Abstract/Summary

Globalization does not only mean expanding production, consumption and communication, and thus creating new collaborations. It also evokes new forms of cultural identity, distinction, coalescence, ambiguity, projection or transformation, as well as new experiences of difference or belonging. However, their redefinition in the face of globalization means that the cultural coordinates of the present also produce new perspectives on histories, genealogies or traditions, as well as new designs on the future visions. These form and articulate themselves not least in contemporary arts. We want to understand and explore these processes through situated knowledges. The term “situated knowledges” coined by Donna Haraway is a central topic in her concept of feminist objectivity. In her much-cited essay "Situated Knowledges: The Science Question in Feminism and the Privilege of Partial Perspective" (1988), Haraway assumes that all scientific knowledge is fundamentally conditional. For this reason, the concept of Situated Knowledge incorporates the social location and contextual advantages of the researcher into the research process.[1] Against an assumption of an apparently neutral and unmediated knowledge of the (male, white) Western idea of science and its representation through overview visualization techniques, Haraway develops her concept of embodied knowledges by drawing on a description of the eye and "vision" (in the broad real and metaphorical sense). There is no such thing as unconditional observation, she argues, because every "acquisition of knowledge" takes place in a dynamic "apparatus of bodily production".