Bodies on the Line: Violence, Disposable Subjects, and the US-Mexico Border Industrial Complex

Bodies On the Line: Violence, Disposable Subjects, and the Border Industrial Complex explores the construction of identity and notions of belonging within an increasingly privatized and militarized Border Industrial Complex. Specifically, the project interrogates how discourses of Mexican migrants as racialized, gendered, and hypersexualized “deviants” normalize violence against border crossers. Starting at Juárez/El Paso border, I follow the expanding border, interrogating the ways that Mexican migrants, regardless of sexual orientation, have been constructed and disciplined according to racialized notions of “sexual deviance." I engage a queer of color critique to argue that sexual deviance becomes a justification for targeting and containing migrant subjects. By focusing on the economic and racially motivated violence that the Border Industrial Complex does to Mexican migrant communities, I expand the critiques that feminists of color have long leveraged against systemic violence done to communities of color through the prison industrial system. Importantly, this project contributes to transnational feminist scholarship by contextualizing border violence within the global circuits of labor, capital, and ideology that shape perceptions of border insecurity. The project contributes an interdisciplinary perspective that uses a multi-method approach to understand how border violence is exercised against Mexicans at the Mexico-US border. I use archival methods to ask how historical records housed at the National Border Patrol Museum and Memorial Library serve as political instruments that reinforce the contemporary use of violence against Mexican migrants. I also use semi-structured interviews with nine frequent border crossers to consider the various ways crossers defined and aligned themselves at the border. Finally, I analyze the master narratives that come to surround specific cases of border violence. To that end, I consider the mainstream media’s coverage, legal proceedings, and policy to better understand the racialized, gendered, and sexualized logics of the violence.

Physiological Effects of Alcohol on Crayfish Escape Circuitry

Alcohol is one of the oldest and most widely used drugs on the planet, but the cellular mechanisms by which it affects neural function are still poorly understood. Unlike other drugs of abuse, alcohol has no specific receptor in the nervous system, but is believed to operate through GABAergic and serotonergic neurotransmitter systems. Invertebrate models offer circuits of reduced numerical complexity and involve the same cell types and neurotransmitter systems as vertebrate circuits. The well-understood neural circuits controlling crayfish escape behavior offer neurons that are modulated by GABAergic inhibition, thus making tail-flip circuitry an effective circuit model to study the cellular mechanisms of acute alcohol exposure. Crayfish are capable of two stereotyped, reflexive escape behaviors known as tail-flips that are controlled by two different pairs of giant interneurons, the lateral giants (LG) and the medial giants (MG). The LG circuit has been an established model in the neuroscience field for more than 60 years and is almost completely mapped out. In contrast, the MG is still poorly understood, but has important behavioral implications in social behavior and value-based decision making. In this dissertation, I show that both crayfish tail-flip circuitry are physiologically sensitive to relevant alcohol concentrations and that this sensitivity is observable on the single cell level. I also show that this ethyl alcohol (EtOH) sensitivity in the LG can be changed by altering the crayfish’s recent social experience and by removing descending inputs to the LG. While the MG exhibits similar physiological sensitivity, its inhibitory properties have never been studied before this research. Through the use of electrophysiological and pharmacological techniques, I show that the MG exhibits many similar inhibitory properties as the LG that appear to be the result of GABA-mediated chloride currents. Finally, I present evidence that the EtOH-induced changes in the MG are blocked through pre-treatment of the potent GABAA receptor agonist, muscimol, which underlines the role of GABA in EtOH’s effects on crayfish tail-flip circuitry. The work presented here opens the way for crayfish tail-flip circuitry to be used as an effective model for EtOH’s acute effects on aggression and value-based decision making.

Doubt, for narrator and orchestra

Doubt is a single-movement composition of roughly twelve minutes for narrator and orchestra (woodwinds, horns, and trumpets in pairs, timpani, percussion, strings). The piece explores the controversial issue of capital punishment. The text was compiled from resources found on the websites of Death Penalty Information Center (http://www.deathpenaltyinfo.org) and Anti-Death Penalty Information (http://www.antideathpenalty.org), as well as excerpts from the Bible. Doubt was conceived of as a dramatic work in which a narrator recites factual information in a direct and unemotional manner and the orchestra provides a response to the mixed emotions elicited by the text. The list of dates and case summaries presented in the middle section of the piece seemed most powerful and effective when recited in a natural speaking voice, which is why I chose not to set the text as song. Also, I chose the orchestral medium rather than a chamber setting because the nature of the topic demanded a larger range of colors and combinations, as well as a louder, fuller sound. Much of the music was composed while deciding which texts to include. Thus the music influenced the choice of text as much as the text suggested the musical setting. The four formal divisions of the piece are delineated primarily by the text. The first section is an orchestral introduction representing various emotional perspectives suggested by the texts. The narrator begins the second section with a Biblical verse over sparse orchestration. The third and main section of the piece begins with a new melody in the low strings that is closely related to the harmonic organization of the piece. The narrator lists dates of convictions, executions, exonerations and facts related to doubtful cases. The third section and the narration conclude with another brief passage from the Bible. The fourth section is a dramatic orchestral coda, bringing back the opening harmonies of juxtaposed perfect fifths. The final chord is full of tension and discord, reflecting the oppositions inherent in the topic of capital punishment: life vs. death, sympathy vs. reproach, pain vs. hope, but above all, doubt about guilt vs. innocence.