[ES] En esta investigación proponemos abordar diferentes vínculos entre sexualidad e informática, a través de una lectura queer de la historia computacional tras una selección de diferentes episodios o casos. Para ello utilizamos la estrategia de una "genealogía queer" como una apropiación desviada de la noción de "genealogía" tal como la estableció Foucault en su lectura de Nietzsche, es decir, como un tipo de metodología, posicionamiento o punto de vista para acercarse críticamente a un objeto en su desarrollo temporal, contraponiéndose a la forma hegemónica en la que ese objeto ha sido tradicionalmente descrito o pensado. En este caso, el modo hegemónico en que se ha abordado la informática y los algoritmos es el de una supuesta neutralidad matemática en relación con los sistemas de sexo/género y la heteronormatividad. Al tratarse de una genealogía, también se supera la lógica lineal y sistemática propia del análisis histórico. La apertura genealógica tolera estiramientos temporales radicales, lo que permite abarcar episodios o casos siguiendo una temporalidad amplia y discontinua. El primer núcleo temporal y situado realiza una lectura sexodisidente a un tipo singular de tecnología informática indígena: los "quipus" andinos, especialmente en torno a su opacidad informática producto de la violencia colonial. El segundo núcleo temporal de los casos se concentra en la primera mitad del siglo XX, cuando el uso informático de los algoritmos computacionales comienza a ser teorizado y aplicado. En primer lugar, abordamos las teorizaciones del matemático y criptógrafo inglés Alan Turing, quien fuera condenado legalmente por su homosexualidad. En este núcleo también revisamos la primera imagen computacional conocida del proyecto SAGE de la fuerza aérea norteamericana, una chica pin-up programada en esos computadores militares y visible en una fotografía polaroid de fines de la década del 50 del siglo XX. El tercer núcleo corresponde a la década de los 80 del siglo XX hasta la actualidad, en que ese uso de la tecnología algorítmica computacional ha alcanzado un desarrollo que podríamos denominar "hegemónico", desde los prototipos computacionales para la creación de perfiles de usuario hasta proyectos recientes que utilizan redes neuronales artificiales para descifrar la sexualidad de personas en base a fotografías de rostro. También las disputas más recientes sobre el alcance de los algoritmos en relación con la política y el arte queer y feminista. / [CA] En aquesta investigació proposem abordar diferents vincles entre sexualitat i informàtica, mitjançant una lectura queer de la història computacional després d'una selecció de diferents episodis o casos. Per això utilitzem l'estratègia d'una "genealogia queer" com una apropiació desviada de la noció de "genealogia" tal com la va establir Foucault en la lectura de Nietzsche, és a dir, com un tipus de metodologia, posicionament o punt de vista per apropar-se críticament a un objecte en el seu desenvolupament temporal, contraposant-se a la forma hegemònica en què aquest objecte ha estat tradicionalment descrit o pensat. En aquest cas, la manera hegemònica en què s'ha abordat la informàtica i els algoritmes és una suposada neutralitat matemàtica en relació amb els sistemes de sexe/gènere i l'heteronormativitat. Com que es tracta d'una genealogia, també se supera la lògica lineal i sistemàtica pròpia de l'anàlisi històrica. L'obertura genealògica tolera estiraments temporals radicals, cosa que permet abastar episodis o casos seguint una temporalitat àmplia i discontínua. El primer nucli temporal i situat realitza una lectura sexodissident a un tipus singular de tecnologia informàtica indígena: els quipus andins, especialment al voltant de la seva opacitat informàtica producte de la violència colonial. El segon nucli temporal dels casos es concentra a la primera meitat del segle XX, quan l'ús informàtic dels algorismes computacionals comença a ser teoritzat i aplicat. En primer lloc, abordem les teoritzacions del matemàtic i criptògraf anglès Alan Turing, que fos condemnat legalment per la seva homosexualitat. En aquest nucli també revisem la primera imatge computacional coneguda del projecte SAGE de la força aèria nord-americana, una noia pin-up programada en aquests computadors militars i visible en una fotografia polaroid de finals de la dècada del 50 del segle XX. El tercer nucli correspon a la dècada dels 80 del segle XX fins a l'actualitat, en què aquest ús de la tecnologia algorítmica computacional ha aconseguit un desenvolupament que podríem anomenar "hegemònic", des dels prototips computacionals per a la creació de perfils d'usuari fins a projectes recents que utilitzen xarxes neuronals artificials per desxifrar la sexualitat de persones sobre la base de fotografies de rostre. També les disputes més recents sobre l'abast dels algorismes en relació a la política i l'art queer i feminista. / [EN] In this research we propose to address different links between sexuality and computing, through a queer reading of computational history after a selection of different episodes or cases. For this we use the strategy of a "queer genealogy" as a misappropriated appropriation of the notion of "genealogy" as established by Foucault in his reading of Nietzsche, that is, as a type of methodology, positioning or point of view to critically approach to an object in its temporal development, opposing the hegemonic way in which that object has traditionally been described or thought. In this case, the hegemonic way in which informatics and algorithms have been approached is that of a supposed mathematical neutrality in relation to sex/gender systems and heteronormativity. As it is a genealogy, the linear and systematic logic of historical analysis is also overcome. The genealogical opening tolerates radical temporal stretching, which makes it possible to cover episodes or cases following a wide and discontinuous temporality. The first temporal and situated nucleus performs a sex-dissident reading of a unique type of indigenous computer technology: the Andean "quipus", especially around their computer opacity as a result of colonial violence. The second temporal nucleus of the cases is concentrated in the first half of the 20th century, when the computer use of computational algorithms begins to be theorized and applied. In the first place, we address the theories of the English mathematician and cryptographer Alan Turing, who was legally convicted of his homosexuality. In this core we also review the first known computational image of the US Air Force's SAGE project, a pin-up girl programmed in those military computers and visible in a polaroid photograph from the late 1950s. The third nucleus corresponds to the 1980s up to the present, in which the use of computational algorithmic technology has reached a development that we could call "hegemonic", from computational prototypes for the creation of user profiles to projects recent ones that use artificial neural networks to decipher the sexuality of people based on photographs of their faces. Also the most recent disputes about the reach of algorithms in relation to queer and feminist politics and art. / Rivas Sanmartín, F. (2022). Una genealogía queer de los algoritmos computacionales [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/187463 / TESIS

“‘Freakish Man’: sexual blues, sacred beliefs, and the transformation of Black queer identity, 1870-1959” investigates how queer Black men expressed their gender and sexual identities. It follows how, from the days of Reconstruction to the modern civil rights movement, queer Black men used various aspects of Black culture—particularly the blues, working-class social culture, and charismatic religion—to form identities that departed from dominant Black and white norms. The “freakish man” emerged as queer Black men cultivated legible, subversive gender and sexual identities in sacred and secular spaces of working-class Black culture that prioritized masculine heterosexuality. Though queer Black men were briefly successful in using their status as taboo but enticing social figures to enter the center of Black culture, they were gradually marginalized by the Black community as it moved towards inclusion into mainstream American society.

Through a combination of personal interviews and participant-observation in three field sites ? the Tim Miller workshop and performance of October 2010 and the student organizations Cepheid Variable and the GLBT Aggies ? I argue that manifestations of utopian desire and performance circulate within and among marginalized groups on the Texas A&M University campus, undermining the heteronormative and monolithic utopia the university attempts to present. I participated in each night of rehearsal during the Tim Miller workshop, as well as the creation and performance of my own solo autobiographical monologue as a part of the ensemble. My participant-observation in Cepheid Variable and the GLBT Aggies was concurrent, consisting of attendance at both weekly organizational meetings and outside events sponsored by the organizations over two years. I argue that the Tim Miller workshop and performance is best understood by examining the intersection of queer intimacy, utopia, and performance. I argue that processes of connection, sharing, and mutual transformation allowed it to function as an example of queer utopian performance qua performance at Texas A&M. I explore the links between the ?nerd,? ?queer,? and ?family? identities of Cepheid Variable, arguing that the intersection of these identity-markers and the performance practices which reinforce them enable Cepheid Variable to create a utopian space on the Texas A&M campus for those students who do not fit traditional notions of Aggie identity. I explore two Cepheid performance practices: noise-making and storytelling, arguing that they construct, support, and interweave each element of Cepheid identity, allowing the organization to perpetuate and reaffirm its utopian and counterpublic statuses at Texas A&M. I explore what the GLBT Aggies claims to provide in theory, juxtaposed with what it actually accomplishes in practice. I examine a moment of crisis the LGBTQ community at Texas A&M faced in spring 2011. I argue that the utopia the GLBTA promises remains unfulfilled because the marginalization of the LGBTQ community at large leaves diversity within that community unaddressed. I conclude that utopian communities persist if able to adapt, and that the strength of the intimacy built into queer utopias in particular sustains them through time.

This paper examines the Church of Sweden’s changing approach to same-sex marriage from a queer theoretical and queer theological perspective. A discourse analytical method examines the previous discourse and how it has come to change over time. The analysis takes place among the statements that priests, bishops, and other theologians have expressed in the public debate, the Church’s theological committee and the church meetings that take place every year. The study also addresses the changes and explanations of the new Church Handbook based on a theological statement. The queer theoretical basis is based on Michel Foucault and Judith Butler's foundations for the theory and culminates in two explanatory models. The study's stated aim of investigating the Discourse of the Church of Sweden also lands in how the Swedish Church responds to National Socialist and value conservative forces in society such as the Sweden Democrats.The Church of Sweden’s policy to flag with the rainbow flag and meet homophobic expressions in both the society as in its own ranks.

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People who are Queer Muslim Arab Americans have unique experiences, as their multiple identities often clash head-on with cultural expectations of their respective communities. To fully grasp the concept of someone who identifies as such, this thesis explores each minority identity individually, and then examines the interactions of all three identities. The Double Jeopardy and Intersectional Invisibility theories of multiple minority identities are explored in relation to people who are Queer Muslim Arab Americans. Scenarios are outlined in which each theory seems more relevant. Finally, community needs of Queer Muslim Arab Americans are discussed, with a focus on the opportunities that are available to mental health providers and community psychologists to make a positive impact on this multiple minority community.

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The question of gender, specifically gender identity, is prominent in today’s society. It is highly debated and through the development of queer theory it is gaining more academic recognition. However, there is a gap regarding representation of the gender-queer identity of one contemporary poet, Andrea Gibson. Gibson provides a much needed perspective and voice in society and scholarly debates. This is why this essay uses queer theory along with Kate Bornstein and Judith Butler to examine three poems by Gibson, “Swing-Set, “The Jewelry Store” and “A Genderful Pep-Talk for my Younger Self”. The essay analyses the ways Gibson, through poetry, formulates a gender-queer identity and thus questions the generic gender binary system.

Den här uppsatsen handlar om Kristina Lugns poesi, de kvinnokroppar som befolkar hennes dikter och hur deras agerande kan läsas utifrån grotesk och queer teori. Jag skapar en queerfeministisk figuration, döper henne till Den kvinnliga grotesken och låter henne ta kropp i dikterna. Hon spinner trådar mellan teorierna, dikterna och yttervärlden. Metoden jag använder mig av är tematisk närläsning, med en bas av situerad kunskap enligt Donna Haraway. Med hjälp av de redskapen delar jag upp materialet i fyra tematiska delar; den stympade kroppen, den läckande kroppen, den trånande kroppen, och den djuriska kroppen. Mitt syfte är att utifrån grotesk och queer teori läsa hur kvinnokropparna i Kristina Lugns poesi agerar, och undersöka om agerandet representerar strategier för frigörelse från normativ kvinnlighet. / This essay concerns itself with the poetry of Kristina Lugn, the female bodies that inhabit her poems, and how their behaviour can be interpreted via grotesque and queer theory. Within, I create a queer-feminist figuration, I name her The female grotesque and finally let her corporealise in the poems. She spins threads between the different bodies of theory, the poems and society. The method is thematic close-reading, with a base of situated knowledge according to Donna Haraway. Using these tools I split up the material into four distinct thematical parts; the mutilated body, the leaking body, the yearning body and the animal body. My aim is to employ grotesque and queer theories in a reading of the female bodies in Kristina Lugns poetry and investigate whether their actions can be seen as representative of strategies for liberation from normative femininity.