This essay offers resources for the development of visual ethics by exploring Islamic fashion-veiling in one context: contemporary Indonesia. After providing a methodological framework and historical background for the case study, the moral discourse of two aesthetic authorities is discussed via a fashion blogger and print advice literature. The essay identifies how the practice of fashion-veiling generates norms, what is defined as morally valuable in this practice and why, and how this practice both offers opportunities for the critique and the (...) reinforcement of gendered norms. (shrink)

This essay draws on Kenneth George's ethnographic study of the Indonesian painter Abdul Djalil Pirous and his art, as well as Pirous's own characterizations of his paintings as “spiritual notes,” to theorize and examine how paintings serve as ethical media. The essay offers a provisional definition of and methodology for “visual ethics” and considers how pictures and language can function quite differently as sites for ethical reflection. The particular painting analyzed here is a large temple mural of the death of (...) the Buddha located at Wat Unnalom, a prominent Buddhist monastery in Phnom Penh, painted in the 1980s by Cambodian artist Sum Pon. After discussing the lifeworld of Pon's Mahāparinibbāna and varied Khmer Buddhist interpretations of the painting, I suggest that the painting's rendering of “moral vision” helps us understand Buddhist ways of seeing more generally. I conclude by returning to George's question about how our understanding of ethics would change if we took pictures as the “fulcrum of moral relationships,” arguing that pictures can embody certain kinds of tensions or paradoxes that are difficult to explain and grasp discursively, such as paradoxes that arise from the inevitability and yet inexplicability of death as well as the tensions between Buddhist aims of cultivating “boundless” love and the particularities of our own individual experiences of love. (shrink)

This ethnography explores the aesthetic dimension of religion and the sensational ways in which it contributes to shaping ordinary ethics on Long Street in Cape Town, South Africa. In the context of everyday social life on Long Street, homeless peoples’ claim of an ethical character is denied recognition. Long Street is a public space of conviviality and differences, a hybrid social reality marked with growing urbanization, globalization, and neoliberalism, and overseen by a continuous presence of security units. It is a (...) street saturated with ever‐increasing social problems resulting from a revival of class differences. Ordinary ethics on Long Street is complex, unpredictable, dynamic, and vulnerable, and stands the risk of potential breakdown. Against this backdrop, this ethnography recounts the ways in which aesthetic formations of religion stimulate technologies of imaginations that offer homeless people sensory experiences of refuge, recognition, being, and belonging amidst social exclusion and a harsh lived experience. Aesthetics of religion are ethics made visible in public life. (shrink)

Elizabeth Bucar has provided a service to the guild with her introduction to the emergent field of visual ethics. In this comment I undertake to expand the picture she presents. I argue that the visual dimension of ethics includes a “dark side” not addressed in her piece, and go on to consider a number of current avenues of inquiry in which religious ethics intersects with visual studies. After briefly considering some of the distinctive methodological challenges attending the visual turn in (...) ethics, I conclude my survey of this new field with some comments on the moral qualities of cinema. (shrink)