Human skin, photography, and consumer culture combine to produce striking images designed to promote visions of the good life. Branding and marketing imagery mobilize skin to resonate and communicate with consumers, which influences the meaning-making possibilities of skin more broadly. Representations of skin in consumer culture, including marketing communications, are anything but ‘blank’ backgrounds or ‘neutral’ meaning spaces. We analyse how skin ‘appears’ to work, and how its appearance in consumer culture imagery reveals ideological and pedagogical aspects of skin. Building (...) upon psychodynamic and interdisciplinary understandings of skin, we discuss dimensions of the body that feed marketing communications and branding. We highlight representational fetishization and the epidermal schema as conceptual tools to interrogate the commodification of skin and as constitutive elements in processes of skin commodification. We provide theoretical insights to address the ways in which skin is implicated in new and emerging concerns of digital representational practices. (shrink)

Laurie Foos's feminist novel Ex Utero is a comic exploration of the value of the uterus. Simultaneously recursive and resistant, Foos's novel reenacts, with a difference, two confining essentialisms: hysteria, a female disorder, and fetishism, whether understood as the psychosexual response to female lack, or as capitalism's motor, the displacement of desire onto commodities. The essay explores how, if we think of the womb neither as individual possession or commodified object, we can create a new space of possibility for women (...) at the end of the millennium. (shrink)

At the end of the 19th century, the vocabulary of sexuality - perversion - became one of the primary means by which people began to articulate and think about their individuality, their sense of self. Joining authors like Ian Hacking and Arnold Davidson, I suggest the importance of a ‘style of reasoning’ to the creation of sexual kinds at the end of the 19th century, a kind of reasoning that might be styled as historical. For the invert to become possible (...) as a human kind, the conceptual space for an understanding of inverts as specific kinds needed to be cleared. In France, this was accomplished by conceiving individuals as elaborated historically, as the product of prior generations, and by differentiating them from other kinds of people via notions of heredity and degeneration. The invert was plotted within the meta-récit of French progress (and national degeneration). This logic of ‘historicization’ also entailed the scrutiny of the patient’s past in order to reveal his or her ‘nature’ as pathological. Understanding the conceptualization of inversion as including, in part, a ‘pursuit of memory’ provides a window onto the vexing question of how people come to take up their classifications; that is, how discourses interact with the subjects they purport to describe. Through the ‘pursuit of memory’, persons were encouraged to (re)describe their pasts in terms of the present diagnosis. An essential attribute of the literature on ‘inversion’ was precisely such an historically formed understanding of pathological individuals; an understanding that ushered in the transformation from acts to natures, from individuals to kinds, from sodomites to homosexuals. (shrink)

The ArgumentA large part of our critical acumen depends on a clear distinction between what is real and what is constructed, what is out there in the nature of things and what is in there in the representation we make of them. Something has been lost however for the sake of this clarity and a heavy price has been paid for this dichotomy between ontological questions on the one hand and the epistemological questions on the other: it has become impossible (...) to understand the simplest features of action. What the critical gesture smashes into pieces is precisely the very possibility of hearing as synonyms the two sentences, “I have fabricated it well, thus it is autonomous.” The paper tries to find a way to avoid the critical gesture and link again together facts and fetishes, producing this rather strange hybrid: factishes. (shrink)