Tag Archives: Real Peer Review

Chemistry is Sexist?

It’s another one of those Real Peer Review things. Sadly the original Real Peer Review was forced to close down after threats to expose the academic behind the account. The new one is a group account run by different people, with the blessing of the original anonymous academic.

In this one, a paper that tries to argue that Chemisty is sexist. As before, I’m not linking to the original to spare the author.

Feminist science criticism has mostly focused on the theories of the life sciences, while the few studies about gender and the physical sciences locate gender in the practice, and not in the theories, of these fields. Arguably, the reason for this asymmetry is that the conceptual and methodological tools developed by (feminist) science studies are not suited to analyze the hard sciences for gender-related values in their content. My central claim is that a conceptual, rather than an empirical, analysis is needed; one should be looking for general metaphysical principles which serve as the conceptual foundation for the scientific theory, and which, in other contexts, constitute the philosophical foundations of a worldview that legitimates social inequalities. This position is not being advocated anywhere in the philosophy of science, but its elements are to be found in Helen Longino’s theory of science, and in the social epistemology and ontology of Georg Lukács.

It goes on

4. Marxist and feminist standpoint theory

In order to establish the claim that certain values found in the theories of the physical sciences are gendered, an alternative epistemological framework is needed. Traditionally, the alternative to empiricism as a theory of knowledge is Marxist epistemology, also known as standpoint theory. The writings of Marx provide grounds for the claim that the two main classes in capitalism (the bourgeoisie and the proletariat) have distinctive viewpoints on reality. The systematic philosophical elaboration of this view is to be found in the work of Georg Lukács. Feminist standpoint theory was developed by means of analogy between the position of women under patriarchy and the position of the proletariat under capitalism. This section examines Marxist and feminist standpoint theory for their potential to conceptualize social ideologies in the physical sciences.

If you’re being generous, you could consider this a case of an academic who’s gone so deep into theory they’ve lost the ability to recognise where their theory doesn”t apply, making the same mistake frequently made by economists and evolutionary biologists. A case of the Richard Dawkins?

But you could argue that things like this are actively harmful. When there’s a movement to get more women involved in STEM fields and challenge harmful stereotypes like “Girls can’t do maths”, do attempts to undermine the theoretical basis of science itself in the name of feminism really help?

Or am I not allowed to criticise such things because I’m a “straight white male”.

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Lead Guitar is Sexist?

I am a bad, bad person for posting these things from Real Peerreview. Though I choose to spare the author by not naming them or linking back to the originals.

This one reads like a nasty collision between academia’s Critical Theory and sort of terrible music journalism that gave the 1980s NME a bad name.

This paper critically examines the gendering of electric guitar technique in its limited scholarly reception. Focus is given to the work of Steve Waksman, specifically the “technophallus,” a coinage through which he engages feminist scholarship to interrogate the electric guitar’s masculine performative identity. This paper offers a counter-archive of punk guitarists whose work, when approached with a queer analytic, problematize the pairing of virtuosity with heteromasculinity. Synthesizing the work of José Esteban Muñoz and Jack Halberstam on queer failure and virtuosity, I offer disorienting guitar practice as a critical lens which can materialize efforts at refusing the linearity of guitar technique as well as guitar hero worship. Consideration is given to St. Vincent’s pairing of a disorienting virtuosity with her extension of the guitar’s sonic possibilities through effect pedals.

Let me get this right; lead guitar is sexist unless  you play it very badly. Or use a lot of effects. Or am I missing something?

OK, so I get that there’s a lot of coded sexism in genre snobbery. But surely the author is guilty of the exact same mistake, by using critical theory to suggest their taste in music is somehow morally superior?

It’s not even being iconoclastic in this day and age. Today’s focus group driven mainstream rock has largely pushed virtuoso guitar to the margins. Genres like blues-rock and power-metal that still celebrate virtuoso guitar are niche scenes nowadays.

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Salsa Dancing is Sexist and Racist

Or so claims this academic thesis, via the imimitable Real Peerreview

In a discursive context where Europe is associated with modernity and ‘progress’, salsa dancing is often claimed to offer ‘difference’ in terms of the gender roles it propagates. The multi-million salsa industry sells the dance practice as ‘sexy’, ‘hot’ and as the epitome of heterosexuality. This thesis explores gender and sexuality discourses among salsa dancers in Switzerland and England. Drawing on unstructured in-depth interviews with heterosexual and lesbian/gay salsa dancers, it traces culturalist understandings of salsa genders that defer heteronormativity and ‘strict’ gender roles to ‘Latin American culture’. Based on queer-feminist, postcolonial and race critical theory, this thesis offers an analysis of how gendered and sexualised formations come into being on the salsa scene. It will do so by deconstructing Latin American gender stereotypes, narratives of passion and heterosexual romance as well as heteronormalising processes that inform the salsa dance studio. Overall, it will argue that claims to gender and sexuality on the salsa scene are racialised in the way that they reflect broader discourses of race in contemporary Europe. This thesis presents the first analysis of salsa dance practices in Europe that is led by postcolonial and queer-feminist theory. Beyond an analysis of salsa from this perspective, it aims to contribute to the study of postcolonial racisms in Switzerland and England. Additionally, it makes a case for the study of Latinidad in Europe and the gendered and sexualised stereotypes associated with it.

Sometimes I worry that I’m perpetuating white supremacy and The Patriarchy by highlighting this sort of thing. But I do believe there’s a dangeous totalitarian ideology behind it that does need to be called out and ridiculed. As has been said before, our future politicians, bureaucrats and chief police officers are currently studying in establishments that teach this stuff.

What comes over in the above abstract is the sheer joylessness of the mindset behind it. Take a popular cultural activity that brings pleasure to many and declare it harmful because reasons. The one thing it most strongly recalls is the 1980s “Satanic Panic” when everything from metal music to Dungeons and Dragons was declared “Satanic” and claimed to be a gateway to demonic possession.

That nonsense faded away with the decline of the Religious Right, but the same sort of censorious and joyless puritanism has reappeared in left-wing academia. One can only hope it fades away in the same way.

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