Cross-readings along the axes of war:
--- “We will glorify war— the world’s only hygiene—militarism, patriotism, the destructive gesture of freedom-bringers, beautiful ideas worth dying for, and scorn for woman.” Marinetti, “The Founding and Manifesto of Futurism” Humanity is mediocre.
… Enough women who create children just for themselves, keeping them from any danger or adventure, that is, any joy; keeping their daughter from love and their son from war!
It’s the same woman who, in the same period, according to the ambient ideas grouped around the day’s event, lies down on the tracks to keep the soldiers from leaving for the war or then rushes to embrace the victorious champion.
But shout a new message at her, or some war cry, and then, joyously riding her instinct again, she will go in front of you toward unsuspected conquests.
And modern war is a cyborg orgy, coded by C3I, command-control-communication intelligence, an $84 billion item in 1984'sUS defence budget.
In the traditions of 'Western' science and politics--the tradition of racist, male-dominant capitalism; the tradition of progress; the tradition of the appropriation of nature as resource for the productions of culture; the tradition of reproduction of the self from the reflections of the other - the relation between organism and machine has been a border war.
The stakes in the border war have been the territories of production, reproduction, and imagination.
From one perspective, a cyborg world is about the final imposition of a grid of control on the planet, about the final abstraction embodied in a Star Wars apocalypse waged in the name of defence, about the final appropriation of women's bodies in a masculinist orgy of war (Sofia, 1984).
The structure of my caricature looks like this: socialist feminism--structure of class // wage labour // alienation labour, by analogy reproduction, by extension sex, by addition race radical feminism - structure of gender // sexual appropriation // objectification sex, by analogy labour, by extension reproduction, by addition race In another context, the French theorist, Julia Kristeva, claimed women appeared as a historical group after the Second World War, along with groups like youth.
Second World War.
This kind of analysis of scientific and cultural objects of knowledge which have appeared historically since the Second World War prepares us to notice some important inadequacies in feminist analysis which has proceeded as if the organic, hierarchical dualisms ordering discourse in 'the West' since Aristotle still ruled.
That women regularly sustain daily life partly as a funcdon of their enforced status as mothers is hardly new; the kind of integration with the overall capitalist and progressively war- based economy is new.
Although lived problematically and unequally, ideal forms of these families might be schematized as (1) the patriarchal nuclear family, structured by the dichotomy between public and private and accompanied by the white bourgeois ideology of separate spheres and nineteenth-century Anglo-American bourgeois feminism; (2) the modern family mediated (or enforced) by the welfare state and institutions like the family wage, with a flowering of a-feminist heterosexual ideologies, including their radical versions represented in Greenwich Village around the First World War; and (3) the 'family' of the homework economy with its oxymoronic structure of womenheaded households and its explosion of feminisms and the paradoxical intensification and erosion of gender itself.
I have a body and mind as much constructed by the post-Second World War arms race and cold War as by the women's movements.
Cherrie Moraga (1983) in Loving in the War Years explores the themes of identity when one never possessed the original language, never told the original story, never resided in the harmony of legitimate heterosexuality in the garden of culture, and so cannot base identity on a myth or a fall from innocence and right to natural names, mother's or father's.
Every, story that begins with original innocence and privileges the return to wholeness imagines the drama of life to be individuation, separation, the birth of the self, the tragedy of autonomy, the fall into writing, alienation; that is, war, tempered by imaginary respite in the bosom of the Other.
S.C.U.M manifesto [EN] (1967)
He is responsible for: *War: * The male's normal method of compensation for not being female, namely, getting his Big Gun off, is grossly inadequate, as he can get it off only a very limited number of times; so he gets it off on a really massive scale, and proves to the entire world that he's a "Man".
S.C.U.M manifesto [EN] (1967)
The many male scientists who shy away from biological research, terrified of the discovery that males are females, and show marked preference for virile, "manly" war and death programs.
Also specific to The Manifesto of Futurist Woman [EN] (1912):
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