It may have been true once that (as the famous cartoon of the 1990s put it) "Nobody knows you're a dog on the Internet," and that (as an MCI commercial of that era declared) on the Internet there is no race, gender, or infirmity, but today, with the development of web cams, digital photography, cell phone cameras, streaming video, and social networking sites, this notion seems quaintly idealistic. This volume takes up issues of race and ethnicity in the new digital media landscape.
Why is pleasure "doubled" when it's "shared"? ... Do you really have to cut pleasure in two so that it'll exist? I mean, if it's doubled when there are two of you, then it must be tripled when there are three, quadrupled when there are four, centupled when there are a hundred, right? Is it O.K. for a hundred to share? And if I get used to trying it all alone, why is it that I'll never love anyone again? Is it that good alone and that awful with others?
—from Good Sex Illustrated
Every year, nations and corporations in the “global North” produce millions of tons of toxic waste. Too often this hazardous material--linked to high rates of illness and death and widespread ecosystem damage--is exported to poor communities of color around the world. In Resisting Global Toxics, David Naguib Pellow examines this practice and charts the emergence of transnational environmental justice movements to challenge and reverse it.
In Effective Philanthropy, Mary Ellen Capek and Molly Mead offer strategies for strengthening organizations through a commitment to diversity and gender equality. Capek and Mead's research shows that institutionalizing a more nuanced understanding of what they call "deep diversity" allows organizations to make full use of all the resources they have available, both inside and outside their doors.
Work by black artists today is almost uniformly understood in terms of its "blackness," with audiences often expecting or requiring it to "represent" the race. In How to See a Work of Art in Total Darkness, Darby English shows how severely such expectations limit the scope of our knowledge about this work and how different it looks when approached on its own terms.
In Looking Within, Deborah Blizzard examines the high-risk in utero surgery known as fetoscopy, considering it as both cutting-edge medical technology and as a sociocultural construction of patients, their social networks, and medical providers. She looks at the way individual experiences shape these procedures and how fetoscopy affects individuals (both patients and providers) on a personal, emotional level.
Toward the end of the Middle Ages, medical writers and philosophers began to devote increasing attention to what they called "women's secrets," by which they meant female sexuality and generation. At the same time, Italian physicians and surgeons began to open human bodies in order to study their functions and the illnesses that afflicted them, culminating in the great illustrated anatomical treatise of Andreas Vesalius in 1543.
More than thirty years after the birth of the modern women's movement and the beginnings of feminist art-making and art history, the time is ripe to examine the legacies of those revolutions. In Women Artists at the Millennium, artists, art historians, and critics examine the differences that feminist art practice and critical theory have made in late twentieth-century art and the discourses surrounding it.