• Le chinois ZTE fournit des cartes d’identité numériques intrusives au gouvernement de Nicolas Maduro
    https://cyberguerre.numerama.com/250-le-chinois-zte-fournit-des-cartes-didentite-numeriques-int

    Le régime de Nicolas Maduro étend son contrôle sur les vénézuéliens grâce au développement d’une identité numérique pour chaque citoyen. La technologie supportant ce système d’identification est fournie par le Chinois ZTE. La Chine ne partage pas le blocus des Américains quand il s’agit du Venezuela : pour fournir le pays en technologies, les géants de Shenzen dont ZTE, prennent avantageusement la place des entreprises nord-américaines. L’équipementier chinois est installé au cœur de Caracas dans un (...)

    #ZTE #Identité #smartphone #écoutes #données #surveillance #élections #électeurs #passeport_électronique #hacking (...)

    ##Identité ##SocialCreditSystem
    //c0.lestechnophiles.com/cyberguerre.numerama.com//content/uploads/sites/2/2018/12/8439815798_c396c3b515_o.jpg


  • Ces phrases de #Macron sont passées inaperçues. Pourtant elles contiennent une bombe

    Le candidat Macron méprisait le débat sur « l’#identité_figée, rabougrie ». Il l’a remis en selle lundi, prenant le risque de réveiller la #xénophobie ambiante.

    Ces deux courtes phrases sont passées presque inaperçues. Dans son allocution de 13 minutes, lundi 10 décembre, cachées au milieu de ses promesses pour requinquer le pouvoir d’achat et revivifier le dialogue démocratique, Emmanuel Macron les a lâchées, comme ça, l’air de rien (à partir de 10’38 dans la vidéo ci-dessous) :
    ""Je veux aussi que nous mettions d’accord la #Nation avec elle-même sur ce qu’est son identité profonde. Que nous abordions la question de l’#immigration.""

    Au secours, elle revient ! L’identité. Cette bombe nationale à fragmentation. Cette notion qui rend fou. Pire : Macron l’a couplée avec le thème de l’immigration, histoire d’en renforcer la charge explosive. Il a balancé son cocktail Molotov sans crier gare, à travers la lucarne des télévisions de 23 millions de téléspectateurs.

    Jusque-là, pourtant, le président avait eu la sagesse d’éviter de mettre un seul doigt de pied dans cette eau-là. Pour marquer son amour de la France, il se bornait à envoyer des « cartes postales », comme disent les communicants : il posait devant les grands monuments historiques – le Louvre, la Madeleine, le Panthéon... – , il vantait le « #récit_national » ou il s’essayait, certes maladroitement, à une itinérance mémorielle sur les territoires meurtris de 14-18. Sa marque de fabrique, c’était plutôt le message universaliste de la France, la construction de l’Europe, l’ouverture au monde.


    https://www.nouvelobs.com/edito/20181211.OBS6924/ces-phrases-de-macron-sont-passees-inapercues-pourtant-elles-contiennent-
    #identité #identité_profonde (sic) #identité_rabougrie #migrations #France


  • discours présidentiel du jour : approfondissement de la #guerre_aux_pauvres :
    – rien sur l’#évasion_fiscale
    – maintien du #CICE
    – confirmation de la suppression de l’#ISF
    – enfumage sur la hausse du #SMIC sur base de la prime d’activité et de baisse des #cotisations_sociales
    – affaiblissement de la protection sociale
    – rien sur les #minima_sociaux (la désindexation des allocations a même été votée aujourd’hui #cynisme, et il y a quelques jours la désindexation des retraites)
    – rien bien-sûr sur les #violences_policières
    – diversion sur un débat d’extrême-droite (immigration)
    et emballage sur le « mérite », « il faut que le travail paye » etc.
    bref, prendre aux pauvres pour donner à ceux juste au dessus, pendant que les riches rigolent.



  • La carte d’identité peut-être bientôt bleue et dotée du drapeau européen Belga - 4 Décembre 2018 - RTBF
    https://www.rtbf.be/info/belgique/detail_la-carte-d-identite-peut-etre-bientot-bleue-et-dotee-du-drapeau-europeen

    La commission Affaires intérieures du Parlement européen a approuvé lundi soir un projet de nouvelles normes de sécurité pour les documents d’identité. Elle se prononce notamment en faveur de la couleur bleue pour toutes les cartes d’identité et de l’ajout du drapeau européen sur ce document.

    « A côté de leur identité nationale, les citoyens jouissent également d’une ’citoyenneté européenne’ qui leur procure protection et droits. C’est pour cela que j’ai proposé dans mon rapport la couleur bleue et d’ajouter le drapeau européen sur ces cartes », a indiqué le Belge Gérard Deprez (MR), député européen et responsable du dossier au Parlement européen.

    Les normes de sécurité doivent surtout permettre de lutter contre les problèmes de fraudes. Les cartes d’identité et permis de séjour prolifèrent dans l’Union européenne et les règles de sécurité varient fortement d’un pays à l’autre, ce qui accroît le risque de falsifications et de fraudes à l’identité.

    Le phénomène touche des centaines de milliers d’Européens, selon une étude d’impact. Cela leur coûte en moyenne 250 euros.

    Le rapport de M. Deprez prévoit que les cartes d’identité doivent comprendre une puce avec la photo d’identité. Les Etats membres peuvent choisir d’y ajouter deux empreintes digitales.

    En huit ans, les cartes devront répondre aux normes européennes. Les documents les moins sécurisés, qui ne peuvent pas être lus par les machines, devront disparaître dans les cinq ans.

    Si l’ensemble du Parlement européen donne son feu vert, des négociations pourront être entamées avec les Etats membres. 26 des 28 Etats membres émettent des cartes d’identité. Dans 15 d’entre eux, avoir une carte d’identité est obligatoire.

    #UE #union_européenne Détruire l’#identité des peuples soit disants #normes


  • Where do Roma belong in European societies?

    Did you know Roma are Europe’s largest minority group? #Nando_Sigona, a social scientist at the University of Birmingham, breaks down this group’s history of belonging on the continent and the reality of their so-called integration.

    https://www.youtube.com/watch?v=J5sTnBjm4HI&feature=youtu.be


    #histoire #Roms #nationalisme #Etat-nation #intégration #altérité #othering #homogénéité #discriminations #vidéo #identité #identité_nationale


  • Après plusieurs décennies de #désertification, certaines zones #rurales sont réinvesties par des populations #urbaines. Mais parfois, le partage d’un territoire par ses #habitants ne suffit plus à construire une #identité commune. Qu’en pensez-vous ?

    https://sms.hypotheses.org/6685

    #désert, #désertification, #village, #rural, #urbain, #habitant, #identité, #territoire, #vie, #quotidien, #vivre


  • Le système allemand de carte d’identité électronique vulnérable à l’usurpation d’identité en ligne
    https://www.zdnet.fr/actualites/le-systeme-allemand-de-carte-d-identite-electronique-vulnerable-a-l-usurpation

    Des chercheurs en sécurité ont découvert une vulnérabilité dans le système de cartes à identité électronique (eID) utilisé par l’État allemand. La vulnérabilité, lorsqu’elle est exploitée, permet à un attaquant de duper un service web et d’usurper l’identité d’un autre citoyen allemand lors de l’utilisation de l’option d’authentification eID. Un attaquant doit surmonter certains obstacles avant d’abuser de cette vulnérabilité, mais les chercheurs à l’origine de la découverte ont déclaré que ce type de piratage (...)

    #fraude #Identité

    ##Identité


  • #Sheila_Jeffreys – « Les principes de Jogjakarta : une menace internationale contre les droits des femmes »
    http://tradfem.wordpress.com/2018/11/19/sheila-jeffreys-les-principes-de-jogjakarta-une-menace-internatio

    Cet article de Hannah Harrison résume les principaux points du discours prononcé par Sheila Jeffreys (intitulé « Imposer les droits sexuels des hommes dans le droit international humanitaire ») lors de l’évènement We Need To Talk ‘Inconvenient Women’ (Nous devons parler, ‘Les femmes qui dérangent’) organisé par Venice Allan à Londres le 13 juin 2018)
    Les principes de Jogjakarta ont été créés lors d’une rencontre tenue en Indonésie en 2007 ; en 2017, d’autres principes leur ont été ajoutés, sous l’appellation « Plus 10 ». Parmi leurs signataires on retrouve d’importants militants en faveurs des droits humains, ainsi que d’éminents juristes et fonctionnaires.

    Ce document fournit une charte de droits qui est d’importance cruciale pour les gays et les lesbiennes.

    « Les principes de Jogjakarta, pour autant qu’ils concernent les droits des gays et des lesbiennes, sont très nécessaires ; il est malheureux qu’ils soient compromis et subvertis par la création de droits principalement destinés à des hommes hétérosexuels qui se travestissent à l’image de femmes. » (Jeffreys, 2018)

    Traduction : #Tradfem & Nicolas_Casaux
    Version originale du discours de Sheila Jeffreys : http://drradfem.org/enforcing-mens-sexual-rights-in-international-human-rights-law
    #droits_des_femmes #LGBT #Transgenre #Jogjakarta #identité_sexuelle


  • La Chambre approuve l’intégration des empreintes digitales sur la carte d’identité
    http://www.lalibre.be/actu/belgique/la-chambre-approuve-l-integration-des-empreintes-digitales-sur-la-carte-d-id

    La Chambre a adopté mercredi, majorité contre opposition, sauf le cdH qui s’est abstenu, un projet de loi qui adapte la réglementation relative au Registre national, autorisant notamment l’intégration d’une représentation des empreintes digitales dans la puce des cartes d’identité. Cette intégration se fait afin de mieux lutter contre la fraude à l’identité, suivant les obligations déjà prévues pour le passeport. Il sera ainsi possible de contrôler les cartes d’identité, comme les passeports, lors du (...)

    #Identité #biométrie #empreintes

    ##Identité

    • En France, loi du 17 mars 2012

      LOI n° 2012-410 du 27 mars 2012 relative à la protection de l’identité | Legifrance
      https://www.legifrance.gouv.fr/affichTexte.do?cidTexte=JORFTEXT000025582411&categorieLien=id

      Article 2
      La carte nationale d’identité et le passeport comportent un composant électronique sécurisé contenant les données suivantes :
      1° Le nom de famille, le ou les prénoms, le sexe, la date et le lieu de naissance du demandeur ;
      2° Le nom dont l’usage est autorisé par la loi, si l’intéressé en a fait la demande ;
      3° Son domicile ;
      4° Sa taille et la couleur de ses yeux ;
      5° Ses empreintes digitales ;
      6° Sa photographie.
      Le présent article ne s’applique pas au passeport délivré selon une procédure d’urgence.


  • #Tanith_Lloyd : Lettre ouverte à mon ami qui pense que les transfemmes sont des femmes
    https://tradfem.wordpress.com/2018/11/05/lettre-ouverte-a-mon-ami-qui-pense-que-les-transfemmes-sont-des-f

    Je t’ai récemment envoyé un article d’une lesbienne qui a travaillé à documenter l’homophobie au sein du militantisme trans. Toi, mon ami compatissant, patient et chaleureux, tu as répondu en m’écrivant : «  Désolé, pas intéressé.  » Tu m’as dit que tu ne voulais pas lire un texte appelant les transfemmes « des hommes ». Tu as dit que les transfemmes souffrent d’un «  accident de naissance  » – que ce sont des femmes « nées dans le mauvais corps ».

    Voir que mon ami*, quelqu’un qui a des principes (et qui est un étudiant brillant doté d’un master) adopte délibérément une position aussi bizarre, antimatérialiste et anti-scientifique me préoccupe vraiment. Comment peut-on être «  né dans le mauvais corps  »  ? On est son corps. Le concept d’être «  né dans le mauvais corps  » va au-delà des idées post-structuralistes sur le genre, pour échouer sur un terrain quasi religieux. Comment quelqu’un pourrait-il avoir une connaissance innée (et précédant tout vécu) de ce que signifie appartenir à l’autre sexe  ? Qu’est-ce que cela peut bien impliquer  ? Être un homme ou une femme fait référence à notre sexe génésique. Tout autre argument revient à affirmer qu’il existe des âmes sexuées.

    Cependant, tu parles d’«  identité sexuelle  » : un sentiment inné d’être un homme ou une femme. Où se trouve la preuve d’une telle identité  ? Comment la mesurer  ? Qu’est-ce que cela veut dire  ? Même si l’on acceptait qu’une partie de notre cerveau puisse se trouver «  mêlée  » à un corps «  incorrectement  » sexué, pourquoi «  l’identité sexuelle  » l’emporterait-elle sur tous les autres indicateurs physiques qui définissent que l’on est un homme ou une femme  ? Pourquoi notre impression subjective du soi l’emporterait-elle ainsi sur la réalité physique objective  ? Le transgenrisme n’est pas un diagnostic médical. La dysphorie sexuelle est une condition psychologique caractérisée par une insatisfaction à l’égard de son corps sexué ou du rôle attribué à sa classe de sexe. L’explication scientifique de la dysphorie sexuelle est peu concluante, mais cette dernière est vraisemblablement causée par différents facteurs bio-psycho-sociaux, qui diffèrent pour chaque personne trans. Il n’a pas été prouvé que la dysphorie sexuelle a une «  cause  » particulière (p. ex., un «  accident de naissance  » conduisant à être «  né dans le mauvais corps  ») – il n’existe aucune norme définissant ce que veut dire «  se sentir femme  » ou «  se sentir homme  ».

    Traduction : #Tradfem
    Version originale : https://medium.com/@tan.ith9/an-open-letter-to-my-friend-who-thinks-transwomen-are-women-491659de2efb

    #transgenrisme #identité_sexuelle #dysphorie_sexuelle


  • Réflexions sur « la gauche identitaire » (Gérard Noiriel, Blog Le populaire dans tous ses états)
    https://noiriel.wordpress.com/2018/10/29/reflexions-sur-la-gauche-identitaire

    D’un point de vue scientifique, la question principale n’est pas de savoir comment s’y prendre pour favoriser les alliances entre « classes » et « #minorités », mais de montrer comment se combinent les différents facteurs qui façonnent l’#identité des personnes et les liens qu’elles tissent entre elles. On ne peut comprendre ces #processus_sociaux qu’en réalisant de longues recherches empiriques : enquêtes de terrain, travail d’archives, etc. Le concept d’ « #intersectionnalité » qui permet selon Eric Fassin de « penser l’articulation du #sexe, de la #race et de la #classe » est à mes yeux une régression par rapport aux principes fondateurs de la #sociologie. Il ne suffit pas de combiner, en effet, trois #entités réifiées pour rendre compte de la #complexité des réalités sociales.
    […]
    Une analyse qui n’aimerait pas croire qu’il faut choisir entre les #ouvriers et les minorités devrait partir du constat que les #discriminations sont une expérience vécue affectant à la fois les #classes_populaires les plus démunies et les minorités. Mais lorsqu’on s’intéresse aux #individus et non aux entités réifiées, on voit tout de suite que les classes et les minorités ne forment pas des blocs séparés car la majorité des personnes qui font partie des minorités appartiennent aussi aux classes populaires. La conclusion que l’on peut tirer de ces constats c’est que les individus des milieux populaires qui sont issus des minorités subissent les discriminations les plus fortes car ils cumulent les formes de rejet liés à leur classe et à leur origine.


  • 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/journal/archive/volume-4/the-everyday-consumption-of-whiteness-the-gaikokujin-fu-foreign-like-
    #corps #beauté #femmes #géographie_culturelle #japon #cheveux #identité #altérité #orientalisme #blancheur #hakujin #blancs #représentation



  • #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://www.editionsladecouverte.fr/catalogue/index-Sexe__race___colonies-9782348036002.html
    #colonialisme #colonisation
    #esclavage #image #post-colonialisme #identité #exotisme

    • "Sexe, race & colonies", un ouvrage d’historiens qui fait débat

      L’ouvrage « Sexe, race & colonies » d’un collectif d’historiens sur l’imagerie du corps sous domination coloniale, fait à la fois référence et débat en France. L’historien Pascal Blanchard est l’invité de France 24.

      Le livre en impose par son ambition historiographique, par le nombre de photographies réunies, par l’ampleur du sujet – des siècles et des continents parcourus. « Sexe, race & colonies, la domination des corps du XVe siècle à nos jours » (éditions La Découverte) jette un regard historique et transnational sur l’accaparement des individus jusque dans leur intimité, au nom de la domination occidentale.

      Plus d’un millier de peintures et de photographies permettent de prendre la mesure du corps-à-corps entre colons et colonisés, perçus comme étant à disposition, sexualisables à l’envi. Le travail d’un collectif de 97 historiens sous la direction de Pascal Blanchard, spécialiste du fait colonial et de son imaginaire au Laboratoire communication et politique du CNRS, scrute tout le panel de cette imagerie, tour à tour fantasmagorique et tristement réelle, de la représentation érotisée des « sauvages » dès le XVe siècle jusqu’à des cartes postales dégradantes envoyés en Europe par les colons établis dans les pays du Sud aux XIXe et XXe siècles. Le phénomène ne se résume pas aux colonies françaises en Afrique, l’Empire japonais et l’Amérique ségrégationniste ont connu les mêmes logiques d’assujettissement sexuel des corps.

      Cet ouvrage donne à voir combien « l’Occident s’est arrogé un droit sur l’autre. La domination des terres s’est accompagnée d’une domination des corps. C’était un safari incroyable. L’homme blanc se sentait intouchable », explique Pascal Blanchard sur France 24. « Dès le XVe siècle, la peinture raconte l’histoire d’un paradis perdu. Ces corps nouveaux fascinent, alors même que les Occidentaux cachent le leur. Mépris et attirance se sont entrecroisés. Ce qui était un paradis pour les uns était l’enfer des autres », juge l’historien.

      Durant quatre années, le collectif a fouillé quelque 450 fonds privés et publics dans le monde, en Europe, aux États-Unis, en Asie, et s’est heurté à des obstacles. « Les musées ont refusé de nous céder les droits pour les œuvres de Gauguin qui posent énormément problème. Les héritiers de Hergé ont également mis leur veto pour utiliser des dessins de ’Tintin au Congo’. Sans compter les marques qui ont refusé que leurs publicités interraciales soient dans le livre », relate Pascal Blanchard, convaincu que le sujet dérange encore.

      « Prendre les images au sérieux »

      Peut-on décoloniser les images sans montrer les images ? L’ouvrage s’est attiré des critiques. Le collectif Cases rebelles ironise sur l’intention de ces « bonnes âmes » qui, « sous prétexte de dénoncer ou d’analyser », ne fait que « reconduire la violence en diffusant massivement des images de femmes non-blanches humiliées, agressées, dont certaines sont encore des enfants sur les clichés en question. Comme si la reproduction de ces images avait cessé d’être profondément attentatoire à leur dignité, comme si elles n’affectaient plus leurs descendant.e.s et tout.e.s les héritier.e.s – côté victimes – de cette violence coloniale. »

      Parmi les historiens qui ont participé à l’ouvrage, Christelle Taraud, spécialiste de l’histoire des femmes, du genre et des sexualités en contexte colonial, particulièrement dans les pays du Maghreb, s’explique : « Il y a assez peu d’ouvrages qui prennent au sérieux les images », affirme-t-elle lors des Rendez-vous de l’histoire organisés à Blois, le 13 octobre 2018. « Pour parler de domination coloniale, il fallait donc nous emparer de ce matériel image qui a toujours posé beaucoup de problèmes aux historiens, ou a été traité de façon illustrative, poursuit l’historienne. On voulait replacer ces images au cœur de notre propos. A partir du XIXe siècle et l’invention de la photographie, l’essentiel de la domination symbolique est passé par la domination visuelle. Et nous sommes persuadés que les stéréotypes d’hier affectent très lourdement nos sociétés contemporaines. »

      Le succès du tourisme sexuel dans les pays anciennement colonisés, le fantasme de la « beurette » supposément sensuelle, sont autant d’héritages non assumés de cette imagerie dominatrice, estime le collectif d’historiens, qui se défend d’avoir versé dans le sensationnalisme. « Les images ont une puissance, elles sont perturbantes, bouleversantes, admet Nicolas Bancel, invité de la table ronde consacrée à l’ouvrage aux Rendez-vous de l’histoire. Elles font résonner en nous des zones obscures de l’inconscient. Nous avons travaillé à ce que ce livre fasse réfléchir, qu’il permette la distance. On a particulièrement réfléchi à l’intertextualité, le rapport entre le texte et l’image. »

      Vertige et violence de la reproduction

      Précisément, cette intertextualité est l’objet de critiques. L’habillage de l’ouvrage, la typographie du mot « sexe » qui s’étale en couverture, la reproduction en grand format et sur papier glacé des photographies de personnes nues et maltraitées, la prégnance des images au détriment du texte, participent au rejet du livre.

      Ce format de publication ne se soucie pas « de la matérialité de l’objet d’histoire que l’on fabrique » et vient « contredire le projet des auteurs », écrit Philippe Artières dans Libération. Les photographies sont « crues, pornographiques et violentes », atteste la militante féministe Mélusine, qui plaide pour le « respect » envers « toutes leurs lectrices d’aujourd’hui, en particulier pour celles qui reconnaissent ces corps au leur si semblables et qui continuent de souffrir des conséquences sociales, morales et physiques de cet imaginaire sexuel raciste, qui n’a pas cessé d’exciter l’œil des spectateurs ». « On vomit parce qu’on a cru ouvrir un livre d’histoire, et qu’on se retrouve en train de feuilleter un gros beau livre porno, écrit Daniel Schneidermann. Vous savez, les beaux livres, sur les tracteurs, les peintres du Quattrocento ou les pipes en écume ? Cette fois, c’est un beau livre de viols coloniaux. » Florent Georgesco dans Le Monde admet également que « l’ensemble souffre au bout du compte de définir le sexe colonial de manière si large, sans les nuances qu’une pensée critique plus solide aurait permises, qu’il devient une réalité vague, propre à accueillir tous les sentiments. Même la fascination. »

      « On ne les appelle pas des photos érotiques », se défend Pascal Blanchard sur France 24. « On les appelle des images de la domination coloniale. Vous avez vu un homme qui presse le sein d’une femme ? C’est un safari sexuel. Et on n’a pas tout montré, les images de pédophilie n’ont pas été publiées. Si on veut comprendre comment à l’époque, à travers ces photographies, on a légitimé le droit de posséder le corps de l’autre, il faut montrer ces images. »

      Nicolas Bancel dresse un parallèle avec la réception de l’ouvrage américain « Without Sanctuary » (éditions Twin Palms Publishers, 2000), qui rend compte d’une abondante iconographie du lynchage aux États-Unis. Sur les cartes postales et sur les photographies amateur, la présence des enfants blancs dans le public, tout comme l’esthétisme des clichés, dérangent fortement. « Les premières réactions à ce livre et à ces images ont été extrêmement violentes parmi les Noirs américains, jusqu’à ce qu’ils s’en emparent », relate l’historien. De la même façon, le temps permettra aux images coloniales d’être « digérées, comprises, dépassées », estime Christelle Taraud.

      Quid du droit à l’image

      Faut-il se désoler de l’impréparation d’une société à affronter la force dérangeante de ces images, ou alors faire une place à l’émotion que suscite cet ouvrage ? La distanciation voulue par les auteurs du livre a-t-elle pris en compte, dans son champ de vision, la présence des descendants des colonisés qui vivent cette publication comme une nouvelle violence ?

      « Ces victimes sur les photographies publiées sont nôtres, elles sont de chez nous, de nos terres, de nos familles, affirme le collectif Cases rebelles. Nous ne sommes pas éloigné.e.s, pas détaché.e.s de ces corps. Aujourd’hui encore, nous portons au quotidien le poids de ces hypersexualisations violentes, de ces hyperaccessibilités au corps colonisé », rappelle le collectif qui pose la question du droit à l’image : « À la question de savoir si ces photos doivent être montrées dans l’absolu, nous répondons clairement : ne serait-ce pas d’abord aux personnes figurant sur les photos de répondre ? Les femmes, les enfants humilié.e.s, exhibé.e.s sur ces photos, ou leurs ayants droit, ont-ils donné leur autorisation ? Est-ce que quelqu’un connaît même leurs noms ? »

      Sans répondre à ces critiques – Pascal Blanchard n’a pas affronté de contradiction en public lors des Rendez-vous de l’histoire à Blois, ni honoré l’invitation de l’émission « Arrêt sur images » de débattre à plusieurs –, l’historien conclut sur France 24 : « Nous sommes en train de découvrir l’histoire de la domination masculine. C’est une longue histoire, qui n’est pas née avec #MeToo, et ne s’arrêtera pas dans les quelques mois qui viennent. C’est très complexe d’aborder l’histoire de la domination masculine parce que par définition ça nous fait peur, parce que ça bouleverse tous nos repères. »

      Le malaise face aux images serait donc le miroir d’un désarroi. Ou peut-être le signe que la distance et le respect n’ont pas encore trouvé leur place dans cette longue histoire du rapport au corps.

      https://www.france24.com/fr/20181021-sexe-race-colonies-livre-histoire-images-domination-corps-pascal-


  • American journeys

    Sixty years ago, John F. Kennedy presented his vision of an America proud to be a ‘nation of immigrants’. His campaign helped shape the 1965 Immigration and Nationality Act, opening America’s doors to the world. But in 2018, in the age of a very different President, immigration is presented as a problem, a threat and an imposition upon American generosity. Immigration policy is focused on exclusion and separation – the building of walls, issuing of travel bans, separating of children from their parents.

    I’ve studied immigration and refugee issues for over a decade. Then, in 2014, I became an American immigrant myself. As debates on immigration in the US became increasingly fraught, I found myself wanting to understand better how immigration has shaped – and is continuing to shape – American identity. So, in March 2018, I left San Francisco and spent the next two months driving cross-country to New York City. Along the way, I spoke to dozens of people of every political persuasion and background, listening to their thoughts about immigration and what it means to be an American citizen today.

    https://www.odi.org/american-journeys
    #voyage #USA #Etats-Unis #migrations #nation_of_immigrants #identité #représentations
    ping @reka


  • #Les_Mohamed

    #Jérôme_Ruillier nous fait (re)découvrir l’#histoire de l’#immigration maghrébine à travers des témoignages poignants (en trois parties : les pères, les mères, les enfants), qui rendent compte de la quête d’identité et des effets au quotidien du racisme.

    – Comme il y a un après Maus d’Art Spiegelman qui a révolutionné les consciences, il y aura désormais un après Les Mohamed
    – Une réflexion sur la France d’aujourd’hui, ses évolutions, son métissage, ses peurs, ses nouvelles revendications d’égalité et de justice sociale
    – Un regard d’auteur courageux dans lequel Ruillier n’hésite pas à se mettre en scène avec ses propres doutes, ses interrogations


    http://editions-sarbacane.com/les-mohamed
    #BD #livre #migrations #Algérie #guerre_d'Algérie #France #accords_d'Evian #travailleurs_immigrés #enracinement #contingents #OS #ouvriers_spécialisés #boucs_émissaires #colonialisme #colonialisme #regroupement_familial #solitude #Renault #industrie_automobile #île_Seguin #chaîne_de_montage #syndicat #alphabétisation #analphabétisme #indifférence #retraite #aide_au_retour #nationalité #citoyenneté #second@s #Algérie #Maroc #Douai #Houillère #extractivisme #charbon #mines #Sagenorpa #logement #baraquements #baraques #travail #accidents_de_travail #souffrance #solitude #Givors #guerre_d'Algérie #loi_Stoléru #identité #ZUP #foyer #foyer_de_célibataires #Montfermeil #violence_domestique #sexualité #liberté #arabophobie #discriminations #racisme #xénophobie #mariage_forcé #alphabétisation #cours_d'alphabétisation #cité_de_transit #barbelé #frontières_urbaines #frontières_intra-urbaines #brigade_spéciale #HLM #Nanterre #bidonville #voile #aide_au_retour #17_octobre #police #violences_policières #marche_des_beurs #résistance



  • Artwork to explore Border identity with yellow line aesthetic

    US visual artist #Suzanne_Lacy worked with 300-plus people for Ulster Museum project.

    A US visual artist who is firmly set against hard borders whether in Ireland or in her native country is bringing her take on the issue to Belfast.

    The world premiere of Suzanne Lacy’s project on the “profound impact the Irish Border has on the lives of people who live there” entitled Across and In-Between will be showcased at the Ulster Museum from Thursday.

    It is in two parts: The Yellow Line, a three-screen film that will be projected on to the front of the museum each evening; and The Border People’s Parliament where those involved in the film will be invited to a private celebratory dinner at Stormont and to discuss Border matters.

    The film features more than 300 participants including farmers, horse-owners, scouts, hikers and villagers from communities across the Fermanagh, Donegal, Leitrim, Cavan and Monaghan borderline.

    Lacy led a crew of 25 artists and helpers in the project which was filmed during August. She says her work provides an “opportunity to explore the Border without entering into Brexit politics” .
    Mexican wall

    From California close to the Mexican border where US president Donald Trump is intent on having a wall built, she does not like such firm separations.

    “The Border is a huge concern. For me personally the idea of a hard border and a wall is an anathema. I don’t want to go into politics here but I think it is ridiculous,” she says.

    The people who participated in the film donned yellow jackets, flew yellow kites, paddled in yellow kayaks and had horses tracing a yellow track along the Border to demonstrate the special nature of the 500km boundary.

    In one scene, dozens of people, again dressed in yellow, walked to and danced at the bridge between Pettigo in Co Donegal and Tullyhommon in Co Fermanagh.

    Gorse concept

    So, what is it all about and why the yellow motif? “It represents the yellow gorse than runs through the fields and through the countryside. We are looking at the idea of a border without assigning politics to it. There is no orange, no green, no red, no blue,” she explains.

    Ms Lacy also was trying to reflect how border people are somehow different. “They are used to navigating a border whether it is hard or soft. If you have ever driven around there you will know you can go almost imperceptibly from one country to another. You only know where you are by your mobile phone service changing,” she says.

    “People carry purses with two kinds of money – sterling and euro. They have different lifestyles. I don’t know if they are a distinct people but they have distinct characteristics,” adds Ms Lacy.


    https://www.irishtimes.com/news/ireland/irish-news/artwork-to-explore-border-identity-with-yellow-line-aesthetic-1.3663435
    #art #frontières #yellow_line #ligne #identité #identité_frontalière


    • Dans les cahiers, n°2, on peut lire :

      “Si le fait d’être renvoyé vers ses #racines est une forme d’#assignation_à_la_différence, le déni de sa #particularité est tout autant une forme de #négation de la #personne”.

      in Cahiers de l’Université Populaire de la Villeneuve, 2016-2017, n°2, p.2.

      “La #colonisation a alors beaucoup contribué à ce que certains ont appelé une ‘#dictature_de_la_pensée’ qui a eu comme effet un manque d’écoute des peuples colonisés ainsi qu’une absence de reconnaissance de leurs savoirs. L’exemple de la découverte au #Nigeria en 1910 de sculptures africaines comparables dans leur précision aux #sculptures italiennes de la Renaissance est probant. Ces dernières étaient considérées comme tellement ‘non-africaines’ que les premiers archéologues cherchaient l’origine des sculptures en dehors de l’Afrique. Cette #négation des #cultures_africaines a encore son impact aujourd’hui”.

      in Cahiers de l’Université Populaire de la Villeneuve, 2016-2017, n°2, p.3.
      #art #archéologie

      “Entre ces positions tranchées, il y a une différence fondamentale dans la façon de penser l’autre et en l’occurrence un habitant de quartier : en termes de #manques (de capital social, économique etc.) ou en termes de #potentiel mais dont l’expression est bloquée par des dynamiques de #pouvoir

      in Cahiers de l’Université Populaire de la Villeneuve, 2016-2017, n°2, p.4.
      #quartiers_populaires #villes #urban_matter

      Dans le numéro on cite aussi #Anibal_Quijano et le concept de #colonialité_du_pouvoir
      #colonialité

      « Tout comme les sculptures trouvées à Ife, au Nigeria, ne pouvaient pas être africaines en 1910 car elles ne correspondaient à l’idée européenne d’un art africain primitif, #Bienvenu_Bazié, un choréographe burkinabé de danse contemporaine racontait récemment dans un entretien qu’en France on s’attend à ce qu’il fasse de la #danse_africaine burkinabée. Son choix pour la #danse_contemporaine semble déranger et il se pose donc la question ’Pourquoi, parce que je suis burkinabé, je ne pourrais pas moi aussi être influencé par toute la culture mondiale ? La France, l’Europe est influencée par cette culture mondiale, et pourquoi, moi, parce que je suis Burkinabé, il faudrait que j’aie une pureté burkinabé, africaine, je ne sais pas, quelque chose de complètement fantasmé ici en France ?’ Cette expérience fait écho au vécu de M., artiste et éducateur d’origine algérienne qui observe une réaction fréquente à son égard : ’Vous faites des #contes_orientaux ?’ Cela donne l’impression qu’on ne peut faire autre chose que ce qui est associé à son pays d’origine, comme si tous les artistes algériens faisaient des contes orientaux. Ce processus consistant à renvoyer la personne habitant en France à sa présumée culture d’origine s’appelle l’#assignation_culturelle »

      in Cahiers de l’Université Populaire de la Villeneuve, 2016-2017, n°2, p.8.

      ping @reka


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

    #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


  • #Rachel_Dolezal, au centre d’une tempête, lance un défi : « Je m’identifie comme noire. » [traduction d’articles du New York Times]
    https://tradfem.wordpress.com/2018/09/30/a-propos-du-transracialisme

    Quand elle est venue vivre au sous-sol chez son oncle à Cœur d’Alene, dans l’Idaho, une ville à la population en grande partie blanche, en 2004, Rachel.A.Dolezal était encore blonde et pâle de teint ; elle s’identifiait en tant que femme blanche ayant quitté un mari noir et ayant un enfant métis.

    Mais après quelques années, son engagement déjà bien ancré pour les causes et les cultures noires s’intensifia. Ses collègues de travail comme sa famille commencèrent à entendre dire, par elle et par d’autres, que ses origines étaient un mélange de races – et même qu’elle s’était dite noire.

    Beaucoup mirent en question la manière dont elle se décrivait, tandis que d’autres l’acceptèrent au pied de la lettre. Personne ne sembla en faire un problème, mais beaucoup virent en elle une force de caractère qui faisait d’elle une avocate puissante et passionnée au Human Rights Education Institute à Coeur D’Alene où elle commença bientôt à travailler.

    « C’est vraiment impressionnant, ce qu’elle a accompli ; elle a apporté beaucoup d’énergie en ces lieux », s’est rappellé son oncle Daniel A.Dolezal dans une interview téléphonique mardi dernier, en parlant du groupe des Human Rights, ainsi que de la section du N.A.A.C.P. de Spokane, qu’elle a fini par diriger plus tard. Il a rappellé son parcours depuis l’époque où elle était une mère célibataire malchanceuse, qui donnait des cours à temps partiel, qui essayait de vendre ses œuvres d’art, et travaillait dans son magasin de photographie à Coeur d’Alene, dans cette partie de la bande côtière de l’Idaho qui avait été autrefois le quartier général de la Aryan Nations, un groupe suprémaciste blanc.

    Alors quand Mme Dolezal (prononcer Dole-Uh-Zahl) apparut à la télévision mardi pour la première fois depuis qu’elle était l’objet d’un débat qui faisait rage sur l’identité raciale et le mensonge, ce ne fut pas une surprise, car bien qu’elle ne puisse se targuer d’aucune filiation d’origine noire, elle refusa d’admettre qu’elle avait trompé qui que ce soit. « Je m’identifie comme noire », a-t-elle dit tout sourire.

    Traduction : #Tradfem
    Version originale : https://www.nytimes.com/2015/06/17/us/rachel-dolezal-nbc-today-show.html
    #transracialisme #antiracisme #N.A.A.C.P. #identité


  • Le fichage biométrique des Français en 10 questions
    https://www.numerama.com/politique/205589-le-fichage-biometrique-des-francais-en-questions.html

    Ce fichier a un rôle-clé : rassembler dans une même base de données les données personnelles et biométriques des Français pour la gestion des cartes nationales d’identité et des passeports. Mais il suscite de vives inquiétudes. À la fin du mois d’octobre 2016, le gouvernement a fait publier au Journal officiel un décret autorisant la création d’un fichier ayant pour but de rassembler les données personnelles et biométriques de la population française. Destiné aux passeports et aux cartes nationales (...)

    #Identité #biométrie #facial #TES

    ##Identité


  • Le fichage biométrique des Français arrive devant le Conseil d’État
    https://www.numerama.com/politique/422892-le-fichage-biometrique-des-francais-arrive-devant-le-conseil-detat.

    Le Conseil d’État tiendra le 3 octobre une audience sur le décret instituant le fichier TES (Titres Électroniques Sécurisés). Celui-ci vise la création d’une base de données collectant les données personnelles et biométriques de la population française. L’avenir du fichier TES (Titres Électroniques Sécurisés) sera-t-il bientôt scellé ? Une étape importante va se jouer le mercredi 3 octobre au Conseil d’État, puisque c’est ce jour qu’aura lieu l’audience réclamée depuis deux ans par le collectif des Exégètes (...)

    #Identité #biométrie #facial #surveillance #TES

    ##Identité


  • 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