Unknown Speaker 00:02 This isn't called some ship things is saying even human voices in the foreground space and a leg. Something even human voices in the foreground a lay by Kathleen Fraser and the ship who's saying by Anne McCaffrey are as different from each other visually as they are in content. To look at them is to witness the polarity between high and popular culture, small press healthy Street and big press Ballantine, publishing. They have been written and the covers, typeface and paper have been chosen for consumption by these two different markets. As cultural artifacts each book physically represent and embodies in its writing a different political aesthetics of form. Something even human voices was written from within a tradition of British and US 20th century modernist mainly white and often bisexual or lesbian women writers. Some of these include Stein, Richardson, Barnes, HD Mina Loy and Dickinson. This is a tradition that has been invisible to and erased by dominant male academic Ken on it, and publishing practices and by many male poet. The ship who sang was originally a short story and Anne McCaffrey was originally a writer of Gothic romance. It was written from within the mainly British genre of speculative fiction, McCaffrey describes herself as 99% Irish, she studied voice production for nine years before arriving at the quote, horrifying conclusion that she was a better stage director of opera and then a singer. Issues surrounding questions a form and embodiment are raised visually on both books covers. Both covers have pictures of women on them and on both, it is hard to determine the women's context or shapes. Both women appear to be in some way disembodied, the women on the woman on Frazier's cover is an abstract drawing of a woman that probably has a cohesive body, but it is unclear just how she fits together. What position is she in? Is that the landscape or one of her legs? are questions that come to mind as I look at the cover, the woman on mccaffrey's cover has only a head which hovers over some sort of planet scape. Where is the rest of her is the question which immediately rises off this cover. Both of these images refer to one of the issues central thank you to each foot issues of boundaries. I will focus here on issues of boundary and the ways in which boundaries are constructed, negotiated and played with by McCaffrey and Frazier's uses of form and voice. I'm using voice to mean the power to represent one's ravings one's thoughts, one's desires in public words, spoken or written, the public could be oneself when one says to oneself what has been unsayable it could be a large, anonymous audience seen or invisible, or one other intimate person alive or dead. And saying can be something that happens out loud as speech out loud as writing that echoes in writers and readers, ears, or something that happens silently, in an inside reign of word confetti, the form and therefore the order of a book, a body, a poem or a spoken, written or sung voice, determines the way in which that form will position other bodies, poems, or voices in relation to itself. Thus, the aesthetic organization of a voice or voices also presents a political order. To summarize what is inside of both books, the ship of saying is an episodic story of helva born as a thing with twisted limbs and an alert mind. This is a quote from the back cover. She is transferred into a metal shell and trained to be hooked up to an operating an intergalactic scoutship. The book describes her romantic heterosexual escapades and relationships with those who live within her. It is as if helva is pregnant with relationship. Much of the third person narrative relate pelvis thoughts about humans and other beings and ships she encountered held us unusual ability to sing and to make judgments independently of central worlds. The government organization for whom she worked and who is responsible for her education and conversion into intergalactic spaceship Form marks are as unique and desirable among chips. Unknown Speaker 04:35 Something is a collection of pieces of writing, writing loosely in paragraph form. The titles to these pieces are phrases, full sentences or notes. The pieces are narrative, but don't tell stories with beginnings, middles, and ends. And the pieces have something to do with one another or with many things, but are not linearly developed sequence of thought or image, though both do develop with In the book, there are more abstract drawings of women, all variations of the covered drawing. The women are sitting but not static. In fact, the unclosed lines that are the edges of their bodies, lend them the look of being in motion. And the same can be said of the open form of these written pieces that look and feel to exist in the midst of a gesture and thought. Common expectations about what constitutes a story are displaced first by the title, the drawings, the table of contents, which can be read as a piece by itself. And finally, by the cerebral and physical synesthesia of Frazier's language. Both feminist experimental poetic practices and those of some feminist science fiction pivot on what what Rachel Blau Duplessis referring to feminist science fiction has called a poetics of estrangement, feminist experimental poetic practices consistent playing with and rupturing conventional, poetic and narrative structures, feminist science fictive practices, consistent telling stories that disrupt disrupt ideological structures by altering traditional patterns of imagining. Some of these feminist science fiction writers are also poets, and many feminist experimental poets are concerned with imagining and constructing alternative worlds through linguistic estrangement. Though there are some parallel intent and common issues. It remains more than a blurring of generic boundaries to speak of MCAST mccaffrey's and Frazier's books in the same breath. McCaffrey does not write out of a feminist or experimental agenda, as do Frasier and many writers of feminist science fiction. Reading and writing are occasions for resistance or merging and genre boundaries describe the kinds of resistance and merging the different kinds of writing present and require. Again, Delaney as Delaney said in his essay, generic protocols, a genre to the extent that it can be said to exist as a genre is constituted of a way of reading what we may henceforth call a protocol of reading a structuration of response potential. I have attempted here to use my own boundary problems, to read aspects of something as science fiction and aspects of the ship who sang has poetry to see where the books might yield to or suggest each other. Unknown Speaker 07:20 Where is the rest of her? What position is she in? Or how do helva Fraser and McCaffrey define themselves through use of voice or in Frazier's case voices. One of the things that something even human voices is about is a struggle for Frasier to find her voices, and simultaneously the subjects of her writing outside of the dominant male univocal model. The poem Medusas hair was snakes was thought split inward, illustrates the Struggle well, well. It is an almost unrecognizable, reformulation of the Medusa story. It has everything to do though, with the danger of being beheaded by either a certain kind of logical thinking embodied by a man or by one's own inability to give one's experiences voices, as opposed to one essential true voice and shake. Quote, I do not wish to report on Medusa directly, this variation of her writing, after she gave that voice a shake, it was the trajectory itself, in which she found her words floundering and pulling apart. Most of these quotes that I give you, you have, some people have anyway in those handouts. Finding voices for Frasier means rising out of the socialization which has conditioned a way of thinking about language, largely based on resisting boundary loss. The task of finding voice outside of the canonize models also prevent present the boundary problem. Fraser presents this variation in writing of Medusa is writing as a formal vocal trajectory. Medusa is beheaded body and the open body of this poem pose questions such as when does a language practice constitute a legitimate body, ie a poem? And when is it deformed? This is parallel to the question with which the ship who's saying Open? Well, she was born a thing, and as such would be condemned if she failed to pass the encephalo graph test required of all newborn babies. There was always the possibility that though the limbs were twisted, the mind was not that though the ears would hear only dimly the eyes see vaguely the mind behind them was receptive and alert. helva was born a thing and after passing a test was called, quote, human, which met potentially acceptable since she did not manifest the standard form. Her later embodiment as an intergalactic spaceship, poses the question, when is the human a machine and not a human? To return to Fraser in some parallel question? When is a poem a confessional journal entry? A fragment of overheard conversation and not a poem. When is a woman writer outside of the patriarchal encephalo graph tasked with threat which grants a piece of writing the genre, title poem, or the unacceptable name of deformed thing. In the piece called later and tense looking too big for the body. Fraser speaks in what she calls this second language, a language that transgressors generic protocols. Later intense, looking too big for the body. Something has leapt out, I could have gone away, dropping precipitously into the other light, uniformly spaced drinks and a heavy leaf supporting this September air. Oh receive us houses with terraces. Open nine lightbulbs and let the doors have crossed locks. The second language accommodates more bathing, you offer cheese, which you have divided to keep us hungry for later precise event. She speaks here of a feeling held by the concrete detail of this moment flooded and made Ultra visible by the opening light of nine light bulbs. The moment invites her to drop into it and she descends then divides herself from it and shifting from AI to you. She speaks to a house and says of the second language that it accommodates more bathing, a description of what the language itself is doing. That is bathing in and receiving the converging scent and thought of this moment. Frasier moves liquidly here and elsewhere between first second and third person narratives. From speech to observation from a motion to self conscious reflection. The ship who's saying is about Elvis discoveries of the powers and uses of her voice helva was not conditioned to learn the MariaDB powerful uses of her voice, as she was conditioned to learn almost everything else. It is an ability she discovers independently of Central World worlds the patriarchy. helva uses her voice and her ability to judge well outside of the rules of central worlds as her means to heroic action. Unknown Speaker 12:14 Due to lack of time, I can only give one much shortened example of health as literal and figurative heroic action. And here it is. In one episode helva has a theater troupe on board, whose members are required to change form in order to quote transmit their performance of Romeo and Juliet on the planet of core Viki. The troupe is short one person and because of held his knowledge of Shakespeare for perfect recall and excellent voice, she becomes part of the performance. In order to perform encore Viki, the troupe members must transfer from bodies into energy emanations and help them leave her titanium shell for the first time. The performance is experienced by the core beacons as varying levels of energy emanation, based mainly on the actors and actresses voice tone and volume, held his presence that their first performance saves the entire troupe from staying dangerously longer than the allotted seven hours. The rest of the troupe goes into a stupor and helva arouses them with her projecting voice. It turns out to be highly pleasurable to be embodied in an emanation of sensual energy. The desire to yield to the seduction of becoming permanently corbion is expressed in help us and the troops, subtle change of language use. As they become more and more desirous of core Viki and embodiment, they become simultaneously more and more light core beacons in their speech. The experience and speech of being corbion is characterized from hell, this point of view in this way. She could see every part of her ship cell from one scanner or another, how limiting mobility was, well, she'd look around, she'd looked around as far as she was able and stared down down in an unlimited perspective until finally her sight distinguished Verbling burping mass of ochre eruption, that she recognized as ground above and around her fronds suede, exhaled and inhale in a full spectrum of colors, unbelievably varied and varying color, which in some cases had sound and smell as part of their value. What is seductive and most marked in this passage is the confusion of boundaries illustrated by the confusion of names for things. mccaffrey's narrative voice serves as trajectory and project protective distance, as does held as titanium shell. On core Viki traditional definitions in language breakdown, when colors have sound and smell and when what is normally called ground because it is stable is now a Verbling, burping mass of okra eruptions. The words used to articulate experience such as sound and see or smell are no longer accurate. new language new use of voice is required of humans on core geeky, along with the experience of new embodiment. This comes dangerously close to no longer qualifying as play acting, and becoming instead actual transformation. Though the roles of things people and words are no longer distinguishable from one another, as static identities, mccaffrey's narrative remains grammatically ordered and untouched by this disarray uncork Viki without her shell help us form and linguistic forms of representation blur on core Viki, once embodiment becomes one's voice, the way one moves is the way one speaks. corbion Communication is dangerous because the static underlying system of grammar like a skeleton in a body is unrecognizably transferred. These core Viki and characteristics define the dangerous limits of outer space in the ship who's saying they are the edges that Helga is able to explore largely because of her unusual use of her voice. And they are the limits of interior space that Fraser enters, explores, and inhabits with her voices. At the edges of unexplored space, interior or exterior language is transformed into energy and is not recognizable as it has previously been. These boundary explorations are manifest by both writers uses of narrative structure. To briefly summarize here, Fraser uses her language to both construct herself and her experience, and to structure it outside of the inscribed expectations of dominant storytelling practices. Here's an example of her multi layered structuring of herself and her poem form. This is an excerpt from a poem Unknown Speaker 16:52 she is unfinished, she is structurally out of breath. When she comes close to something achieved, she enters a low and constant warning buzz. On Sunday, in the middle of her exercises, she begins to cry quite unexpectedly, the fourth corner loose, on anchored, unattended, she can't seem to stop. The form of the poem of Fraser, of the bodies drawn in the middle of the book are unfinished, on anchored and can't seem to stop. Like the snakes on Medusas head. The book ends and cannot be cut off. The reader dips in flounders is pulled apart. If she swims, she enters the lake that is this body of writing. If she approaches with only an analytic dividing blade, there will be no opening, only drowning in or drowning out, as helva does. Projecting her singing voice, a beam of the light of Western culture and technology through space. helva enters the chaotic corbion realm of poetry through the voice of the only poet Shakespeare as brain ship helva is the inverse of Medusa, only had beheaded in order to be enshrined in Titanyen bicep titanium by Central World. She sings for central worlds, an operatic phallic mother machine, flying through the univocal universe of Zeus is brainspace. There is only one public spectacle in which helva can act, the romance of Romeo and Juliet, the reader watches the spectacle of pelvis performance as silent audience, invisible in the wings. McCaffrey like the male officers of central worlds, moves helva through stage space. The question left is not what is better or worse, storytelling or story inhabiting? But what kind of language moves one's imagination to new places out of which to speak and write? The answer to this question will always depend on which one you're talking about. And this is where the issue of the politics of form re enters the discussion. Though it is impossible for feminists to share the same experiences of themselves as political subjects, and therefore the same aesthetics. It is possible to read formal writing practices as political contextual symptoms. The quest to find voice then occurs between the covers of each of these books as between two politically and aesthetically different geographical locations. The quest to imagine new embodiment is also a political quest. The boundaries of one semiotic system, whether that system be verbal kinesthetic, visual or other, and the boundaries of any one imagination are the same. What is more Alien, a fantasy of an altered world, or an altered use of the quotidian language of our familiar world? The answer will depend on who and where one is when one asks, In attempting to imagine new voices or to recover lost voices. No one is ever outside of language, though it is quite possible to be at the limits of one's own explored speech, or as Fraser said, in another way above, it is possible to be structurally out Unknown Speaker 20:32 breath. My name is Paige Beatty, and I'm the last of four people. And it's interesting before giving this talk, all week long, I've been thinking about how how to give this talk, because on the one hand, of course, I've written the paper. And on the other hand, I'm really committed to the idea of, of talking and teaching. So I want to try to do both. I've decided listening to everyone else, I think people have been doing a great job. But a lot of the issues of voice that have been coming up in our papers are also issues about how one reads a paper at a conference, what sort of a voice we use, because of course, these papers are one form of our voices. And we have our speaking voices and the way we can communicate with you to try to bring them all together. Courts are challenging, but they will try to do now and I'm thinking well, I might just I might just subconscious because you know, I'm in New York and I've seen a lot of one gallon films, I don't know. Okay, now, okay. Anyway, starting with a quotation, and that's from the OED and to two different ones actually, historians who only take scissors and paste cut them, a book they make. That's Murphy integration daughter manga, with the definitions of vamping to make her produced by or has patching to adapt, compile, compose together, a book composition out of old materials to serve up something old as new by addition or alteration. I'd like to look at vamping as writing stuff. My larger project or less have larger private for this book involves a genealogy of a female vampires bodied legend tells us that the vampire having no reflection is unable to see herself in the mirror. However, it is through a series of projections and representations that we are able to construct the vampires body like the sun the vampire cannot be looked at directly, but by looking at other projections of the vampire we will attempt to see her so my vamping of these vampiric reconstructions to follow that will take the form of a genealogy. But I'm just doing a little bit of a theology today. This work is a real cognizing of vampires line of descent even as it is a reconnaissance of women's future. Okay, so you got the definition of central to my discussion will be God scouts I vampire and everybody has these texts that we hold up to prove to you that they exist, right. Okay, so here it is. IBM fire it's, I'll pass around, people want to touch it. And the other text is Orlando by Virginia Woolf. This is 1984 feminist science fiction. And this you probably most of you are familiar with it 28 biography of wolves, friend possible lover of unisex the West. In order to locate the place of the female vampires within fictional and historical discourses and practices, it is necessary to outline the vampires parasitic role on the socio political body. And I'm just going to say a couple of things about that now, and okay, now to trust. The vampire simultaneously kills and resurrect its host, which is the body of a socially recognized self. And I mean that in a couple of different ways. For one thing when the vampire inhabits a body the person who was that body before it was a vampire is killed, resurrects that body because it now is the house at the same way in many vampire stories, members literally are taken into houses and they kill their hosts. And that's just two ways. Actually, some Yeah, okay. Let me see, the vampire self inhabits a body which is neither fully its own nor fully and others. The function of this body is dependent upon the larger community of bodies, which supply life and blood, blood and life at the same thing, of course, for the vampire. The community is a locus of exchange, reciprocity, vitality and sustenance, only a real human with a true identity and provide the life stuff for a vampire identity. So of course, in a world of all vampires, vampires with die, they require human blood. Such a funny thing to be talking about, is that it's an important thing, right? Okay. The Vampires exist in exile from the community because it cannot participate in the day to day actions that comprise political life. The Vampire is resigned to the dark to the margins of socio political existence. At the same time the vampire is drawn to the community and must constantly draw upon the community for the renewal of its life. It's worth noting that suicide is frequently taken to be a precursor to vampirism. And as recently as 1969, so seven of the cases, but this is actually sending all through, I mean, New England villages, somebody committed, committed suicide, great fear that they would rise up again as a vampire. Unknown Speaker 25:36 Renowned virologist. He's also a professor at Boston College, but I like to come over band for all ages. Raymond McNally. On his trip when he's writing his book on concert with Dracula, it tells a story of coming upon a little village where they're having a funeral ceremony, they're actually a young girl has committed suicide in their driving mistake through her heart before burying her because they're afraid she will rise again as a vampire. The suicide attempts to author herself by enacting the most radical form of opposition upon itself. By embodying as real, its negation by authoring its own death. The community then attempts to seize control over the alienated member by enacting its will upon the suicides corpse, by the driving the stake through the heart cutting off of the hands and head. Okay, these these sorts of things, the contest over what counts as a self, what constitutes the community, the actual relations of power within this community, are evidence as a literal creation and destruction of bodies and identities. And I've done I will say some things about suicide and some of the I can only really suggest things is everyone can because these are parts of a much larger discussion of consuming clarity. Okay. Okay. Jodi Scott, author of five vampire begins with the suicide body that of Virginia Woolf. As a writer of post modernists, feminist science fiction, Scott is vamping the modernist Virginia Woolf as a woman's writer, writing a woman writer, and as a woman writer writing women's writing. Oops, Wolf's Orlando. Which Scott, author of this book, just to remind you, again, refers to as an early science fiction classic, is helpful to our discussion this point, okay. Orlando is both a text and an entity which has a history separate from that of its author, we'll add a character who is the central character of the book, Orlando, who was sharing a name with the title of the book sets about to write him and eventually herself. I people probably know what I'm thinking next. Or Linda begins the book as young boy and Elizabeth in England, you know, final set of lives and lives within England, who goes on to write a manuscript entitled The oak tree. This manuscript both embodies and subverts Aristotelian notions of tailless when Orlando, which he turns into a woman, okay, what happens in towards the middle of the book? She sets about rewriting the oak tree, the original manuscript, okay, teleology, filling in the margins and empty spaces left in her early manuscripts literally. This revisioning accompanies the reformation of Orlando's identity as a woman for entrance into historical discourse becomes literally embodied in a text which she offers this herself. Does that clear? Yes. All right. Okay, Rolando. The book is also a biography of Vita Sackville West and stands in this sense as an attempt to enter a woman into historical narrative, while actively subverting the straight biographical novel through ironic use of language and form, even as wolf remakes and confronts her relationship with Vita Sackville West Scott. Scott must confront wolf, the author will step wolf stands as a figure which authorizes women's writing by bringing it into history, yet her own history is dominated by her offering her upper on death we're offering Rhonda Scott writing an ad for wants to rewrite and revive Wolf's form as both an author and and a human body. So it is Jody Scott creates Sterling oblivion. The 700 year old vampire living in 1984, Chicago. Oblivion characterizes herself as a JATO fresco painted on the side of a Pizza Hut. Okay. Quite unlike the traditional figure of the vampire, she works in a normal job as a dance instructor. They are Katie dance studio. And she doesn't kill her victims. She's careful to take always less than a cup of blood. Six ounces. Okay, I've remembered she says, and this is from the book. Without it I'd be nothing. A bag of bones in some European crypt. My compulsion is all that sets me above the rock of women that sense of conquest. The noble chase a game of wits figuring out how you can penetrate and feast without getting my neck broken. I love the lore history, rich tradition and fabulous majesty. it confers upon an otherwise simple, sentimental and perhaps boring old woman Sterling Oblivion meets Virginia Woolf and this is in the book again remember the vampire wants Virginia Woolf in the ladies room of the dance studio where she works. The meeting leads to a fistfight which turns into dinner and drinks. Okay, Oblivion embarks upon a love relationship with Well Unknown Speaker 30:18 turns out to be a space alien known as a race simian seeping This is a difficult plot to relay as you give you a sense you know this all happens at about 1520 pages right? goes on with all of these things like the sperm of the month club where they go round up selling sperm of famous men to women seeking buy like Elvis Presley sperm or you know, I mean Pope John Paul's from someone and it's added I can't even go into this I'm giving you a little little bit Okay seeing photos of Wolf's see pig body at your space alien body Oblivion is in remember that's a vampire is confused as she attempts to establish authenticity. Was wolf, the original a double, how can I tell? The actual Wolf and the copy are conflated and reconstructed under oblivions gaze, as she admits that she is warm for her form? Okay, so have you found anything I was gonna try not to Okay. The other Scott is similarly attracted to wolves authority, however, she too must confront the bloated body it will suicide in order to articulate itself capable of writing and speaking to wolf to other wolves. And in the longer paper, I have a discussion of sort of five wolves and I can't, I can't do it. Whilst writing is an attempt to subvert teleological thinking. Beings nature will no longer be its function, nor will it be only fully realized and attended. In Orlando, the founding of a non teleological thinking takes the form of a vamping of teleological writing itself. It is also a sampling of time a use of the past for the future. Yet wolf as author of this future can have no place in it. And the waves she writes, but I cannot write I see only figures I begin to draw a figure and the world is looped in it. And I myself am outside the loop which I now joined. So in CLF and make entire the world is entire and I am outside of it crying, oh save me from being blown forever outside the loop of time. Most authoring is bound up with the authoring of Barone suicide, okay. Now, again, this is suggestive, this suicide is a speech act which is going to discuss as to his speech I was in my other longer work, which is one which in one reading might be seen as the final punctuation of Wolf's life and writings. If we begin with will suicide asserts halos, we construct a life story which is fully realized only as the author of the death Scott doesn't want to do this at all and either July as I say, actually, we can't afford to read work this way. All right, as one way the wolf subverts this ending will suicide is by having a false ending in this book this book has several false endings and this false ending Sterling of living in the vampire wakes up in the hospital after a suicide attempts you find out this vampire to besides will also attempted suicide. She wakes up in the hospital and she says Wait, you know I it's sort of you know, Wizard of Oz style. There's no place like home you know, her name is actually still think about every character in the book turns out to be somebody who's in the hospital room, doctor, nurse, you know, and she's decided, well, you know, there's What is real is a world of ego, petty politicking diseased and dying bodies, all very serious, important. And you know, and she said, so I'm never going to challenge it again. And you think, Oh, what a disappointment. I read this book, you know, great, and you turn the page. Anyway, that's what I thought. And there she is. It just is that one body sort of thing real the way that Mark Sterling Oblivion wakes up in ancient Egypt with Virginia Woolf once more. So we find that's not actually the end and again, you know, and also the resignation is nothing. So the vampire image is discarded, along with the Sterling file identity, who the Sterling files are one of which is in the hospital of the last chapter, as it is transformed. The vampire identity is named for what it was a series of projections created by socio political systems out of boredom and frustration. These projections preclude the possibility of constructing a self out of history outside of the teleology of death, the second ending of IBM IBM fire is a transformation which serves as a bridge to a new kind of narrative, a way of authoring future selves into the past. And authoring of self which is not a fully incumbent upon its teleological foundations are dependent upon those structures which into identities built upon the marginalization and fragmentation of a subject. Okay, what I want to question is the mythos which normal brown expresses in one's body and quoting him here, the passport which grants access to the public realm, which distinguishes mastered from slave, the essential political virtue is a courage to die, to commit suicide to make one's life a living death. Unknown Speaker 34:58 Okay, that first Each act which marks entry into the public realm and not be understood as meaningful only if it kills the speaker. And women's voices must not enter into history by unspeaking themselves. A voice that can only deconstruct itself as it speaks will not allow women to revalue and refuse selves and collectivities. I call this process or this refusal, and think of all the meanings that we use in a sense of joining together at the same time, that part, what refusing would be a vamping. And I see Jodi, Jodi Scott as one voice for this kind of refusal, this kind of damping. And then we have this kind of left sentences on the print on the page that we constructed here. This imagining of the female vampire and the female political actress, is the voice to which we either Ulysses must now listen, it is a voice which calls us with a certain degree of irony to confront not only those sirens on the rocks, but these images of ourselves as living dead. So that's enough of sending other things there, but I guess not. But yeah. Okay, that's about it. So I think what we'd like to do now, if we may, is invite you to join in a discussion. With all four of us, and we had some ideas, you know, perhaps it is the case that you all have things you'd like to say, which of course, would be what we would like to ask first, if not, we have some themes, we could kind of bring out for discussion. Again, to emphasize we're very interested in hearing from people in terms of any sort of a discipline, clearly, all of us focus in, in different areas, fuzziness and I guess Poetry and Literature I'm pulling in ethnography, I am primarily political theory, and 100 corporate criticism. There's a film literal literature, fictions of science and Lisa film, semiotics cultural theory. So we're in but which is to say, of course of our graduate program, that we all try to bring a lot of different disciplines together. And and to think from those different ways. And also, we're, these are very condensed versions of longer papers. So there are there might be questions you might have about something which is unclear, which maybe we could answer for you, or you might want to make some suggestions. surrounds the first time? No, I think that's good. Okay, Unknown Speaker 37:54 what it was, like speaking, you mentioned what the nation is reading, in that you're speaking my suicide resignation is not sufficient. Because that's partially Unknown Speaker 38:09 that also, eventually I want to refuse even that, and Unknown Speaker 38:13 that the whole idea of Unknown Speaker 38:17 I don't know how, how much because it'd be the idea of the relationship of suicide to founding and creation, especially a political system. Isn't it something that in my work to work on buying, Unknown Speaker 38:30 sort of alluding to Unknown Speaker 38:32 some of those themes and depending on what people may I can try to talk to? them? To find out how to elaborate on in three sentences. Okay, well, Unknown Speaker 38:52 I don't want to take I don't want to take too long to elaborate on something new that wants every person to have a chance to. But the idea of how it's possible to constitute the suicide of the speech act is something I'm working on, in terms of not only writing not only something like writing a suicide note or the writing or writing the text, but also in terms of how that how that's speaking of the South, which is what I'm interested in the way to surprise and a variety of women all the way from Marilyn Monroe to Krishna, you know, for the Romans to and baby failing to walk. I am afraid to demonstrate to try to go into a Unknown Speaker 39:40 specific thing. It sounds more like the way you're using it sounds more like it's an inscription like it becomes text that will make it not a speech and not defining temporality, but Unknown Speaker 39:51 that's, that's one that's Unknown Speaker 39:53 that's one of the ways that I am using it and talking about how Yeah, how it is. And I'm also using Unknown Speaker 39:59 it And then the station that we put into the speech act and between the interaction. Yes, yeah. Unknown Speaker 40:14 It's yeah. But anyway, if people have been on the insurance the whole Unknown Speaker 40:23 time, I have a general question in terms of the concept, or the definition of a feminist science fiction. And I'm sort of hoping on my feet. So scary, but you know, science fiction, define this sort of a vehicle for subverting masculine, picking up the language structures, and using true vision. systems and social systems. It's interesting to me, in the context of, I'm not, I'm not that familiar with it. And I wonder, I don't know if and women of color that write science fiction, which struck me so interesting. In turn, I mean, I, you know, one person is definitely, Unknown Speaker 41:25 because at least everything that was here to discuss. And it seemed as though it seemed to So perhaps it Why didn't doesn't perform that function for a while word for word in terms of the movie Unknown Speaker 41:55 up in flames, which is not so important. Which does try to present it in a multicultural revolution. It embodies it, and I experienced it as recently, when I saw the movie, it's very positive. And it's images of heterogeneity of culture. Unknown Speaker 42:25 But in Unknown Speaker 42:26 theater when I saw it, and women of color, who were very critical would have seen officer to point to the problems Unknown Speaker 42:38 that the movie talks about, and also Unknown Speaker 42:42 someone should do manage to succeed at least in what she was accounted for in the film, so it also made me to time what I had said earlier. Besides that was science fiction, women speaking? I guess people say, When are we talking about white men? Because all the ads are white. And Unknown Speaker 43:12 women like our victims are the Unknown Speaker 43:15 recipients of electric shock? Yeah, I mean, I think Unknown Speaker 43:24 what's interesting to me is that and why is it kind of very much first Pacific's experience of women in an environment and that to me is needed to organize this is critical. Certainly as good as our primary series of books and Unknown Speaker 44:14 they are all like Unknown Speaker 44:25 me when she talks about really wanting to start a lesson Unknown Speaker 44:30 for me, Unknown Speaker 44:32 in black nation, Unknown Speaker 44:34 it's not for the white colored Unknown Speaker 44:44 No. Yeah, it was probably the most well known Unknown Speaker 44:48 now again, who writes specifically about the whole racial experience as she writes in slaves, slave narrative, all sorts of things. And also same as the lady who we Demand again is to the black man. And it's another person who's working on the project is not here to give a paper precisely one of the things he's writing about is the way that some of the names used in science fiction have masked the true gender and probably the rapes of the people writing. And so very often books are being written case to create another case by women under a male pseudonym, and is the same, I think it's true, I think that there's probably a growing amount of people of color reading from both, we it's not something which we, as a group today, expressed as much as you might have, I guess. I just also want Unknown Speaker 45:43 to point out in this Unknown Speaker 45:45 session, ourselves and the team came out from Venus culture, in terms of, you know, just like an issue of race. It's more in terms of design, in a way, but I don't know, it's not, I mean, I guess that is pushing towards the difference between the Unknown Speaker 46:07 workers aesthetic level, Unknown Speaker 46:08 but you know, also, you know, or say academics, issues of race and class, you know, perhaps we're not formatted in such a way that historically, it's a big issue at the moment. And so it could be in part like say in fatigues, but I don't want to denounce or it's not, you know, being a able to adjust decisions, but I do find that and I just think that white people Unknown Speaker 46:43 I think what he's saying is interesting also just in the way that anesthetics the politics of anesthetic Unknown Speaker 46:57 order, I think is Unknown Speaker 47:00 very complex. Who gets ordered, obviously, and Unknown Speaker 47:06 one of the things that brought me to write on what I was writing about is Unknown Speaker 47:11 this feeling like confronted poetry or white theory claims to have certain positions to language. Science fiction is for somebody else, maybe people who don't have that. And I don't think that that is true. I think it's true that what it means for something to be science fiction for somebody who is not in a more privileged relationship to Unknown Speaker 47:44 different things. Unknown Speaker 47:47 And the same Unknown Speaker 47:48 for experimenting with language and there has not been a lot written about this by women of color and I know at least on the experience I think Unknown Speaker 48:11 I'm thinking of any Unknown Speaker 48:11 series of experimentation structure particularly is very similar to how the one sell sell a tiny fraction is on the agenda. Yes, for what a color I think it's an interesting question think about the relationship with related to science and how that works. Definitely. And I mean, in the same way that these four different songs gender bubble that I mean unhealthy inside a wall will also take different forms possibly you think of other women of color who are doing experimental deployments because I always have offices I always tell the boys precisely precisely the call with me and she goes into the kind of structure variations within I don't know Yeah, Unknown Speaker 49:45 I haven't said anything about Unknown Speaker 49:49 that. currently facing real quick, sweet weather It's exactly the electro shock therapy that I started using so that you get an idea that constantly mental illness isn't. It isn't Unknown Speaker 50:22 defined that it's a weapon used against them, who are they? Who are my God? Unknown Speaker 50:29 Yeah, this is very shifting categorization Unknown Speaker 50:34 primary, primary Unknown Speaker 50:35 and secondary, as a Unknown Speaker 50:41 minister is defined as the actors use historical and social moments as possible because of the conditions of response along with race in class as well as wider care for people Unknown Speaker 51:26 who haven't heard anything? This issue? Unknown Speaker 51:33 I have a general comment, which turns into a more specific question for Lisa's paper, which is a theme that I could sort of impose on on your papers or I could add to I'm not sure what it would be about violence, most relates to the two words that she that was the one and one aspect of it would be the use of sort of literal violence. I mean, that brings up the vampire suicide was important for her but also very much concerned with questions of insanity. It was more Jehovah leaning towards violence as revolutionary but also the violence repression, which is an invitation sort of, to who, who's looking at me who's not quite using them, but with the whole world is violent. And so violence, violence, sort of armacell, which is often suicide, together would be the quality of quality of violence, violence, of action, or particularly violence of borders, particularly in this approach.