Abstract

The snub-nosed, reclining, and serene image of the fetus is commonplace in cultural representations and analyses of obstetric ultrasound. Yet following the provocation of various feminist scholars, taking the fetal sonogram as the automatic object of concern vis-à-vis ultrasound cedes ground to anti-abortionists, who deploy fetal images to argue that life begins at conception and that the unborn are rights bearing subjects who must be protected. How might feminists escape this analytical trap, where discussions of ultrasonics must always be engaged in the act of debunking? This article orients away from the problem of fetal representation by employing a method which may appear to be wildly unsuitable: media archaeology. Media archaeologists typically reject the body and the human sensory apparatus as the default subject of media and argue that the interpretive methods of the humanities are incapable of accounting for the ontology of machines. I propose, however, that media archaeological methods provide a necessary vocabulary to attend to obstetric ultrasound outside of iconography. I develop and deploy a media archaeological method that integrates feminist concerns—including advocation of subjugated persons and the making visible of maligned subjects—to examine the ultrasonic experiments performed by gynecologist Ian Donald on working-class Glaswegian women during the 1950s and 1960s, ultimately arguing that, in the case of ultrasound, there can be no separation between technical process and the historically situated body.