WOMEN ON AEROPLANES Inflight Magazine #1 (original) (raw)
Related papers
WOMEN ON AEROPLANES Inflight Magazine #4
edited by Annett Busch, Marie-Hélène Gutberlet, Michael Vazquez, 2019
The idea of making use of spaces, transforming existing ones, creating new ones, making a living and a change, very much carries through the pages of Inflight Magazine #4. The importance to have, maintain, and organise places, frameworks, and opportunities that allow a continuity to negotiate and fight over common grounds. Making spaces vibratory. To imagine a restaurant or a nightclub in Manchester or London in the 1930s as a business proposition but at the same time as a safe space in which to conspire to liberate Africa; to imagine a restaurant as an art gallery—while working as a waitress—and proceeding to turn it into one; or to imagine a roving workshop that voyages across the continent revolutionizing art education—as well as a mothership in Lagos. "Think fast, don't waste my time," was one of our favorite command lines we learned from Bisi while driving with her through Lagos just a year ago—the line wasn't actually a command, but a way of making fun. Bisi travelled in a different time zone, she dreamt of camaraderie among the stars, accelerated towards a beyond, and has now abandoned her old vehicle—the aeroplanes may be too slow, sometimes.
WOMEN ON AEROPLANES Inflight Magazine #5
edited by Annett Busch, Marie-Hélène Gutberlet, 2020
From research strands from a visit to Cape Town and Johannesburg, questioning how to address themes around law, legality, rights, to the uprisings in Algeria and Paris: all this held our attention and led us to more images, from now and then, relating to the same line: What happens after the time of struggle? “Do we use this time of the uprising, to change our situation?” Katia Kameli asks in her letter to the women on aeroplanes. We accepted, with great pleasure, an invitation by the curator Hoor Al Qasimi, via Anjalika Sagar, to the beautiful Lahore Biennale #2, where all Inflight Magazines were reprinted and displayed. It was exciting to see how they were adopted by this very different context, that generated many new conversations beyond the public “Editorial Meeting”; we also found installed, literally next door, “Sultana’s Reality”, narrated, designed and programmed by Afrah Shafiq, which, in the end, has led to another boarding passenger and to a series of new drawings, in the coming pages. ..................... a moving layover becomes a line of dots, not only line-shaped clouds, it could even transform into a score, with a set of different notations, for women-informed afterlives of the revolutions to come.
WOMEN ON AEROPLANES Inflight Magazine #2
edited by Annett Busch, Marie-Hélène Gutberlet, 2018
Lagos: Search, Research Research always makes life complicated. We might end up knowing too much, getting lost in accumulated information, stories, details, in between perspectives that all fall apart. How do we begin such a process and how do we navigate it, how do we move within? How do we set the premises? What do we do next? What to do with a discovery we don’t want to make? Which form, format should it take? All these questions will stay with us and transform through issue 2 of the Women on Aeroplanes Inflight Magazine. And yes, as many an- swers turn up as people sitting around the table.
The International Encyclopedia of Anthropology , 2021
For over a century aviation—or the systemic organization and coordination of machine-powered flight—has been increasingly embedded in modern political economies of war, capitalist expansion, mobility, and neoliberal supply chains. These applications shape the material and cultural practices of the machines’ design and operation as icons for and drivers of global interconnection. As such an assemblage, aviation is often symbolic in the service of the nation-state in situations both of patriotic wonder and glory as well as of uncanny terror and destruction. The various functions of these apparatuses and the contributions of workers and consumers are imbued with gendered expectations; some of their most visible participants have become paragons for gendered modernity and national identity. To explore these political histories and ethnographic presents, this entry discusses some of the ways in which the relationships between people and heavier-than-air machine-powered aircraft and their networks can contribute to anthropological research about gender. Discussion is organized according to two themes: (1) the symbolism and ideological implications of aviation workers in history; and (2) the ethnography of aviation labor and representation of aviation work.
Gendered Airs? Gender Studies and Aeronautics
Nacelles. Past and Present of Aeronautics and Space, 2022
Introduction to the Thematic Section. The success of the Top Gun’s sequel reminds us of the appeal of the glorious, reckless, non-conformist, seductive aviator who rides ever-faster motorbikes and planes and is ready to go beyond the limits set by his contemporaries. If a woman did slip into one of the cockpits, Tom Cruise and his peers once again demonstrate the triumph of muscular and seductive men wearing Ray-Bans and leather jackets when not at the controls of fighter planes. In the meantime, a quick internet search using the key words “stewardesses” reveals numerous more or less sensationalist articles revolving around the theme of gender and associating these workers to the sexual potential of their bodies: an Air France stewardess accusing pilots of “verbalised rape”, an internal Transavia sex scandal in 2016, repeated sexual assaults on cabin crew members during a Frontier Airlines low-cost flight in 2021… The relationship between aircrew and the gender system is strikingly strong. A historical analysis provides an insight into the basis of this relationship. In fact, the entire aeronautical sector is articulated around gendered representations, which are particularly embodied in the emblematic figures of pilots – bastions of masculine heroism – on the one hand, and stewardesses – archetypes of a celebrated and fantasised femininity – on the other. The latter have already prompted a few works, particularly in the English-language literature, where socio-historical analyses through the prism of gender seem to be better established. This thematic issue of Nacelles aims to deepen this knowledge, without simply compiling data on the various professions that make up the world of aeronautics. It explores how a social object as massive as aviation is structurally linked to the gender system.
A Woman's Place is … on the Flightline
In the 21 st century, sustained participation in the global economy requires a viable and technologically advanced aviation and aerospace industry. It is imperative for the United States' continued leadership in aviation and aerospace to focus academic energy on preparing the next generation of scholars, inventors, and aviation and aerospace practitioners. Historically, these industries have been viewed as predominantly a fraternity of men. However, a number of women made (and continue to make) significant contributions to the aviation and aerospace industries. This paper provides a brief history of women's contributions to aviation/aerospace through portraits of key participants over multiple eras. Their experiences and exploits should be used to encourage girls to study the science, technology, engineering, and mathematics necessary to compete in, and contribute to, the next generation of United States' aviation/aerospace.
WOMEN ON AEROPLANES Inflight Magazine #3
edited by Annett Busch, Marie-Hélène Gutberlet, Michael Vazquez, 2018
The momentum to see conversation as a distinct activity, as a medium, almost, emerged not through talking but through images. Talkative images, you might say: a pair of paintings by Lubaina Himid, Between the Two my Heart is Balanced (1991) and Five, part of the Revenge series from 1992. Five depicts a conversation— or is it a debate?—among colours, postures, gestures, plates, signs, maybe continents, held between two (female?) figures, seated at a table. Who is conversing with whom, and what about? Whatever is happening within the frame of that painting, whatever is at stake, happens somewhere in between. An in-between populated by fugitive lines, choreographed movements, negotiations, by a hardly graspable absence–presence. The story that the painting tells is unreliable; it might be different every day. There is no script. Each time we slide into conversation with the image, we have a different encounter. Like a collage, an inspiring conversation is a puzzle. What is interesting is not a new whole, but what zigs and zags between the pieces— displaced fragments re-arranged in new proximities, neighbourhoods, constellations. The unfolding of that story in between is full of surprise, invention, fiction, misinterpretation— something that needs to be endured, not controlled or labelled. Sentences or images taken out of context or out of place become part of new narratives. When ideas are in motion, there are often troubles in transportation.