subordinate sexual tool to interpellate for adver tising purposes (see appendix ii & iii).
One must question and interrogate the modalities of online female subjectivities which include codes of online behaviour and internet pornography (or IP) normativity that have, through economic pressure and market over saturation heralded an osmosis of sexualised images into previously innocuous online zones; from pornography sites to its filtration into the delivery system as a whole in order to continue to sell to the hegemonic market that suffers at the hands of the recession and the politics of PostModernism22; seen it all, heard it all, done it all… Marketing strategies are at once fighting for the same limited pot of gold and apathetic blindness to advertising. The more sexualised the online advert, the better chance the marketing strategies have of gaining, and keeping, their business.
misogynistic tracts and rebuttals. According to Patricia HillCollins,
“Contemporary forms of oppression do not routinely force people to submit. Instead they manufacture consent for domination so that we lose our ability to question and thus collude in our own subordination”23
This could be applied to the third space and also characterised as geographies of seclusion24 where the discursive and constructed digital woman dominates and occupies the third space and leaves no room for real female represen tation. There is a double subjugation at work here: the female construct or simulation that occupies space online is subordinated because it is not real yet there is no space for the real woman to occupy online spaces. Women, therefore, are aliens in and of the digital realm who cannot make the space work for them unless its consumer based and sexualised, which leaves the question, where do the “other” women go?
Women’s attempt to occupy any online space is jolted by sexist counterpoint from Beyoncé or The simulations, the Barbie Rihanna’s videos on YouTube to online blogs by dolls exist within internet pornography and online journalists such as Laurie Penny. Is it a case that the third space presents women with an erotic/economic freedom or is this third wave feminist aesthetics that have been co opted so women become complicit in their own online oppression? Women’s attempt to occupy any online space is jolted by sexist counterpoint from Beyoncé or Rihanna’s videos on YouTube to online blogs by journalists such as Laurie Penny. Consequently, these spaces become liminal and sidelined, let alone women being able to exercise the ability to occupy space online without fear or threat of sexist and
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advertising that blur the notion of public and play spaces for everyone who access the internet and displaces them against the hegemony. Therefore women’s sensorial relationships with their gender in the online space, is intensely problematic.
When examining the most hegemonic sensorial worlds online, Internet Pornography for example is shot through with a sense of loss; it’s encoded and inscribed in the mechanical labourization of sterile sexual practice25. It presents a ubiquitous “non” place of the internet; its pornographic miseenscene that details a collection of