Sociology and Technoscience <p style="text-align: justify;"><strong><em>SOCIOLOGY AND TECHNOSCIENCE</em> (E-ISSN 1989-8487)</strong>. <em>Sociología y tecnociencia</em> [third season] is a journal sponsored by the Universidad de Valladolid. It basic purpose is to fill a critical gap in Sociology. The central aim of the journal Sociology and Technoscience is to study, understand and analyze the social influence of the various scientific and technological or technoscientific activities (especially Sociology of Health and Sociology of Science and Technology).&nbsp;Sociology and Technoscience has a biannual periodicity and it follows the usual mechanisms of the academic journals.</p> en-US <p><a href="" rel="license"><img src="" alt="Licencia de Creative Commons"></a></p> <p><strong>Sociología y tecnociencia</strong>&nbsp;is licensed under a&nbsp;<a href="" rel="license">Creative Commons Reconocimiento-CompartirIgual 4.0 Internacional License</a>.</p> <p>The journal allows the authors to retain publishing rights. Authors may reprint their articles in other media without having to request authorization, provided they indicate that the article was originally published in <em>Sociología y tecnociencia</em>.</p> (Jesús A. Valero Matas) (Vicente Álvarez de la Viuda) Fri, 01 Jan 2021 00:00:00 +0100 OJS 60 Seeking Eccentricity <p>This Sociology and Technoscience monograph extends conversations and uses of eccentricity as a methodological tool for doing research within the field of feminist and gender studies. The search for eccentricity responds to the editors’ interest in reflecting on and engaging with different methodological approaches which help deviate from canonical established patterns of research onto unusual and provocative ways of doing research differently. In this collection we have gathered contributions dealing with the analysis of technologies of gender, sexuality and bodies to propose new ways to defocus, dislocate or blur the split between subjects and objects of study. In sum, with this monograph we intend to contribute to gender approaches to science by exploring "eccentrically" the ways feminist and gender scholars think and research <em>otherwise.</em></p> <p>Feminist modes of knowledge and doing research have traditionally been excluded from academic discourses or denied the merits of their own specificity due to the constitution of the notion of “women” as a sexual differentiated subject. “Women”, as epistemological subject, has been trapped between the unrepresented or unrepresentable due to the articulation of what Michel Foucault calls “technologies of sex” - that is, mechanisms, apparatuses and discourses (legal, pedagogical, medical, demographic, religious or economic) that regulate sexuality.&nbsp; Following the Foucaultian concept, Teresa De Lauretis (1987) coins the concept of “technologies of gender” to move away from the idea of gender as sexual difference towards its comprehension as a political tool instead. Technologies are hence understood as inseparable from their sociocultural milieus and the semiotic apparatuses which produce women and men, assigning an identity and a position to each individual within the social group.</p> <p>&nbsp;</p> ##submission.copyrightStatement## Tue, 29 Dec 2020 00:00:00 +0100 A Diffractive Analysis of Documentary Film No existimos: Making Visible the Invisible with an Eccentric Technology of Gender <p>Reading through one another insights raised by Teresa de Lauretis (1987; 1990), Donna Haraway (1988; 1992), Annette Kuhn (1994) and Karen Barad (2007), this article approaches feminist documentary cinema as diffraction apparatus and eccentric technology of gender. The article is divided into four sections. The first section follows Kuhn’s and de Lauretis’s definitions of cinema as technology of gender and of the subject of feminism as eccentric. We bring these ideas together with Barad’s and Haraway’s proposal of diffraction as an optical metaphor for the production of knowledges. In the second section we elaborate on what the application of a diffractive methodology to the analysis of documentary cinema would entail. We do so by putting forward three methodological tools: emotionality (Ahmed 2014), materiality (Olivieri, 2012), and performativity (Bruzzi, 2000; Butler, 1990, 1993, 2015; Barad, 2007). In the third section we apply this to the discussion of Spanish documentary <em>No Existimos</em> (Solano, 2014). We conclude by summarising how the diffractive and eccentric paradigms can contribute to a better understanding of the possibilities of feminist documentary cinema for co-creating and re-making the world.</p> Orianna Calderón-Sandoval, Adelina Sánchez Espinosa ##submission.copyrightStatement## Tue, 29 Dec 2020 00:00:00 +0100 Filming: a Feminist New Materialist method in an educational research <p>This article aims to explore how filming can be understood as a method from the perspective of the Feminist New Materialisms, the Affective Turn and the Artistic and Visual Methods. To do so, the method is examined in a fieldwork session of the MiCreate project. This session was done with a group of 11-12 years old students of a primary school based in Barcelona. From this case study, the article claims that filming becomes an affective experience of knowledge. The method affects the fieldwork as well as it is developed in its relation with it. Furthermore, it focuses on the bodies, movements and affects of the experience from the situatedness and partiality of the camera. The method modifies the researchers and participants’ power to act and enables their response-ability. Through the affective and affirmative capacity, the method allows generating knowledge about the research, the contextualized experience and the method itself</p> <p>&nbsp;</p> <p>&nbsp;</p> <p>&nbsp;</p> Silvia De Riba Mayoral ##submission.copyrightStatement## Tue, 29 Dec 2020 00:00:00 +0100 Contesting power in public art spaces. Liminal p(l)aces, diverting methodologies and observant participation in Valor y Cambio <p>This article proposes that the way we put concepts together can unpack them as methodologies and points of departure for new figurations. Only by breaking with monistic/centric figurations of concepts can we progress towards epistemic decolonization and embrace a constellation of methodologies we may refer to as eccentric. They are eccentric since they function by diffractive patterns which move them away from the center. They become cartographies of&nbsp;action rather than static border maps.&nbsp; Inspired by the above, the present contribution looks into Frances Negrón-Muntaner's Valor y Cambio installation/experience as a case study on counterhegemonic narratives and diverting/eccentric methodologies for social and academic change.</p> Angela Harris Sánchez ##submission.copyrightStatement## Tue, 29 Dec 2020 00:00:00 +0100 When in Feminine, Revolution Becomes Vandalism. The Glitter Revolution and the Struggle for Memory <p>In this article, I analyze the Glitter Revolution. By Glitter Revolution, I refer to two feminist mobilizations that took place in Mexico City in August 2019. Both manifestations aimed to denounce the alarming increase in gender violence and femicides nationwide. I will focus on the interventions (graffiti pints) that the feminists made on the monument El Ángel de la Independencia as a form of denounce. I will also reflect upon the media reactions on these interventions. I argue that these interventions were an attempt by feminist collectives to (re)appropriate the historical narrative that materializes in the monument of the Angel. On the other hand, the reactions in the media and social networks show the gender inequalities that are predominant in the Mexican collective memory. For this analysis, I will resort to documentary sources, mainly the press and forums on social media, where the public debate about the interventions.</p> Irma Salas Sigüenza ##submission.copyrightStatement## Sat, 23 Jan 2021 00:00:00 +0100 The Queen Art of Failure: Hope/lessness, Re/productivity and Desire in Perfume Genius’s Too Bright & No Shape <p>Pursuing the line of bold indie/pop music, Perfume Genius is shining on Too Bright and shapeshifting on No Shape. Borrowing from Duggan's, Muñoz's and Halberstam’s explorations on embracing queer negativity and hopelessness, this article maps out works of Perfume Genius, or Mike Hadreas, in the form of a journey towards crafting the queen(r) art of failure.&nbsp; Disturbing the heteronormative desire for coherence reflected in the media’s sanitized queer image and the productive disciplined subject in general, such art is integral to queer praxis. It is addressed both as a way of life and in its potential to be the fine line between trying to inscribe every abject into the category of intelligible and simply refusing to be, through engaging in queer negativity.</p> Mariya Gorbachyova ##submission.copyrightStatement## Tue, 29 Dec 2020 00:00:00 +0100 Tracing Transgender Ghosts <p>Tracing Transgender Ghosts” is a reflection on the author’s dissertation; specifically, it deals with how the ghost functions as a method of articulating moments where transgender subjectivity breaks down. Transgender subjectivity is often defined through normative institutional processes and structures. However, trans experience often exceeds this bounding. By investigating the moments when the trans subject is haunted by temporal disruptions to linear subjectivation, the transgender subject becomes a site of potential counter discursivity. In this paper, the Derridean ghost is the extended metaphor used to anticipate and explore these subjective ruptures and leakages</p> Mina Hunt ##submission.copyrightStatement## Tue, 29 Dec 2020 00:00:00 +0100 Trauma and transcryptum: towards a feminist methodology for the analysis of narratives of trauma <table> <tbody> <tr> <td> <p>The objective of this article is twofold: to deepen into the psychoanalytical concepts of trauma and transcryptum (a term coined by Bracha Ettinger), in order to trace a methodology for the analysis of literary transcrypta. The article is structured in two parts. In the first one, there is a revision of Freudian and Lacanian texts, offering a definition of trauma and related concepts such as latency, return of the repressed, repetition compulsion and encounter. &nbsp;In the second part there is an analysis of how Freudian and Lacanian premises are reframed in Ettinger’s theory, proposing that, to a certain extent, the term trauma is equal to what she calls “memory of oblivion”, and that such memory is crucial for our understanding of the transcryptum. The conclusion describes how we can use the theory of transcryptum for the analysis of literary texts.</p> <p>&nbsp;</p> </td> </tr> </tbody> </table> Sonia Cejudo-Escamilla ##submission.copyrightStatement## Tue, 29 Dec 2020 00:00:00 +0100 Lucid dreaming as a method for living otherwise <p>This contribution explores lucid dreaming as an eccentric method for telling a different story of the pathologization of narcolepsy. Narcolepsy has been frequently misdiagnosed as a psychiatric disorder. The most conspicuous point of confusion is hallucinations and vivid dreams. This article is particularly interested in the ways in which the unusual combination of hallucinatory and lucid dream activity and wake-like reflective awareness allows to regain control of one’s reality and ownership. By introducing one of the authors’ personal experiences with narcolepsy and hallucinations and following Lisa Blackman’s (2012, 2014) and Grace Cho’s (2008) work on non-ordinary conscious&nbsp;states, this article examines lucid dreaming as a method that offers a particular art of living&nbsp; in dream-worlds that are sometimes impossible or terrifying to inhabit. Lucid dreaming opens up a window to explore non-human forms of care (Barad, 2012; Bellacasa, 2017; Dokumaci, 2017) that take place in unearthly worlds, which offer survival for those who inhabit a dream-world that terrifies them and a real-world that pathologizes.</p> Dresda E. Méndez de la Brena, Cornelia Schoenmann ##submission.copyrightStatement## Tue, 29 Dec 2020 00:00:00 +0100