On September 11, 2001, many of us experienced life as what it is not: we lived an extreme instance of the spectacle, of the sublime outside the realm of ethics. Starting with a few compelling questions that the media representations of the attack on the New York World Trade Center inevitably raise, this paper explores a series of similarities, continuums, and extrapolations of the aesthetic in different types of discourse from Friedrich Schiller to Guy Debord. My assessment of the individual‘s (...) dissolution in the ritual (former dissident and present Czech President Václav Havel‘s phrase) rejects the bleak Marxist theories of manipulation, without overlooking, at the same time, the potential dangers of unfreedom that the process of surrendering to the spectacle implies. Living life as show time may ultimately, and oxymoronically, prove to be the only option toward an infinitude of choices. (shrink)

The article describes the way in which law-related events are represented in Truman Capote’s In Cold Blood. Based on a narrative analysis, the paper will posit that In Cold Blood played a particular role in originating and shaping an innovative mode of representing law-related events, a mode that was widely employed since, in various artistic mediums and in popular culture. As the paper further elaborates, Capote’s work paved new ways for challenging the conventional boundaries between “reality” and “fiction” with regard (...) to the representation of law-related events. The paper will also maintain that in addition to its contribution to the law and literature discourse, In Cold Blood can be also seen as an early prototype to the digital legal spectacles that are now common. Revisiting In Cold Blood reveals not only its standing as originating model of many present-day cultural representations of the legal system in action, but also the essential difference between the almost unrestrainedly produced digital law-related content, to a artistic enterprise, characterized by poetic distinctiveness. (shrink)

In the context of the blurring of boundaries between club and theatre, game and theatre, and party and theatre, experiential spectatorship is spilling into the mainstream. This article starts from the recognition of the rapid rise of the experience economy as a turning point in consumer culture towards a specific appeal to the sensory body. The definition of experience in this analysis is key and a distinction is made between experience as it passes moment by moment, erlebnis, and experience as (...) something that is cumulatively built up over time, erfahrung. This paper asks, in a society defined by the crisis of experience, does this rise of the experiential in theatre simply reflect the reduction of experience to a series of consumable sensory moments or is there a mode of experience modelled through performance interaction which moves both beyond this established mode of experience and also beyond the notion of experience as cumulatively formed wisdom? Drawing a parallel between established popular cultural practices of the body and those of the spectator in spectacular promenade performance, Fuerzabruta is used as an illustrative example of popular experiential performance and Hwang’s The Road as an example of experiential performance in which a transformative aesthetic is made possible. (shrink)

This paper describes the construction of the visual space of surveillance by the global anti-doping apparatus, it is a space inhabited daily by professional cyclists. Two principal mechanisms of this apparatus will be discussed—the Whereabouts System and the Biological Passport; in order to illustrate how this space is constructed and how it visualises the invisible act of doping. These mechanisms act to supervise and govern the professional cyclist and work to classify them as either clean or dirty in terms of (...) the use of prohibited doping substances or methods. Contrary to the analysis of liberal anti-doping scholars such as Hanstad, Loland and Møller this paper argues that Foucault’s Panopticon paradigm is a useful tool for the analysis of this apparatus. The Whereabouts System and Biological Passport are the instruments by which the anti-doping apparatus intensifies the construction of the space of surveillance in professional sport. This space of surveillance not only locates and makes visible the physical location of each individual cyclist, but it also makes visible their internal bodily functions, in this case the composition and the fluctuations of the composition of their blood. In making the cyclist visible the instruments do not allow the cause of doping, or the event of doping to be known or observed. Rather what they do is cast the body in terms of abnormalities of time, place or blood. In the case of an abnormality of the cyclist’s blood, the cause itself cannot be identified with any certainty, all that is made visible is a suggestion, or a probability, that doping may have occurred. The ultimate effects are twofold—an internalisation and continual monitoring of one’s self as well as by the authorities, and a radical change in the nature and the definition of the offence of doping. No longer is it positive evidence of doping that is punishable, but what becomes punishable is an abnormality, in the cyclist’s location, or their body, which suggests a probability that the invisible act of doping may have occurred. In the course of this process accepted manners of proving an offence by the use of scientific evidence and expert commentary are transformed. The Whereabouts System and the Biological Passport open up a new manner in which the invisible can be visualised. Through the discourse and the attendant commentary of the expert a new alliance between doping and the law is constructed. The result is a redistribution of the way in which the law visualises and treats the symptoms (the signifier) and the signified act of doping. The Whereabouts System and Biological Passport are the instruments by which the anti-doping apparatus intensifies the construction of the space of surveillance in professional sport. This space of surveillance not only locates and makes visible the physical location of each individual cyclist, but it also makes visible their internal bodily functions, in this case the composition and the fluctuations of the composition of their blood. In making the cyclist visible the instruments do not allow the cause of doping, or the event of doping to be known or observed. Rather what they do is cast the body in terms of abnormalities of time, place or blood. In the case of an abnormality of the cyclists’s blood, the cause itself cannot be identified with any certainty, all that is made visible is a suggestion, or a probability, that doping may have occurred. The ultimate effects are twofold—an internalisation and continual monitoring of one’s self as well as by the authorities, and a radical change in the nature and the definition of the offence of doping. No longer is it positive evidence of doping that is punishable, but what becomes punishable is an abnormality, in the cyclist’s location, or their body, which suggests a probability that the invisible act of doping may have occurred. In the course of this process accepted manners of proving an offence by the use of scientific evidence and expert commentary are transformed. The Whereabouts System and the Biological Passport open up a new manner in which the invisible can be visualised. Through the discourse and the attendant commentary of the expert a new alliance between doping and the law is constructed. The result is a redistribution of the way in which the law visualises and treats the symptoms (the signifier) and the signified act of doping. (shrink)

In this dissertation I address the question, how does power operate in day-today consuming in a consumer society? My theoretical framework has two bases. One base is Foucault's theories of power, including but not limited to his work on normalization, surveillance, examination, confession, and identity. The other base is narrative theory, including the relevance of narratives to personal and social identities, the role of narratives in creating social order, the impact of narratives on such things as the organization of space (...) and time, and the effect of narratives in creating coherence and directionality across operants of power. I suggest that many of the mechanisms of power identified by Foucault have unmistakable narrative features, and that by combining narrative and Foucauldian perspectives a more comprehensive understanding of the operation of power in day-to-day life is attainable. I apply my theoretical framework to data collected using autoethnographic methods. Specifically, I spent one year keeping a detailed journal of my and my family's experiences relating in the broadest sense to consuming. During this period we lived in a middle-sized Canadian city. To heighten my awareness of the taken-for-granted aspects of power and consuming we alternated lifestyles each month, living months 1,3,5,7,9, and 11 as conventional Canadian consumers, and months 2,4,6,8,10, and 12 as committed environmentally-mindful consumers. In addition, I conducted - interviews of small samples of conventional and environmentally-committed consumers; I undertook a content analysis of print advertising delivered to our house; and I conducted background research on various issues relating to consumerism. My research indicates that Foucauldian operants of power are used extensively to support consuming, and that; in addition, many narrative structures are also employed as operants of power, including charms and stories. These operants of power are aligned with one another to form coherent patterns through the effects of metanarratives. I argue that, despite claims by Lyotard (1984) and others, modern consumer societies are highly narrative, and have defining metanarratives. In addition, environmentally-based opposition to the dominant metanarrative of consuming has a metanarrative of its own, but is distinctly lacking in operants of power. (shrink)

My research into Virtual Reality technology and its central property of immersion has indicated that immersion in Virtual Reality (VR) electronic systems is a significant key to the understanding of contemporary culture as well as considerable aspects of previous culture as detected in the histories of philosophy and the visual arts. The fundamental change in aesthetic perception engendered by immersion, a perception which is connected to the ideal of total-immersion in virtual space, identifies certain shifts in ontology which are relevant (...) to a better understanding of the human being. This understanding was achieved through a broad inquiry into the histories of Virtual Reality, philosophy, and the visual arts and has lead to the formulation of an aesthetic theory of immersive consciousness indicative of immersive culture. The primary subject of this discourse is immersion then: an experience which will be identified within the dissertation as the indispensable characteristic of Virtual Reality. The understanding of immersion arrived at here will be used to fashion a synchronous theory of art particularly informed by encounters and concepts of immersion into virtuality. To sufficiently address this subject in a scholarly fashion, I have researched, found and accumulated aesthetic and philosophic examples of immersive tendencies, as found within the histories of art and philosophy, which subsequently contributed towards the articulation of what I have come to call immersive consciousness. As a result of formulating such an immersive consciousness, a good deal of the basis for the questioning of the Western ontological tradition has been found in the Western tradition itself when we look with new eyes and ask new uncertain questions. Moreover, this immersive consciousness will be used to propose some abstract questions encircling today's electronic-based culture. Through the structuring of the argument within the thesis - and overtly within the conclusion - I have articulated a non-teleological creative strategy which provides the basis for an unconstraining integration of noologies (ways of semblancing the thinking process). This strategy provides a means of exemplifying - and for honoring - various methods of thinking. This structuring strategy is consistent with the 'hacker ethic' as defined by Steven Levy, as a demand that access to computers - and anything which might teach us something about the way the world works - should be unlimited and total. To follow this strategy, this dissertation has set out to understand how topical conceptions of virtual immersion connect to pre-existing systems of thought as revealed in art as they have extended out of antecedent ontological self-understandings, historical human self-understandings which have evidenced themselves in the elaboration of technological objectives. To do this I have forged a certain rhizomatic paternity/maternity for Virtual Reality within this dissertation by joining choice immersive examples of simulacra technology into mental connections with the relevant examples culled from the histories of art, architecture, information-technology, sex, myth, space, consciousness and philosophy. (shrink)

Modern Western thought and culture have envisaged their task in terms of a metaphorics, a metaphysics and a technics of 'enlightenment'. However, the ethical and environmental implications of this determination to dispel all shadows have become increasingly pernicious as modernity both extends and alters the conceptualization and employment of (a now artificial) light as a tool of discovery and control. Drawing on the work of Foucault and Benjamin amongst others, this paper seeks to illustrate, through a critical ethopoietics, the 'speculative (...) aporia' of contemporary society from the perspective of radical ecology. The world does not just reflect our own instrumental interests: it has an elusive, shadowy existence of its own that can impinge upon our ethical perceptions. (shrink)

Questions are currently being posed concerning the implications of the clinical uptake of psychedelics. While enthusiasm surrounds the potential therapeutic benefits of psychedelics and critique surrounds their appropriation to commercial ends, limited attention has been given to the role of psychedelics in generating social transformation. Herbert Marcuse contended radical change requires ‘new imaginaries of liberation’. We consider whether clinical uptake of psychedelics may produce the perceptual shifts necessary to generate social transformation surrounding contemporary alienating conditions. Economic structures contributing to these (...) alienating conditions are highly resistant to change and may neuter psychedelics’ revolutionary potential. We illustrate how psychedelics may be instrumentalised: regulating individuals into unjust systems; redirecting psychedelic usage away from therapeutic ends towards productivity; distracting or diverting attention from systemic forms of control; usurping non- ordinary states into the domain of self-care; and fetishistically commodifying psychedelic experience as a consumable. There are, however, reasons to believe that psychedelics, in raising consciousnesses, may prove resistant to co-option. In particular, psychedelics induce perceptual experiences that: challenge the paradigmatic assumptions of industrial society by provoking alternative epistemologies and meta- physics; generate expanded or ecological constructions of selfhood, thereby offering resignifications of meanings, desires, and life potentials; and offer the enriched phenomenological insight into self, other, and world called for in combating ubiquitous social alienation. In this way, psychedelics may induce the revolution in perception necessary to imagine liberatory potentials and spark the desire for collective emancipation. (shrink)

Images share a common feature with all phenomena of imagination, since they make us aware of what is not present or what is fictional and not existent at all. From this perspective, the philosophical approach of Kendall Lewis Walton—born in 1939 and active since the 1960s at the University of Michigan—is perhaps one of the most notable contributions to image theory. Walton is an authoritative figure within the tradition of analytical aesthetics. His contributions have had a considerable influence on a (...) broad range of topics, such as the role of categories in the understanding of the arts (Walton, “Categories of Art”. Philosophical Review, 79(3): 334–367, 1970), the ambiguous nature of emotions in the experience of fictional stories (Walton, “Fearing Fictions”. The Journal of Philosophy, 75(1): 5–25, 1978), the transparency of photographic images compared to other depictions (Walton, “Transparent Pictures: On the Nature of Photographic Realism”. Noûs, 18(1): 67–72, 1984) and, above all, the development of a general theory of fiction as imaginative activity. His 1990 book Mimesis as Make-believe: On the Foundations of the Representational Arts collects and re-elaborates articles Walton published on the subject since the 1970s. Though he does not attempt to give a definitive answer for what imagination is, Walton thoroughly investigates its role in all cases of representational works, describing depictions as a specific case of “make-believe” activity: images, in short, are specific props of a visual and perceptual “make-believe” game. (shrink)

We analyse how memes construct networks of feminist critique and response, mobilising the derisive laughter that energises current feminisms. Using the 2012 case of the ‘Binders Full of Women’ meme, we argue that feminist memes create online spaces of consciousness raising and community building. The timeliness, humorous affect and media techné of meme propagators become significant infrastructures for feminist critique, what we term ‘doing feminism in the network’. If the Internet is particularly good at facilitating the diffusion of feminist jokes, (...) as others argue, we illustrate how the networking and distribution capacities of social media platforms such as Tumblr, Facebook and the online shopping site Amazon.com also cultivate new modes of feminist cultural critique and models of political agency for practising feminism through meme production and propagation. (shrink)

From the feminist ‘sex wars’ of the 1980s to the queer theory and politics of the 1990s, debates about the politics of sexuality have been at the forefront of contemporary theoretical, social, and political demands. This article seeks to intervene in these debates by challenging the terms through which they have been defined. Investigating the importance of ‘sex positivity’ and transgression as conceptual features of feminist and queer discourses, this essay calls for a new focus on the political and material (...) effects of pro-sexuality. (shrink)

In this paper, a particular case of deceptive use of images – namely, misattributions – will be taken in consideration. An explicitly wrong attribution (“This is a picture of the event X”, this not being the case) is obviously a lie or a mistaken description. But there are less straightforward and more insidious cases in which a false attribution is held to be acceptable, in particular when pictures are also used in their exemplary, general meaning, opposed to their indexical function (...) in referring to a specific event. In fact, the boundary between referential use and symbolic-exemplificative use is not always clear-cut, and it often becomes the subject of ideological dispute. The main point that this paper would like to do is that in some circumstances there is a deep-seated belief that images that are clearly misattributed could still be legitimately used to refer to the fact, even if this is not the case. This twisted epistemological stance, that I will summarize under the oxymoronic concept of “emblematic evidence”, is both the product of political and tribal polarization in the ideological debate, and the result of a shift in our understanding of what photographic images should do. (shrink)

Being young today is no longer a transitory stage, but rather a choice of life, well established and brutally promoted by the media system. While the classic paradigms of adulthood and maturation could interpret such infantile behavior as a symptom of deviance, such behavior has become a model to follow, an ideal of fun and being carefree, present in a wide variety of contexts of society. The contemporary adult follows a sort of thoughtful immaturity, a conscious escape from the responsibilities (...) of an anachronistic model of life. If an ideal of maturity remains, it does not find behavioral compensations in a society where childish attitudes and adolescent life models are constantly promoted by the media and tolerated by institutions. (shrink)

Rousseau maintains that the spectacle isolates us at the very same moment when it brings us together. This article argues that this striking remark must be understood within the more general framework of a critique of the spectacular nature of modern society. But if the spectacle is not simply an occasional form of entertainment, but a social relationship that pervades modern society as a whole, how can we escape from it? Rousseau’s homeopathic strategy, according to which we should fight an (...) evil through small doses of that very same evil, offers a solution that is crucial for grasping the scope of Rousseau’s critique of the spectacle as well as for rethinking the possibility of democracy. (shrink)

While most other works focus on conspiracy theories, this book examines conspiracy panics, or the anxiety over the phenomenon of conspiracy theories. Jack Z. Bratich argues that conspiracy theories are portals into the major social issues defining U.S. and global political culture. These issues include the rise of new technologies, the social function of journalism, U.S. race relations, citizenship and dissent, globalization, biowarfare and biomedicine, and the shifting positions within the Left. Using a Foucauldian governmentality analysis, Bratich maintains that conspiracy (...) panics contribute to a broader political rationality, a (neo)liberal strategy of governing at a distance through the use of reason. He also explores the growing popularity of 9/11 conspiracy research in terms of what he calls the "sphere of legitimate dissensus." Conspiracy Panics concludes that we are witnessing a new fusion of culture and rationality, one that is increasingly shared across the political spectrum. (shrink)

Neoliberalism has installed an unending competitive struggle in the economy. Within this context activists have pushed for a reappraisal of laziness and inactivity as forms of resistance. This idea has been picked up by Maurizio Lazzarato and Giorgio Agamben in different ways. I start with explaining the former’s appraisal of laziness as a release of potentialities unrealizable under financial capitalism. Lazzarato’s appraisal of laziness however resembles neoliberal theories of innovation, because both share the conceptual persona of a subject whose potentialities (...) exceed the current status quo. Potentiality is thus not an unambiguous antagonist of capitalism, as Lazzarato suggests. In order to adequately oppose neoliberalism, Lazzarato should question the role of potentiality in capitalism. Agamben has undertaken such a project. In the second part of the essay I consequently argue that Agamben’s philosophy of inactivity as impotentiality is able to circumvent neoliberalism and the society of the spectacle. (shrink)

This paper calls into question the growing tendency of quasi-absolutism within postmodern mainstream media discourse under the guise of objectivity. The tendency’s major aim is to ascribe more believability to its discourse by re-presenting that which it covers as the vehicle of objective truth to the mainstream audience. Two interweaving discourses have marked such objectivity: one in the form of indoctrinating and omnipresent narratives, which via effective propaganda become tantamount to ritualism, the other epitomised in the nostalgia for rationalisation, already (...) inherent in western positivist thought through the exponential increase of quasi-empiricism. Accordingly, what the media cover exists. What they do not remains in the order of myth. The article starts by rethinking objectivity within modern western academia, a discourse whose objectivity is already flawed from within. Then, with respect to human experience and media coverage, the paper concludes by raising the question of postmodern mainstream media’s substitution of religious quasi-absolutist narratives, be they secular or non-secular. Subjectivity thus emerges as the ultimate ground upon which our being may be legitimate. (shrink)

Instead of a ?meditation on first philosophy; (Descartes) or a ?return to first principles; (Kant), Laruelle's work is presented here as a kind of ?meditation on last philosophy; in which the normal structuring conditions of philosophical knowledge are withheld. By superimposing non-philosophy on Kant's two-by-two matrix of a priori/a posteriori and analytic/synthetic, we see a relative enlargement of analytic a priori statements, those itemized by Kant but ultimately deemphasized by him as ?merely; analytic. An analytic statement such as n=n is (...) recast by Laruelle not as a marginally useful tautology but as the identity axiom, the most central axiom in non-philosophy. Likewise, the domain of the a priori is enlarged in Laruelle to encompass the entire universe. What this produces, for Laruelle and non-philosophy, is an ?autistic; rationality, in which normal communicative relations are marginalized in favor of a unidirectional identity with the One. (shrink)

A new ontology that forms the groundwork for ethical practices of resistance What and how should individuals resist in political situations? While these questions recur regularly within Western political philosophy, answers to them have often relied on dogmatically held ideals, such as the distinction between truth and doxa or the privilege of thought over sense. In particular, the strain of idealist political philosophy, inaugurated by Plato and finding contemporary expression in the work of Alain Badiou, employs dualities that reduce the (...) complexities of practices of resistance to concepts of commitment. (shrink)

This study develops a genetic phenomenological sociology of space from the phenomenology and phenomenological sociology of space. Based on relational ontology, it argues that social space is a social relationship in genesis. An Apple walk-in store and an Apple online store are examples to illustrate the essence of social space. Any Apple store as a social space represents a set of social relations. The genetic phenomenological sociology of space in both store types includes two parts: first, the social ontology of (...) space, that is, ‘being-in-the-Apple-store’ or ‘being-in-the-Apple-online-store’; and second, the social epistemology of space, that is, the act of ‘encountering’ in either store. Examining the existence of space ontologically and the mode of existence epistemologically clarifies that the actual ‘meaning’ of social space, an Apple store or an Apple online store in this study, emerges through the act of encountering. Three characteristics of encountering are placelessness, ‘de-distancing,’ and mediation. (shrink)

This paper explores the thermodynamic property ‘entropy’ as a metaphor for aesthetics and politics, law and resistance in the case of the Summer Riots 2011. The aim of the paper is to use the framework and structure of entropy to demonstrate a political aesthetics of property. This shall be done by firstly linking entropy with aesthetic concepts of order, disorder, symmetry and equilibrium. Works on complex adaptive systems to account for collective behaviour, combined with Benjaminian and Adornian accounts of the (...) commodity, shall be used alongside the relevance of crowd theory in explaining not the riots themselves but the sentencing of collectivity in the case of R v Blackshaw & Others [2011] EWCA Crim 2312. Following Rancière and the arts and crafts movement, utility and beauty, the breaking down of the divisions of art, life, philosophy and science are summarised as the lesson of entropy for law. This re-visiting of the Summer Riots 2011 hopes to re-evaluate the sentencing procedures in light of ‘Riot-Related Offending’ through an aesthetic politics of collectivity, property and commodity. (shrink)

David Roberts's The Total Work of Art in European Modernism extends and deepens the analysis of the counter-paradigm of redemptively inspired art to modernism's own pre-occupation with secularization. It addresses the imbalance in social and critical theory whereby progressive secular rationalization has been elevated to the sole logic of modernity, and the romantic redemptive tradition has been reduced to a marginal counter-enlightenment. The total work of art paradigm allows Roberts to demonstrate how the programme of modernity has been constituted by (...) internal tensions and antinomies from the very beginning. (shrink)

Brazilian artist Rosângela Rennó refuses to take “new” photographs, preferring instead to rework the mass of existing images. Her use of appropriation and her attitude towards this method are remarkably similar to international postmodern appropriation practices. However, she reached this parallel position through her exposure to different theories and influences. Her decision to abandon the act of photography and to appropriate photographs and photographic objects was influenced by the book Towards a Philosophy of Photography by Czech-Brazilian philosopher Vilém Flusser, amongst (...) other theories that were current in Brazil at the time. The ideas of Flusser have not been extensively discussed in Brazilian art history. This article aims to evaluate Rennó’s art in relation to the fledgling postmodern debates generated in Brazil by Flusser. It also considers how Flusser’s particular theories directly influenced Rennó’s art. Rennó takes from Flusser the idea of the need for visual re-education, i.e., that viewers should be provoked into looking. Rennó’s response is to create images that are hard to see. Paradoxically, perhaps, she embraces opacity in order to generate visual engagement. (shrink)

In his article How Did Marx Invent the Symptom? Žižek discusses his project of a critique of ideology, he proposes, since the concept of real abstraction by Sohn-Rethel, that are a virtual dimension that structure the practices, which, in turn, the beliefs or the subjectivity is submitted to. On contrary to the classical critique of ideology, that step in the levels of practices or the subjectivity, in Žižek’s project the subjectivity is just a rebound effect of the practices and the (...) the practice is what are ideological, then the critique of ideology must to act over the practices, nor on the believes. And, the way to do this is acting over the real abstraction, or, the phantasy, the ideological phantasy. Our propose in this article is to show how this project of a critique of ideology fits in the lacanian structure known as Graph of Desire. In this way, the lacanian graph will be a generic topology to a critique of ideology or phantasy. (shrink)

This thesis analyses Deleuze & Guattari’s notion of becoming through certain performative encounters in contemporary political art, and re-conceptualizes them as “art(s) of becoming”. Art(s) of becoming are actualizations of a non-representational –minoritarian– mode of becoming and creation as well as the political actions of fleeing quanta. The theoretical aim of the study is, on the one hand, to explain how Platonic Idealism is overturned by Deleuze’s reading of Nietzsche and Leibniz, and on the other hand, how Cartesian dualism of (...) mind and body is surpassed by following a Spinozistic theory of affects. In this respect, the dissertation has both theoretical and practical dimensions. Since art(s) of becoming are bodies without organs which constitute their own lines of flight through a process of minoration, the concepts of body, affect, becoming, and intensity are central to this study. For the same reason, this is an attempt to show the intersections of philosophical, political and aesthetic domains in Deleuze’s theory of sensation which is part of his general practice of philosophy, that is, a quest for establishing an ontology of immanence as opposed to identitarian metaphysics. (shrink)

This paper will examine the importance of Marcel Duchamp’s La Machine Célibataire (The Bachelor) on Art and Technology in the 20th and 21st centuries.

What is nowhere? Is it a non-place that has been created by the disappearance of distinct identities in the spread of standardised, global capitalism? Or has it come about as a result of colonialisation and the separation of indigenous cultures from their lands, and their replacement with vacuous, colonised, globalised non-places? This article suggests that ‘nowhere’, which was satirically entitled, ‘Erewhon’ by Samuel Butler due to the inverted action of machines, is still being created today, but by the combined forces (...) of financial capitalism, digital colonialisation and the present-day global curriculum, and its concomitant teaching and learning methods. Even though the present day curriculum refers to place, for example, in geographical studies, this referencing in no way establishes a connection with or to this place for the cohort. Rather, the present day curriculum precisely and systematically evacuates any possibility of connective-affective-synthesis (i.e. a cur... (shrink)

What does it mean to say that the demands of justice are institutional rather than individual? Justice is often thought to be directly concerned only with governmental institutions rather than individuals’ everyday, legally permissible actions. This approach has been criticized for ignoring the relevance to justice of informal social norms. This paper defends the idea that justice is distinctively institutional but rejects the primacy of governmental institutions. I argue that the ‘pervasive structure of society’ is the site of justice and (...) injustice. It includes all widely enforced social rules and norms, governmental and otherwise, such as informal norms of gender, language and class, and provides a revisionary foundation for the theoretical elucidation and practical pursuit of justice. It provides a framework for evaluating the ways in which people can and should promote justice in their everyday lives. (shrink)

The work of the eye has a powerful influence across culture and philosophy—not least in Goethe's approach to understanding. Aligned to aesthetic appreciation, seeing has the potential to offer an authorial gift of ‘other-ness’ when brought to bear on evaluative relationships. Yet this penetrating gaze might also be seen as limiting when put to work in the services of ‘other’. From the subtle sideways glance, to the lingering gaze of lovers, a look can mean many things. But the eye does (...) not work alone—what can be seen is directly impacted by the ideologies that influence interpretation, the time and space of its origin, and the genre of its capture. But it is only later, through post-modern eyes, that the image finally falls victim to its subjective stance and can be thus rendered obsolete. As such, the work of the eye far exceeds literal notions of visuality. These same tensions are evident in the work of the early Bakhtin Circle through their engagement with neo-Kantism, Russian formalism, phenomenology and Russian Avant-Gardes. In this article the art of seeing is reconciled in educational practice for the early years as a relational event through Goethian-inspired interpretations of visual surplus and aesthetics. Through this lens seeing is brought to life as an encounter of authorship—implicating the ‘I’—as a potential relationship of meaning and accountability at the centre of visuality. (shrink)

This thesis offers a comparison of documentary case studies to explore how moments from reality are recorded and how future representations of them can offer or instigate a parallax to create a new or different way of understanding the occurrence of such moments and how they have been remembered. I postulate that this shift in perspective offers an interaction with reality through a reconfiguration of the Real of these moments. The study will consider this assertion in relation to Žižek’s and (...) Baudrillard’s reflections on the Real as being an excessive moment unable to be assimilated and the veiled encapsulation of what lies beyond the Image-Event. After exploring the use of images from reality, my thesis will go on to consider the processes of recollecting and communicating past occurrences to highlight the potential that documenting and revisiting past memories – re-collecting them – can actively impact and evolve the trajectory of personal histories. Utilising LaCapra’s notion of the working through traumatic memories enables my investigation to plot a course which considers the memory narratives of my case studies as subject to a, ‘continual process of retranslation’ and, as such, explores the subjectivity of the Real of occurrences. (shrink)

Martha Woodmansee's The Author, Art, and the Market misunderstands the concept of autonomous art: it does not deny art's instrumental role in life, but rather reconceives this role as essentially psychological. The work of art becomes an emblem of self?control, and as such of great social import. But as Richard Goldthwaite's Wealth and the Demand for Art in Italy suggests, this role is traduced by the tendency of capitalism increasingly to eschew the high art exemplified by the Renaissance when there (...) is money to be made in unchallenging, trashy popular culture. (shrink)

The Trump Administration's governance of COVID-19 racial health disparities data has become a key front in the viral war against the pandemic and racial health injustice. In this paper, I analyze how the COVID-19 pandemic joins an already ongoing racial spectacle and system of structural gaslighting organized around “racial health disparities” in the United States and globally. The field of racial health disparities has yet to question the domain assumptions that uphold its field of investigation; as a result, the entire (...) reform program called for by racial health disparities science is already featured on the menu of the white supremacist power structure. The societal infrastructure that produces scientific knowledge about patterns of health and disease in the human population needs to confront its structural position as part of the racial spectacle organized around racial health disparities in the United States. This paper offers an interpretation of racial antimatter to explain why the data will not save us in the COVID-19 pandemic, drawing on articulations of racial spectacle and structural gaslighting within critical race theory and Afropessimist thought. By positioning events in the COVID-19 pandemic together within the same racially speculative frame, I show how the collection of racial health disparities data came up against white supremacists’ political ambitions in a time-space where the demand for human life to matter and the iterative regeneration of racial antimatter collided. This paper highlights the need for ongoing analysis of the unfolding and future spectacles organized around racial health disparities. (shrink)

The story of Sara Baartman, who was brought to Europe in 1810 to be exhibited as the erotic-exotic freak ‘Hottentot Venus’, is arguably the most famous case study of the scientific validation of (gendered) racism. Her scientific examination and post-mortem dissection by Georges Cuvier, who looked for an alleged connection between the Khoisan and the orangutan, have been the object of famous critical works (Gilman, 1985; Haraway, 1989; Fausto-Sterling, 1995), but also exposed her to the unpalatable fate of becoming the (...) ‘quintessential’ figure of intersecting gender and racial oppressions. This paper deals with Abdellatif Kechiche's film Venus Noire (2010), which interestingly rearticulates the (in)famous narrative in unexpected ways. Shot by a male director who is also a postcolonial subject, the film exposes the performativity not only of gender and racial identities, but also of science theorisation, while at the same time raising the issue of whether exposing a violent male colonial gaze on a heavily exhibited woman can contribute to a counter-knowledge of her experience or rather risks reiterating the historical violence. The startling dynamic between the portrayed abuse and Kechiche's peculiar filmic strategies is the crucial focus of this paper. While Sara's body is continually exposed and violated, Venus Noire relies on her face, shot in recurrent extreme close ups, as a haunting presence potentially exceeding violence. Drawing on Gilles Deleuze and Félix Guattari's (1987 [1980]) account of the close up, I explore how Kechiche's take on Sara's face builds a strong connection with the spectator's extra-filmic dimension. As a case of what Deleuze and Guattari call a ‘reflective face’, such close ups invest the viewer with the ethical responsibility of being complicit in the othering practices of (post)colonial times. Vénus Noire thus manages to engage the spectator's own corporeal awareness of violence, and calls attention to the persisting exploitation of sexual and racial colonial tropes in the contemporary world. (shrink)

Reification, a central theme in radical social/political theory from the 1920s onward, has started falling out of fashion since the 1970s, a period when a number of crucial alterations in the compo...

The relation between “presence” and “representation” is an age-old topic in the arts, but it is further complicated in our time of advanced media conditions. Pierre Huyghe is one artist who has consistently addressed questions of presence and representation throughout his artistic oeuvre, including the role of the witness within it. Considering the sophistication of Huyghe’s work with regard to the riddle of presence in the realm of contemporary means of representation, the artist’s work is taken as a case study (...) for a broad range of artists exploring related topics within the arts and the media. This paper argues that art that interrogates the question of presence within the context of contemporary media culture—from Marina Abramović to Stelarc, Jeffrey Shaw to Julia Scher—asks for being interpreted through presence theories developed within the field of media studies in addition to methods of art theory and criticism. Accordingly, Huyghe’s work is productively related to one such theory, namely the YUTPA model by Caroline Nevejan, which theorizes the interrelated concepts of natural, mediated, and witnessed presence. (shrink)

We offer a critical reading of televised weather reporting and forecasting discourse. We analyze text obtained from a US affiliate station of The Weather Channel over three days when a winter front advanced through the United States. Our critical analysis reveals the underlying ideological character of weather representation. We interpret the practice of weather representation within the context of the hegemonic discursive orders of leisure, consumption, capital accumulation, and risk management through the technologization of discourse. Through an analysis of the (...) interpretive practices of a small viewer community, we demonstrate that while alternative readings of weather discourse are possible, they are nevertheless shaped by the technologization of weather discourse. We conclude by promoting socio-semiotics and critical discourse analysis as promising theoretically-guided methodologies for analyzing discourse on the environment. (shrink)

Published in 1972, Anti‐Oedipus was the first of a number of collaborative works between the French philosopher, Gilles Deleuze, and the French psychoanalyst and political activist, Felix Guattari. As the first of a two‐volume body of work that bears the subtitle, Capitalism and Schizophrenia, Anti‐Oedipus is, to say the least, an unconventional work that should be understood, in part, as a product of its time – created as it was among the political and revolutionary fervour engendered by the events of (...) ‘May 1968’. However, this paper will suggest that Anti‐Oedipus – as a critique of psychoanalysis and the Oedipus complex, as well as being a study of the relationship between capitalism and schizophrenia – should also be understood in a less ‘time‐bound’ fashion. In particular, the paper will examine Deleuze and Guattari’s formulation of a concept of ‘desire’ and its employment in relation to subjectivity, time, capitalism, representation, and the radical ‘therapeutic’ practice that they refer to as ‘schizoanalysis’. Moreover, nearly 40 years after the events of May 1968 and against possible doubts concerning the contemporary relevance of psychoanalysis, it will be suggested that psychoanalysis and the Oedipus complex are to be understood as symptomatic of a wider ‘malaise’ that can be discerned within psychiatry, psychotherapy, and contemporary capitalist society itself, and that it is this that forms the broader target of the book’s critique. Accordingly, by providing an accessible and critical introduction to Anti‐Oedipus, the paper also hopes to stimulate further discussion and research regarding both the critique and the contribution that the work can make to contemporary psychiatry, psychotherapy, and mental health nursing generally. (shrink)

Humanitarian aid’s psycho-therapeutic turn in the 1990s was mirrored by the increasing emotionalization and subjectivation of fund-raising campaigns. In order to grasp the depth of this interconnectedness, this article argues that in both cases what we see is the post-Fordist production paradigm at work; namely, as Hardt and Negri put it, the direct production of subjectivity and social relations. To explore this, the therapeutic and mental health approach in humanitarian aid is juxtaposed with the more general phenomenon of psychologization. This (...) allows us to see that the psychologized production of subjectivity has a problematic waste-product as it reduces the human to Homo sacer, to use Giorgi Agamben’s term. Drawing out a double matrix of a de-psychologizing psychologization connected to a politicizing de-politicization, it will further become possible to understand psycho-therapeutic humanitarianism as a case of how, in these times of globalization, psychology, subjectivity and money are all interrelated. (shrink)

Earth-shaping catastrophic events have long focused the attention of the geographical and geological sciences, and captured the public imagination. During the past 40 years, neocatastrophism has emerged as a key paradigm that reflects widespread changes involving cultural, scientific, political and technological spheres. Nonetheless, the extent, chronology and origin of this trend are equivocal. Here, we use Google Ngram to quantitatively explore the recent development of catastrophism. We elucidate a discernable rise in neocatastrophic thinking during the last quarter of the twenty-first (...) century that can be linked to the environmental awakening of the 1960s. It is suggested that these discourses of ‘shock’ and ‘fear’ partly correspond to a media-driven dramatization of natural hazards, exploited by scientists and journalists to attract wider readership. (shrink)

Essays explore the significance of Julia Kristeva’s concept of intimate revolt for social and political philosophy. Over the last twenty years, French philosopher, psychoanalyst, and novelist Julia Kristeva has explored how global crises threaten people’s ability to revolt. In a context of widespread war, deepening poverty, environmental catastrophes, and rising fundamentalisms, she argues that a revival of inner psychic experience is necessary and empowering. “Intimate revolt” has become a central concept in Kristeva’s critical repertoire, framing and permeating her understanding of (...) power, meaning, and identity. New Forms of Revolt brings together ten essays on this aspect of Kristeva’s work, addressing contemporary social and political issues like immigration and cross-cultural encounters, colonial and postcolonial imaginations, racism and artistic representation, healthcare and social justice, the spectacle of global capitalism, and new media. Sarah K. Hansen is Assistant Professor of Philosophy at California State University, Northridge. Rebecca Tuvel is Assistant Professor of Philosophy at Rhodes College. (shrink)

Among the avant-garde organizations in Europe during the middle of the twentieth century, a few of them combined in 1957 to form the Situationist International (SI). This article locates relevant aspects of their theory in the increasingly visible constellation of Critical Geography and educational scholarship, both in the foundations of education and curriculum theory. After a brief introduction to the SI, a situated pedaogy is presented in past and present educational literature and is complemented with various theoretical constructs of the (...) SI. These considerations are presented to address and, perhaps, remedy a pedagogy of placelessness that appears to be prevalent in public schools today. A situated pedagogy connects the curriculum to the everyday lives of students and is interested in identity and self-formation, but also social-formation and the relationships between the two, and asks students to pay attention to their environment, and listening to what places have to tell us. It also asks students to read the world and to decode it politically, socially, historically, and aesthetically. A situated pedagogy attends to place, not only as the focus of student inquiry or academic study, but as the spaces for performative action, intervention, and perhaps transformation. As such, education moves beyond schools to their communities as students participate in remapping their material and curricular landscapes. (shrink)

Hyperreality is a key term in Jean Baudrillard’s cultural theory, designating a phase in the development of image where it “masks the absence of a profound reality.” The ambiance of Joseph Heller’s Catch-22 closely corresponds to Baudrillard’s notion of the hyperreal as images persist to precede reality in the fictional world of the novel. Since for Baudrillard each order of simulacra produces a certain mode of ideological discourse that impacts the perception of reality, it is plausible that the characters of (...) this fictional context should be ideologically impacted by the hyperreal discourse. From this vantage point it is possible to have a new critical assessment of Yossarian’s antiheroic stance and study the role of the “business of illusion,” whose ideological edifice is based on the discourse of the hyperreal, on his antiheroic stance and actions. By drawing on Baudrillard’s cultural theory this paper aims to read Heller’s novel as a postmodern allegory of rebellion against the hyperreality of the twentieth-century American life and trace its relevance to modern-day U.S. (shrink)