ABSTRACT

In The Deadly Life of Logistics (2014), Deborah Cowen asks what a queer engagement with logistics space might look like. In the years following this publication, there has been an increase in interest in critical approaches to logistics, infrastructure, and supply chains, yet hardly any of this work has been taken up in queer scholarship. This article offers an analysis of Netflix’s Sense8 (2015–2018), arguing that the series be read as a queer engagement with logistics, offering what I term a “queer logistical aesthetic.” I argue that the series seemingly responds to Cowen’s call for alternative inhabitations of networked logistics, fantasizing that the network imaginary of global supply chain capitalism might be inhabited differently, as a queer circuit of desire. Yet, as much as Sense8 seems to produce a queer logistical aesthetic, one that re-imagines supply chain capitalism, this aesthetic, in the end, remains in a complicated and ambivalent tangle with the present-day logistics that enables it. Via this reading of Sense8, this article contributes to bringing queer theory and contemporary queer aesthetics into closer conversation with late capitalist logistics discourse.

摘要

在《物流的致命生命》（2014 年）中，黛博拉·考恩（Deborah Cowen）询问与物流空间的奇怪接触会是什么样子。在本书发表后的几年里，人们对物流、基础设施和供应链的关键方法的兴趣有所增加，但这些工作几乎没有被酷儿学术研究过。本文对 Netflix 的Sense8（2015-2018 年）进行了分析，认为该系列被解读为对物流的酷儿参与，提供了我所说的“酷儿物流美学”。我认为该系列似乎响应了 Cowen 对网络物流的替代居住的呼吁，幻想全球供应链资本主义的网络想象可能以不同的方式居住，作为一个奇怪的欲望循环。然而，尽可能Sense8似乎产生了一种奇怪的物流美学，一种重新想象供应链资本主义的美学，这种美学最终仍然与实现它的当今物流复杂而矛盾的纠缠。通过对Sense8的阅读，本文有助于将酷儿理论和当代酷儿美学与晚期资本主义物流话语进行更密切的对话。