The fallacies of cyberspace in representations of queer Iranians

Sentence

Shakhsari: In From Homoerotics of Exile to Homopolitics of Diaspora: Cyberspace, The War on Terror and the Hypervisible Iranian Queer, Shakhsari suggests that the Internet presence of Iranian queer people and the discourse around these individuals represents a younger more tolerant segment of the Iranian diaspora, who have been able to mobilize due to the shift from exile to diaspora as well as the media representations of the war on terror.

Response

Sima Shakhsari presents an analysis of the discourse about queer people in Iran and their presence on the Internet specifically through the use of blogs. The analysis of the discourse Shakhsari provides is quite interesting because of the way it the author’s argument is structure. For example, much of the article discuses how generations of young Iranians all over the world are becoming more technologically savvy and with that they have become more tolerant of various spectrums of sexuality as opposed to older generations of Iranians who may not be as technologically sound or educated which has impact that demographics view of homosexuality. Interestingly, toward the end of the article and the conclusion Shakhsari suggests that despite this tolerance, many people still view the world in a heternormative way. I thought this was important because I saw the article from the beginning explaining how representations of queer Iranians are improving because of the internet, however in the end it seems like this presence has become somewhat stagnant due to the tolerance that still defines queer Iranians as “other.” One thing that I would be interested to know more about is censoring in Iran and elsewhere (specifically Turkey) where Shakhsari explained many queer Iranians fled. I wonder if this sort of censoring controls the information on the blogs that Shakhsari criticizes in this article.

Visibility through Cyberspace

Summary: In “From Homoerotics of Exile to Homopolitics of Diaspora,” Sima Shakhsari adequately argues that while cyberspace creates hypervisibility through mobilizations induced by Internet communication, it also provides political and entrepreneurial opportunities for Iranian diasporic queers.

Cyberspace provides visibility to the queer Iranian community, both within Iran and in the Iranian diaspora, while constructing a “perverted” identity of the West and an innocent identity of Iran within the Iranian exilic discourse. This reference to the West as being perverted is interesting because it places blame on the West for exposing Iranian queers to homosexuality, instead of accepting homosexuality as a natural identity. I was pleased at the fact that attitudes towards queer Iranians in exile shifted away from this discourse due to the introduction and expansion of cyberspace, which offers Iranian queers a safe, legitimate space to participate in dialogue and reach support from members abroad. However, I wonder how Iranian immigrants who do not have access to the internet are able to engage in conversation and receive information related to their identifiable community?

Also, similar to the ability of photographs to negotiate identity and produce images to promote acceptance, the internet possesses the power to do the same as a medium that has the capacity to reach a broad audience. I would assume that Internet blogs, videos, and articles are not as easy of targets to censorship as print media and publications. Is this true? If not, how are queer Iranians that are living in Iran able to interact with the queer diasporic Iranians? What are the censorship penalties (in Iran) of participating in internet conversation about queer identity?

A Personal and Political Art History

Chicana artistic sensibilities are bordered.  They emerge in a borderland of ambiguity and flux. #anzaldua #latorre

#YolandaLopez also contributed images of La Virgen that affirmed the mulitplicity of #Chicana(@) identity

As an art historian I was most drawn to Latorre’s assertion that the language that contributes to the binary separation between artist and intellectual must be rejected in order to disrupt the subject/object binary that underlies it.  Art history that is committed to radical change must contribute to dismantling such structuring principles but must at the same time affirm cultural-historical specificities.  The opening up of art history to interdisciplinary and creative experimentation is crucial if we are to maintain its relevance to experiences beyond those privileged to accept the cannon without complaint. I think that art historical treatments of Chicana art represent a crucial case study in experimental approaches that destabilize monolinear narratives of art history while respecting the parameters of identity politics.  How personal is the political and how political is the art history?

How do we negotiate the need to maintain the specificity of Chicana identity when it is characterized by slips and fissures that generate multiple meanings and experiences across time?  I found it interesting that while Chicana artists working in the 1970s felt alienated by second wave feminism and sought to forge images that they could better relate to, it is possible that Latin@s of my generation might feel a break, in turn, from this tradition.  Recognizing that I am not Chican@ and that this certainly contributes to the distance I might feel from this artwork (and that I should not necessarily seek to identify with these images,) I do feel it is important to appreciate both the value and the limitations of these representational vocabularies.  These artists certainly contribute to the affirmation of Chicana identity against its erasure in male-dominated discourses of Chicanidad and Latinidad, yet I am interested in the limitations of this art in perpetuating symbolic economies that are no longer as relevant to Latin@s of my generation.  Unfortunately we face the paradox of contemporary art that embraces dispersion and flux to such a degree that the specific is no longer visible.  What kinds of images/performances/gestures/language exist in the space between roses and pomegranates and the white cube?