles d’identité, autoriser ou refuser l’entrée aux frontières extérieures et intercepter des personnes aux frontières.
Aide accrue en matière de retour - Si elle pouvait déjà organiser et financer des opérations de retour conjointes, l’agence pourra désormais assister les États membres dans le cadre des procédures de retour, notamment pour l’identification de ressortissants de pays tiers en séjour irrégulier, l’acquisition de documents de voyage et la préparation des décisions de retour pour les autorités nationales, qui restent responsables des décisions de retour proprement dites.
Coopération renforcée avec les pays tiers - L’agence pourra, sous réserve de l’accord préalable du pays concerné, lancer des opérations conjointes et déployer des agents en dehors de l’UE, au-delà des pays voisins de l’Union.
Moyens financiers augmentés - Le #coût total de la proposition de développement du corps européen de garde-frontières et de garde-côtes s’élève à 1,3* milliard d’euros pour la période 2019-2020. Un montant total de 11,3 milliards d’euros est proposé pour la prochaine période budgétaire de l’UE, de 2021 à 2027.

▻http://europa.eu/rapid/press-release_IP-18-5712_fr.htm
#frontières #gardes-frontières_européens #politique_migratoire #migrations #asile #UE #EU #budget

« Tu me fais violence ! » | Cairn.info
▻https://www.cairn.info/revue-vacarme-2015-3-page-28.htm

La rhétorique de la blessure et du traumatisme pour parler de toute violence dans les milieux queer produit non seulement un devenir victimaire généralisé mais une atomisation des communautés et des luttes. L’appel à la constitution d’espaces protégés et rassurants fonctionne de concert avec une gentrification qui masque toutes les problématiques de classe et de race locales et globales. On peut en rire ou chercher à comprendre comment la vigilance linguistique, d’un enjeu légitime et essentiel, finit par se retourner en police des consciences. Un appel à reconsidérer la situation intellectuelle et politique de la violence faite aux corps des autres.

Stimulant...

Cher Corps — Marianne - YouTube
▻https://youtu.be/S3uWmVyrqwg

Grossophobie : je ne me tairai plus !
Manal Drissi, Chatelaine, le 27 juillet 2018
▻http://fr.chatelaine.com/opinions/grossophobie-je-ne-me-tairai-plus

J’ai appartenu à la honte chaque fois que je m’habillais, que je mangeais, que je m’assoyais, que je me regardais, que j’aimais, que je faisais l’amour. Chaque fois que mes amies minces parlaient de prise de poids avec horreur, que ma mère me conseillait de porter du noir pour sembler réduite. Chaque fois qu’une crise de boulimie me valait des compliments sur ma perte de poids qui m’allait si bien. Chaque fois que le seul personnage de fiction qui me ressemblait était misérable ou clownesque. Chaque fois que j’ai préféré être malade de chaleur qu’enlever ma gaine, qu’exposer mes bras et mes cuisses.

J’ai torturé mon corps. Je l’ai empiffré, affamé, mutilé, je l’ai traîné sur des kilomètres de pistes de course jusqu’à l’effondrement, je l’ai privé d’eau pour ne pas qu’il se boursouffle, je l’ai fait casanier pour le préserver du regard d’autrui. J’ai tiré dans un sentiment tordu de fierté dans ses appels à l’aide puisqu’il faut, dit-on, souffrir pour être belle.

#grossophobie #femmes #sexisme #discrimination #corps #Manal_Drissi (chroniqueuse québécoise)

Pourquoi les corps masculins sont-ils invisibles ?
▻https://www.lemonde.fr/m-perso/article/2018/08/05/pourquoi-les-corps-masculins-sont-ils-invisibles_5339508_4497916.html

L’été, les corps nus des hommes sont partout, mais personne ne les voit. A contrario, celui des femmes est toujours objet de commentaires même sous douze couches de vêtements, remarque Maïa Mazaurette, qui invite les hommes à réfléchir à leur propre érotisation.

Dois-je y voir le début de ma réconciliation avec Maïa Mazaurette ?

#MaïaMazaurette #érotisme #homme #séxualité

Seule la nuit tombe dans ses bras, de Philippe Annocque
▻http://liminaire.fr/livre-lecture/article/seule-la-nuit-tombe-dans-ses-bras-de-philippe-annocque

http://liminaire.fr/local/cache-vignettes/L200xH300/philippeannocque-25aa0.jpg

Un roman d’amour, un roman d’amour impossible. Une rencontre qui n’a pas lieu. Une rencontre virtuelle. Une rencontre sur Facebook « même si par la suite elle donne lieu à un vrai rendez-vous des #Corps dans un vrai décor, ça n’est quand même pas une rencontre. » Corps à distance derrière l’écran de l’ordinateur qui efface le souvenir précis de la rencontre, car sans vis-à-vis, sans contact direct, sans relation corporelle dans un même espace, il n’y a pas de rencontre possible, au profit d’une mise en (...)

#Livre & #Lecture / #Numérique, #Langage, Livre, #Histoire, Lecture, #Écriture, #Amour, Corps, #Sensation

#Livre_&_lecture
« ▻https://hublots2.blogspot.com »

Les #corps_masculins du #criminel et de l’#homosexuel vus par la #médecine. Ils sont souvent caractérisés par un excès ou un déficit…

►http://sms.hypotheses.org/10843

https://sms.hypotheses.org/files/2018/01/greek-37429_960_720-250x500.png

#corps, #masculin, #criminel, #homosexuel, #homme, #médecine, #excès, #déficit, #discours, #pratique, #canon, #beauté, #masculinité, #sexe, #caryotype, #physiognomonie, #imaginaire, #dominant, #dominé

Genèse d’un projet de #recherche (Master) – Au miroir du #sport
▻https://miroirsport.hypotheses.org/102

https://miroirsport.hypotheses.org/files/2018/06/mechanics-3258935_1280.jpg

mes intérêts personnels en histoire autour des questions de genre, du #fascisme (et des autoritarismes de manière plus large) et des identités collectives m’ont mené à l’idée d’un sujet sur le sport féminin durant l’entre-deux guerres et sous Vichy. C’est un moment où le sport féminin se développe, dans un double contexte de revendication d’égalité après la Première Guerre mondiale et de souci hygiénique (sous des mots et des concepts différents, l’idée de « régénération de la race » revient tant la Grande Guerre a montré la fragilité des corps dans une époque industrielle). Des olympiades féminines sont organisées, l’éducation physique devient affaire d’État et le régime de Vichy veut des #femmes en bonne santé qui puissent être de bonnes mères. Mais l’essor du sport féminin sous Vichy (2 nouveaux pratiquants sur 3 sont en fait des femmes), issu d’une volonté de contrôle des #corps (le fort développement du basket féminin trouve son origine dans les discours médicaux et idéologiques sur le corps féminin), est en réalité un moment d’émancipation pour les femmes.

Sujet intéressant, oui. Problème : il n’est pas vraiment stratégique dans la recherche de financement par les médias sportifs, mon milieu d’insertion professionnelle souhaité. Il faut donc faire des médias un objet central du sujet et mettre la question des femmes et du fascisme en lecture derrière l’intérêt sportif.