Whiteness and Diversity

2011-12-22 · tychoish

This post is a follow up to my earlier post on diversity and representation In short, while I think it's great that we're beginning to talk and write about race and representation in our fiction and field, I think we [1] need to expand our analysis of whiteness.

Whiteness in Science Fiction

I'm still working on figuring out what this means, and I'm sorry that I haven't developed my thinking sufficiently to be more clear on this. In light of that here are a collection of my thoughts on representation:

Whiteness is multiple and I think it's possible (and important) to depict whiteness and white characters critically and without recapitulating normalization. At the same time, it's important to avoid falling victim to a lot of the normalization to which uncritical representations of racial diversity often fall pray.
The theory around race and representation must deal with issues around assimilation. More diversity is useful, but to move forward on issues of representation, the field needs to better understand the process of assimilation. I want to see stories that help us unpack assimilation.
Whiteness is complex and a major problem with stories that "don't do race well," is not just that the characters aren't explicitly of color, but that whiteness isn't portrayed very well. This is part of the struggle of privilege, but not only does science fiction need to be better about diversity and representation of non-white characters, but we the thinking on whiteness needs to continue to evolve apace.

Diversity and Quotas

Discussions about diversity and representation in fiction often lead the under-informed to ask "So what, do you want to impose some sort of quota system? Does that mean diversity is more important than quality?"

The answer is almost always no.

I'd also like to point out that this is one of those cases where whiteness and systematic bias conspire to define "quality," in unuseful ways. But this is another argument for another time.

The canonical answer is: there's a great deal of amazing work written by people of color and a lot of great fiction that incorporates and addresses the experiences of people of color. This is great, and if we've learned anything in the last couple of years, it's that if you look for this work it's there. The real challenge revolves around cultivating that work so that there's more of it, and promoting [2] that work so that there's a large audience.

[1]	The science fiction writing/reading/editing community.

[2]	Promoting and marketing literature is by no means a solved problem under any conditions.

Perhaps Someday We'll Call This Deleuzian

2009-12-21 · tychoish

I would say that Anti-Oedipus (may its authors forgive me) is a book of ethics, the first book of ethics to be written in France in quite a long time (perhaps that explains why its success was not limited to a particular "readership:" being anti-oedipal has become a life style, a way of thinking and living.) How does one keep from being fascist, even (especially) when one believes oneself to be a revolutionary militant? How do we rid our speech and our acts, our hearts and our pleasures, of fascism? How do we ferret out this fascism that is ingrained in our behavior? The Christan Moralists sought out the traces of the Flesh lodged deep within the soul. Deleuze and Guatteri, for their part, pursue the slightest traces of fascism in the body.

-- Michel Foucault, writing in the preface to Anti-Oedipus, by Giles Deleuze and Felix Guatteri.

I've spent a while away from Academia and geeky theoretical academic thoughts for a while. Then I discovered this twitter account and I got drawn back into it. I read the tweets and I thought, "you know," these are hilarious on their own because they are so off the well, but I think I actually understand what's going on. I'd have conversations with unsuspecting coworkers about little bits of Deleuzian theory. H.S. came for a visit and we had a rather long conversation about Deleuze and theory. I don't know that "I'm back," is exactly the right way to phrase this, but I definitely enjoy the added perspective that I'm able to bring to this stuff now.

I was never a very good theorist or philosopher, though I enjoy watching from a far, I tend want answers to different kinds of questions. I'm not, nor have I ever been "a scholar" of the "Capitalism and Schizophrenia" diptych--I haven't even read it in its entirety--but it's been a great influence me. Of the things that I read and interacted with in college, I'd have to say that Anti-Oedipus and A Thousand Plateaus are the texts that I return to with the greatest frequency. And I never even took a class that assigned D&G!

I've read a fair number of papers and other pieces that have attempted to use Deleuze's work as theoretical framework or some such, and I've always been disappointed by what happens as a result. For starters, the chance of Deleuze citations being: of the Rhizomatics essay at the beginning of "A Thousand Plateaus," or from his collections of film criticism are overwhelming. This is unsurprising as this probably represents the most accessible of portions of Deleuze's work. Also unsurprising is my sense that no matter what the paper is about, the Deleuzian theory overpowers whatever the author is trying to say. Deleuze's thought is pretty darn heavy, and there's no way around it.

And from some perspectives this is actually pretty funny: when you read Anti-Oedipus it's not "fluffy," but it's pretty playful. There are lots of metaphors and images that draw out the logic and the point. There's a lot going on, but it's not dense (certainly not in the way that Derrida is dense.) This has lead me to ask a two important questions:

If the writing is not very difficult or opaque, why do (Americans) who attempt to use the work fail to capture the playfulness, and seem too fall flat?
Why am I (and clearly others as well) so intrigued by this work, and why do I (we?) keep returning to this text? Particularly since it's so difficult to use in support of other arguments.

The answers, I think bring us back to Foucault's assertion in the preface, that Anti-Oedipus is (counter to first impressions) a book of ethics rather than a book of cultural and social theory or even a commentary on Marxist and Freudian theory. When reading the texts, Anti-Oedipus (and A Thousand Plateaus) don't feel like ethical manifestos, but I think that this explains why it's so difficult to use and remains so intriguing.

That's enough for now, but I hope you'll pardon my impulse to blog about Deleuze for a little longer, as I think there's another post or two here.

how helvetica changed my life

2009-06-29 · tychoish

I watched the Helvetica movie a few weeks back and I wanted to say, friends, it changed my world.

For those of you haven't heard about Helvetica, which I suspect covers most of you (however, I suspect more of you have heard/seen this movie than the general public, because I think you all are just that cook. at any rate,) it's a documentary that covers design, typography, modernism, post-modernism, and contemporary trends in art/design, all vis a vis the now-52-year-old typeface "Helvetica" which had a profound impact on the last half-century of visual culture.

For real. 90 minutes of a movie about a font face.

And you think this might be boring or get old after a while, but somehow it doesn't. And not only does it not get old, it soaks into your perceptions for a long time afterwords.

The thing about helvetica, perhaps its largest strength, is that it blends into the background, that it's value-neutral, and that it is all over the freakin' place. Seriously. The side effect of this is that we don't end up "seeing" it very much, and the movie shines a light on Helvetica and suddenly I've found it possible to see it everywhere. Everywhere.

And if nothing else, I think its sort of cool to be able to see differences and depths in this thing that sort of exists to be neutral. So that's cool.

And. That's about it.

Stop looking at me like that.