Critically investigating the gender of programming in popular culture, Sexing Code proposes that the de facto representation of technical ability serves to perpetuate the age-old association of the male with intellect and reason, while identifying the female with the body. Challenging this division, in which code is situated within the male sphere, the discussion highlights women¹s contributions in the writing and theorizing of code, particularly in the digital arts, hacking, and hacktivism. Presenting an accessible and lively discussion, Sexing Code demonstrates that the gendering of programming selectively confers the privilege of authorship and is therefore a salient factor in the production of culture in the twenty-first century.

The primary focus of the book is to illuminate intersections of gender, sexuality, work, race and economic relations in the Caribbean.

Sexing the Groove discusses these issues and many more, bringing together leading music and cultural theorists to explore the relationships between popular music, gender and sexuality. The contributors, who include Mavis Beayton, Stella Bruzzi, Sara Cohen, Sean Cubitt, Keith Negus and Will Straw, debate how popular music performers, subcultures, fans and texts construct and deconstruct `masculine' and `feminine' identities. Using a wide range of case studies, from Mick Jagger to Riot Grrrls, they demonstrate that there is nothing `natural', permanent or immovable about the regime of sexual difference which governs society and culture. Sexing the Groove also includes a comprehensive annotated bibliography for further reading and research into gender and popular music.

How did marriage come to be seen as the foundation and guarantee of social stability in Third Republic France? In Sexing the Citizen, Judith Surkis shows how masculine sexuality became central to the making of a republican social order. Marriage, Surkis argues, affirmed the citizen's masculinity, while also containing and controlling his desires. This ideal offered a specific response to the problems—individualism, democratization, and rapid technological and social change—associated with France's modernity. This rich, wide-ranging cultural and intellectual history provides important new insights into how concerns about sexuality shaped the Third Republic's pedagogical projects. Educators, political reformers, novelists, academics, and medical professionals enshrined marriage as the key to eliminating the risks of social and sexual deviance posed by men-especially adolescents, bachelors, bureaucrats, soldiers, and colonial subjects. Debates on education reform and venereal disease reveal how seriously the social policies of the Third Republic took the need to control the unstable aspects of male sexuality. Surkis's compelling analyses of republican moral philosophy and Emile Durkheim's sociology illustrate the cultural weight of these concerns and provide an original account of modern French thinking about society. More broadly, Sexing the Citizen illuminates how sexual norms continue to shape the meaning of citizenship.

This innovative book represents a timely intervention in both critical discourses on video and new media art, as well as examination of gender in post-Socialist contexts. The chapters explore how encounters between art and technology have been implicated in the representation and analysis of gender, critically reflecting current debates and politics across the region and Europe. The book offers a diversity of analytical contexts, addressing interwoven histories across post-Socialist Europe, and engages the paradigms of art practice and the visual cultures such histories uphold. Contributors have given a broad interpretation to the questions of video, media and performance, as well as to mediation in relation to art and gender, reflecting on a wide range of subjects, from the curatorial role to artistic practice, cross-cultural collaboration, co-production, democracy and representation, and impasses in securing streamlined identities. The volume brings together rigorously theoretical and visually comprehensive examinations of examples of works, featuring artists such as: Bernd and Hilla Becher; Anna Daučiková; Izabella Gustowska; Judit Kele; Komar and Melamid; Andrzej Karmasz; Marko Marković; Oleg Mavromatti; Tanja Ostojić; Nebojša Šerić Šoba; Mare Tralla; Ulay and Abramović and others. Contributors: Inga Fonar Cocos, Mark Gisbourne, Marina Gržinić, Beata Hock, Katarzyna Kosmala, Paweł Leszkowicz, Iliyana Nedkova, Agata Rogoś, Boryana Rossa, Aneta Stojnić, Josip Zanki. Preface by Katy Deepwell.

How much of sexual diversity is the result of nature versus nurture? Prevailing theories today lean heavily toward nature. Now a leading researcher in neuroscience and animal behavior shows how, in recent history, scientific claims about sex and gender differences have reflected the culture of the time. Although the conviction that genetics can explain everything is now widespread, the author demonstrates the interaction of culture and environment in the formation of behavioral traits and so provides an important corrective to popular notions of reductionism. Starting with a summary of sex and gender studies, Rogers explains the error of sex biasing, especially the once-assumed inferiority of women. She then addresses several modern studies and investigations, some of which assert that sex and gender differences are the product of genetic inheritance and hormones. Rogers uses laboratory evidence from studies of animals that help illustrate the biologically fluid properties of sex and gender. Sexing the Brain addresses a variety of topical questions: Are there sex differences in how we think and feel? Is language processed in different parts of the brain in men and women? Do social influences have a stronger influence on sexual behavior than sex hormone levels? Rogers concludes that "our biology does not bind us to remain the same.... We have the ability to change, and the future of sex differences belongs to us."

Why are women so frequently targeted with hate speech online and what can we do about it? Psychological explanations for the problem of woman-hating overlook important features of our social world that encourage latent feelings of hostility toward women, even despite our consciously-held ideals of equality. Louise Richardson-Self investigates the woman-hostile norms of the English-speaking internet, the ‘rules’ of engagement in these social spaces, and the narratives we tell ourselves about who gets to inhabit such spaces. It examines the dominant imaginings (images, impressions, stereotypes, and ideas) of women that are shared in acts of hate speech, highlighting their ‘emotional stickiness’. But offering strategies through which we may reimagine our norms of online engagement, the stories that justify those norms, and the logic that makes sense of it all, this book shows how we can create alternative visions of what it means to take up online space as a woman and to ensure that women are seen as entitled to be there. By exploring aspects of ‘social imaginaries’ theory and applying it to the problem of hate speech against women online, this book illuminates why woman-hating has become such a prominent feature of this environment and how we can make these spaces safer for women.