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This is to advertise our panel “The biopolitics of sensation” for this year’s annual SLSA (Society for Literature, Science and the Arts) meeting, with the theme ‘After Biopolitics’, Rice University, Houston, Texas, November 12 – 15, 2015. Information about
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http://litsciarts.org/slsa15/</a> </div>
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<b class="">We now have the confirmed participation of Patricia Clough </b>(author,
<i class="">The Affective Turn </i>and co-editor, <i class="">Beyond Biopolitics: Essays on the Governance of Life and Death</i>) and<b class=""> Orit Halpern (</b>author,
<i class="">Beautiful Data: A History of Vision and Reason since 1945</i>), and therefore will likely have a ‘Roundtable’ event associated with the panel.</div>
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<b class="">Abstracts (c250 words) should be sent by April 12 (the original deadline has been extended), to
<u class="">both</u> organizers:</b></div>
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Mark Paterson, University of Pittsburgh (<span class="" style="text-decoration: underline; color: rgb(0, 121, 205);"><a href="mailto:Paterson@pitt.edu" class="">Paterson@pitt.edu</a></span>)</div>
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David Parisi, College of Charleston (<span style="text-decoration: underline ; color: #0079cd" class=""><a href="mailto:ParisiD@cofc.edu" class="">ParisiD@cofc.edu</a></span>)</div>
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We are interested in how the sensate body has been co-constituted and reimagined through a combination of ‘hard’ technologies (hardware, interfaces), ‘soft’ or social technologies (disciplinary apparatus or sensorial regimes), and more generally how scientific
discoveries concerning sensation and new modes of somatic address have arisen since the original ‘turn’ to embodiment in the 1990s.
<i class="">Pace</i> Panagia’s project in <i class="">The Political Life of Sensation</i> (2009), what happens if we turn specifically to the formation of motoric or sensory habits in everyday life, or the mediation of sensations through technologies, interfaces,
prostheses? In other words, what is at stake for the biopolitical life of sensation?</div>
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<div style="margin: 0px;" class="">Foucault’s interpretation of the mechanistic materialism of Descartes and La Mettrie, or “the great book of Man-the-Machine” as he terms it, reveals the inherent potential for something more politically transformative. Foucault
identifies two registers here: firstly, the “anatomico-metaphysical register” of thinking the machinic body; but secondly, the “techno-political register” whose calculated effects were felt in social institutions for “controlling or correcting the operations
of the body” (<i class="">Discipline & Punish</i>, 1979). With the rise of the sciences of human management, and the quantized self, to what extent do such ‘soft’ and ‘hard’ technologies channel or dull sensory channels, cement motoric habits, diminish spontaneity
in habit or sensation?</div>
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<div style="margin: 0px;" class="">We are open to theoretically-informed papers that contribute to discussion: how the archaeology of interfaces and sensory prostheses has came about, of the place of digital video and haptic cinema in late capitalism, and more
generally how ‘aesthetic’ encounters have problematized the normative configuration of ‘sensation’ or the sense ‘modalities’. We encourage submissions that make use of aesthetic examples, using ‘old’ or ‘new’ media, or ‘walkthroughs’ of new works. This will
extend discussions from the successful panel stream ‘Reconfiguring Sensation’ in 2013, with a view to publication as an edited collection.</div>
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<div style="margin: 0px;" class="">The panel will considers issues such as: How are interfaces, sensory prostheses, and technologies of sensory substitution reconfiguring the sensorium? What can art-science collaborations, including digital installations, teach
us about the biopolitics of sensation? Given the ‘Quantized Self’ movement, and availability of biometric data collection for everyday exercise (e.g. FitBit, Nike+), what are the implications for disciplining the body and the senses? What is the relationship
between biopolitics and the normative model of the five senses? What effective aesthetic examples are there of mashups, remixes, reconfigurations, of senses, habit, and affects? How are machine interfaces disciplining gesture, sensation, movement, affect?</div>
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<b class="">Dr. Mark Paterson</b></div>
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Department of Communication</div>
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University of Pittsburgh</div>
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<a href="http://www.sensory-motor.com" class="">sensory-motor.com</a></div>
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