Working paper seminar series

Below is the title and abstract of a paper I shall be presenting this Friday as part of our working papers seminar series. It is based on about the first third/half of a paper I am trying to finish about the garage-assemblage. Actual paper does not really engage with Summernats.

Title: “Show us your tits”: Summernats, Gender and Simondon’s Techno-Aesthetics

Abstract: A genealogy of the Summernats street machining festival must include the mid-1980s historical turning point of where it shifts from the Street Machine Nationals run “By street machiners for street machiners” to the 1987 spectacular Summernats event. The Street Machine Nationals was organised around the display and appreciation of the street machine projects understood as the outcome of the creative labour of enthusiasts. The Summernats event shifted the composition of relations where the elite street machines (still appreciated as above) were used to individuate a much larger market of the interested public. This spectacular mode of car enthusiast festival was pitched as a “party”. A constant critique of this party-like event is its explicit masculine character best captured by the misogynist demand: “Show us your tits”. “Show us your tits” is a demand for visibility and invitation for females to ‘belong’ to the hyper-masculine experience of the event.

In a 1982 letter to Jacques Derrida, philosopher of technology Gilbert Simondon outlines what he describes as “techno-aesthetics” and explores technology and the technical from the point of view of aesthetics. Early in his letter Simondon includes a comment from the architect Eupaulinos (in Paul Valéry’s version of Socrates’ dialogue with Phaedrus): “Whereas passersby merely see an elegant chapel, I see the exact proportions of a girl from Corinth whom I happily loved.”

The seemingly incongruous relation between Simondon’s techno-aesthetics and the misogynist cultural practices of Summernats I shall stake out in this paper involves thinking about the way men heteronormatively aestheticise technology through gendered anthropomorphisation. I shall argue that the libidinal-affective intensities of the female form are mapped onto the non-human intensities of (pre-digital) technology. Later gendered relations to technology map the intensities of war to the non-human intensities of computers, particularly in gaming cultures. I shall read Simondon’s theory of the individuation of environment-subjects in terms of Felix Guattari’s theories of the multi-dimensional subject. The pre-individual field of the subject co-individuated with technology at an intensive level (such as found in the homosocial spaces of enthusiast car culture) transversally connects different experiences from any given subject’s development (‘individuation’). The point I shall make is that in the case of Summernats, the misogynist domination of women is a consequence of the reproduction of heteronormative and intimate relations with technology (and other men) that ward off the anxiety of wayward libidinal-affective desire.

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