Circulating desire

Queer logistical aesthetics

Datos Bibliográficos

ID12690451
AutoresSam Mcbean (0000-0002-1006-0141, Queen Mary University of London, autor de correspondencia)
Año2022
Volumen23
Número7
Páginas3369-3383
Fecha de publicación2022-08-11
Open AccessSí
TipoARTICLE
RevistaFeminist Media Studies (JOURNAL)
Identificadores de la revistaISSN: 1468-0777 • E-ISSN: 1471-5902
EditorialTaylor & Francis (PUBLISHER • GB)
DOI10.1080/14680777.2022.2110606
OpenAlexW4290804090
IdiomaEN
Referencias citadas19

In The Deadly Life of Logistics (2014), Deborah Cowen asks what a queer engagement with logistics space might look like. In the years following this publication, there has been an increase in interest in critical approaches to logistics, infrastructure, and supply chains, yet hardly any of this work has been taken up in queer scholarship. This article offers an analysis of Netflix's Sense8 (2015–2018), arguing that the series be read as a queer engagement with logistics, offering what I term a "queer logistical aesthetic." I argue that the series seemingly responds to Cowen's call for alternative inhabitations of networked logistics, fantasizing that the network imaginary of global supply chain capitalism might be inhabited differently, as a queer circuit of desire. Yet, as much as Sense8 seems to produce a queer logistical aesthetic, one that re-imagines supply chain capitalism, this aesthetic, in the end, remains in a complicated and ambivalent tangle with the present-day logistics that enables it. Via this reading of Sense8, this article contributes to bringing queer theory and contemporary queer aesthetics into closer conversation with late capitalist logistics discourse

Aesthetics · Art · Capitalism · Conversation · Political science · Politics · Psychoanalysis · Queer · Queer theory · Reading (process · Scholarship · Sociology · The Imaginary · Gender Studies · Geographies of human-animal interactions · Law · LGBTQ Health, Identity, and Policy · Psychology · Spatial and Cultural Studies