We begin with a puzzle about how to intelligibly combine the active and passive elements of perception. For counsel, we turn to Augustine’s account of perception in De Trinitate. Augustine’s trinitarian account of perception offers an attractive resolution of our puzzle. Augustine’s resolution of our puzzle, however, cannot be straightforwardly adopted. It must be adapted. We end with speculation about how this might be done.

I mourn therefore I am.I live my death in writing.In Specters of Marx, Jacques Derrida hails a new “scholar”—a scholar to come, a scholar of the future—who addresses the dead . This new scholar would stand in stark contrast to the “traditional” scholar, who has never been “capable” of “addressing himself … to ghosts” precisely because the “traditional” scholar insists on the “the sharp distinction between the real and the unreal …, the living and the non-living” and hence does not (...) believe in “the virtual space of spectrality” . The specter—as an incorporeal phantom—challenges such “sharp distinctions”: if the specter doesn’t exist, how can it be?1 How can the nonliving be living, and how can the .. (shrink)

The following pages sketch the outlines of “a Canaanite reading” of the health system. Beginning with the Black person—African, Afro-diasporic, Aboriginal, and Torres Strait Islander—who is seen by a health professional, the functions and effects of the racializing gaze are examined. I wrestle with Al Saji’s understanding of “colonial disregard,” Whittaker’s insights into the extractive disposition of settler institutions vis-à-vis Indigenous peoples, and Saidiya Hartman and Fred Moten’s struggle with the spectacular. This leads me to conclude that the situation of (...) the Black within the health system is a tragic one. The prescription for the path out of this tragedy that I settle on, responding to Okiji’s opening call, is found in Vernon Ah Kee’s “Unwritten” series. (shrink)

Boredom, in cinema as well as in our everyday experience, is usually associated with a generalised loss of meaning or interest. Accordingly, boredom is often perceived as that which ought to be avo...

Images of brains circulate today as rationales for decision-making and selectivity in policies, curriculum, preservice teacher education and inservice professional development. The excitement over brain-based research, its visual reach and authorizing role accompanies longstanding debates in which the status attributed to biology, physiology and allied psychological approaches has been considered prejudicial. This article traces a series of dislocations in the linkages forged between discourses of vision and epistemic authorization, and how they still inhere in contemporary debates over brain imaging. The (...) critical history that the article offers within the general framework of Visual science and technology studies requires questioning some of the core tenets of visual culture, including what gets to count as the visual, ‘its’ role in legitimation, and the primacy assigned to looking and observation as strategies of truth-production. (shrink)

In this paper I discuss a framework for the analysis of media discourse – the ‘analytics of mediation’ – that takes into account the embeddedness of media texts both in technological artefacts and in social relationships and, hence, seeks to integrate the multi-modal with the critical analysis of discourse. On the methodological level, the analytics of mediation applies a multi-modal discourse analysis onto media texts in order to study their visual and linguistic properties: camera/visual; graphic/pictorial or aural/linguistic. On the social (...) theory level, the analytics of mediation addresses critical concerns on the ethical and political role of television and other media in our ‘global village’. Can television foster a cosmopolitan consciousness or does its ‘fake proximity’ alienate the spectator from the rest of the world? Can we talk about the media as agents of global citizenship or do the media lead to compassion fatigue – a Western denial of humanitarian problems? I illustrate such questions by drawing on one concrete example of television news. (shrink)

Self-presentation is a term that indicates conscious and unconscious strategies for controlling or managing how one is perceived by others in terms of both appearance and comportment. In this article, I will discuss the phenomenology of self-presentation with respect to the phenomenological insights of Edmund Husserl and Merleau-Ponty regarding the visibility of the body within intercorporeal relations through ‘behaviour’ and ‘expression.’ In doing so, I will turn to the work of the Canadian sociologist and social theorist Erving Goffman. Goffman’s account (...) of self-presentation suggests why embodied subjects adopt certain styles of ordered bodily behaviour as determined by the broader social order, giving existential and social significance to the ontological structures of intercorporeal bodily communication. Following Goffman, I will suggest that the embodied subject is continuously—and constitutionally—engaged in implicit and explicit strategies to manage how the body is presented to others. In articulating self-presentation as a feature of intercorporeality, my aim in this article is to use Goffman’s insights to extend Husserl’s and Merleau-Ponty’s accounts of bodily communication by demonstrating that bodily communication that is instantiated at the level of intercorporeality is always expressed through social life with its various historical, cultural and linguistic dimensions. (shrink)

The primary aim of this article is to point up an essential attitude, an anxiety even, that has inflected – and perhaps inhibited - our engagement with film. Film theory has been marked by a ‘refusal to see, a looking away’ (Mulvey & Wollen 1976, 36), and my suggestion is that this has achieved its fullest expression in those strands of film theory heavily influenced by psychoanalysis. These, in turn, have remained within a gendered conceptual framework whereby the discursive or (...) the narrative is associated with the masculine, and the image or spectacle is aligned with the feminine. This is not to reject these applications out of hand but rather to revisit this area with its blind spots in mind and to consider aspects that are perhaps at once obvious but often overlooked. (shrink)

How does a sense of touch, figuratively and practically, get deployed within equality governance, and to what questions and ways of thinking about the state does this direct us? Taking 2009–2010 as a snap-shot moment in the development of British equality reform—the year leading up to passage of the Equality Act 2010—this article explores the relationship between touch (the haptic) and equality governance from three angles. First, how have governmental bodies used touch language and imagery, including in geometrical representations of (...) disadvantage? Second, what other, more challenging encounters and actions are imaginable; specifically, can touch mobilise the feeling state as a critical form of active citizenship? Third, what re-conceptualisations of the state does the touching, feeling state invoke, and with what effects? Specifically, does conceiving of the state as a multi-identity formation reframe the risks associated with a haptic state, thereby opening up new strategies for political action? (shrink)

Axel Honneth distinguishes between recognitive practices according to the social domain in which they occur and this allows him to theorise the relationship between power and recognition. 'Love-based recognition', which suggests the centrality of recognition to the relationships that nurture us in the first instance, is located in the family. Honneth argues that relationships encompassed by this category are pre-political, thereby repeating the distinction between the public and the private common to much political theory. This article explores the structure of (...) this delineation in his thinking. I argue that Honneth's analysis marginalises feminist concerns with how power functions through recognition in the private sphere. Honneth also robs himself of a rejoinder to recognition sceptics, who suggest that the desire for recognition is a condition of subordination. The article argues for an alternative approach to the analysis of 'love' within recognitive theory. © 2010 Macmillan Publishers Ltd. (shrink)

While the groundbreaking insights that contemporary theorists have formulated with regards to space---as a multiplicity without essence, as an active event, and as inseparable from subjectivity, power, Otherness and time---have ostensibly purged it of its traditional understanding as absolute, a specific visuality characteristic of Cartesian perspectivalism remains privileged in its theorization which force it to remain so. While the complexity of space cannot be recovered from an abstract contemplation of its visual geometry in a way that reflects these contemporary concerns, (...) there have unfortunately been relatively few attempts to imagine space away from the visual in a way that challenges its traditional absoluteness. To this end, it is argued that because sound and music contain implicit and explicit spatialities, the sonic represents a rich and unexplored area from which to imagine a radical non-visual space that discursively organizes space according to a different economy through which to challenge its assumed visuality. And yet, even when space has been approached through sound, there is a tendency to exteriorize sound into an object or a set of practices that robs it of its defining quality---its own "soundfulness". By breaking down those factors that are considered salient to how space is conceived today along sonic rather than visual lines, the argument is made that the "soundfulness" of sound's physical properties gives it a complex texture of excess that is corporealized within the body and forwards the philosophical possibility of unfolding the spatiality of sound according to vectors beyond the visible in a way that, while reflecting contemporary concerns, prevents its return to absoluteness. To take seriously this "soundfulness" thus allows us to recuperate the sonic as a philosophical and political way of experiencing and knowing the world, including that of space. The arguments, as well as being drawn from the insights of contemporary spatial theory, the physics of sound, the phenomenology of listening, rhizomatic and feminist theory, quantum mechanics and musicology, will be explained through an understanding of space as sound and exemplified in The Disintegration Loops, a post-minimalist musical piece by sonic artist William Basinski. (shrink)

A theory of the structure and cognitive function of the human imagination that attempts to do justice to traditional intuitions about its psychological centrality is developed, largely through a detailed critique of the theory propounded by Colin McGinn. Like McGinn, I eschew the highly deflationary views of imagination, common amongst analytical philosophers, that treat it either as a conceptually incoherent notion, or as psychologically trivial. However, McGinn fails to develop his alternative account satisfactorily because (following Reid, Wittgenstein and Sartre) he (...) draws an excessively sharp, qualitative distinction between imagination and perception, and because of his flawed, empirically ungrounded conception of hallucination. His arguments in defense of these views are rebutted in detail, and the traditional, passive, Cartesian view of visual perception, upon which several of them implicitly rely, is criticized in the light of findings from recent cognitive science and neuroscience. It is also argued that the apparent intuitiveness of the passive view of visual perception is a result of mere historical contingency. An understanding of perception (informed by modern visual science) as an inherently active process enables us to unify our accounts of perception, mental imagery, dreaming, hallucination, creativity, and other aspects of imagination within a single coherent theoretical framework. (shrink)

The body of philosophical knowledge concerning the relations among language, the senses, and deafness, interpreted as a canon of key ideas which have found their way into folk metaphysics, constitutes one of the historically sustained conditions of the oppression of deaf people. Jonathan Rée, with his book I see a voice, makes the point that a philosophical history, grounded in a phenomenological and causal concern with philosophical thought and social life, can offer an archaeology of philosophy's contribution to the social (...) oppression of deaf people.This article offers support for such a project while being critical of Rée's philosophical phenomenology, since it presumes, àpriori, two ideas about deafness and sign language: firstly, that deaf experience is like hearing experience but without hearing; and secondly, that the iconic qualities of sign languages are strictly superficial phenomena. Both presumptions, it is argued here, derive from the same philosophical knowledge which has linked deafness to the sense of hearing and the voice, and in doing so secured an intellectual basis for the oppression of deaf people in social life. (shrink)

We like Euclidean geometry because we are men [sic], and have eyes and hands, and need to operate a concept of space that will be independent of orientation, distance and size. Lucas, A Treatise on Time and Space.

Jean-Luc Nancy's phenomenology of listening makes a series of claims about the sonic/auditory nature of the subject. First among these is the claim that the subject is a subject to the extent that it is listening, that it is all ears. The subject emerges on the back of the resonance of timbre in the body and the body's becoming-rhythmic. These claims are phrased often in musical terms, or making use of terms and rhetoric from the domains of music theory and (...) music psychology. This article explores the role of music in Nancy's phenomenology with a particular view to the nature of listening in the contemporary world: both how listening is figured as a part of what Nancy terms the inoperative community and how listening figures the cognitive and phenomenological constitution of the subject. (shrink)

There is a contemporary scepticism towards vision-based metaphors in management and organization studies that reflects a more general pattern across the social sciences. In short, there has been a shift away from ocularcentrism. This shift provides a useful basis for metatheoretical analysis of the philosophical discourse that informs organizational analysis. The article begins by briefly discussing the vision-generated, vision-centred interpretation of knowledge, truth, and reality that has characterized the western philosophical tradition. Taking late 18th-century rationalism as the high-point of ocularcentrism, (...) the article then presents a metatheoretical framework based on three trajectories that critiques of ocularcentrism have subsequently taken. The first exposes the limits of the metaphor by, paradoxically, taking it to its limits. The second trajectory seeks to displace the primordial position of the ocular metaphor and replace it with an alternative lexicon based on other human senses. Last, the third trajectory describes how the Enlightenment ocular characterization of the visual and mental worlds has effectively been inverted in the postmodern moment. (shrink)

This paper critiques enlightenment notions of representation and rehearses an alternative model of mapping that is grounded in performance. Working from her own practice as a landscape painter, Bolt argues that the particular experience of the “glare” of Australian light fractures the nexus between light, form, knowledge, and subjectivity. This rupture prompts a move from shedding light ON the matter to shedding light FOR the matter and suggests an emergent rather than a representational practice.

In our world we sleep and eat the image and pray to it and wear it too.– Don DeLillo, (2016) Mao II, p.27, Pan Macmillan.Some three years ago we envisioned a project concerning the shift from text...

Over the past 10 years two concepts of central significance in the social sciences have come up for rediscussion: ‘space’ and ‘gender’. Today the two concepts are seen as relational, as a production process based on relation and demarcation. Gender and space alike are a provisional result of an – invariably temporal – process of attribution and arrangement that both forms and reproduces structures. This article takes a microsociological look at the construction of the local, seeking to trace the genderization (...) of spaces. For this purpose, it discusses the organization of perceptions, in particular of glances and corresponding body technologies. Referring to the example of beach life, the article shows that the genderization of perception leads, in the sense of an embodiment of social order, to a practice of localization that reproduces the structural principles of society. In other words, gender may be seen as inscribed, via body practices, in the production of spaces. (shrink)

This paper attempts to draw out the political import of Merleau-Ponty’s ontology of the flesh, by engaging the critique levelled against it by his student and literary executor Claude Lefort. In suggesting a tension in Merleau-Ponty’s work that obscures alterity, Lefort seems to miss the rich political import of Merleau-Ponty’s ontology of the flesh. Founded in his development of the concepts of écart and reversibility, Merleau-Ponty’s ontological position breaks with many of the standard tenets of political thinking, and offers a (...) multifaceted conception of alterity. I will suggest that Lefort’s own claim to alterity buckles under the immanent weight of his critique of Merleau-Ponty, offering at best a conception of otherness limited to a self-relational non-identity. This conception ultimately fails to adequately consider the relations existing between different beings-in-the-world. In thinking being as flesh, Merleau-Ponty offers us an ethico-political optic that attempts to think alterity and ontology in a manner that unhinges us from our closed and autonomous being, opening us to the world, others and to the non-identical becoming that characterizes being as such. (shrink)

I begin to suggest an alternative to the notion of vision based in alienation and hostility put forth by Jean-Paul Sartre, Sigmund Freud, and Jacques Lacan. I diagnose this alienating vision as a result of a particular alienating notion of space presupposed by their theories. I develop lrigaray's comments about light and air to suggest an alternative notion of space that opens up the possibility that vision connects us to others rather than alienates us from them.

This article examines the limits and potential of hospitality through struggles over auditory space in care at the end of life. Drawing upon empirical research and a nurse’s account of noisy mourning in a multicultural hospice ward, I argue that the insurgent force of noise as corporeal generosity can produce impossible dilemmas for care, while also provoking surprising ethical relations and potentialities. Derrida’s ideas about the aporias of the gift and absolute responsibility are used to make sense of the pushy (...) generosity of alterity as it is made to matter through sound. (shrink)

For nearly a quarter of Darwin's Descent of Man , it is the singing bird whose voice presages the development of human aesthetics. But since the 1950s, aesthetics has had a perilous and contested role in the study of birdsong. Modern ornithology's disillusionment with aesthetic knowledge after World War II brought about the removal of musical studies of birdsong, studies which were replaced by work with the sound spectrograph, a tool that changes the elusive sounds of birdsong into a readable (...) graphic image called a spectrogram. This article narrates the terms under which the image, rather than the sound, of birdsong has become a sign of humanity's ability to reason objectively. Drawing examples from the strange evolutionary tales that exist at the juncture of ornithology, music history, illustration, and linguistics, this story suggests how it was that the human ear disappeared in the unbridgeable gap between the sciences and the study of aesthetics so tellingly termed "the humanities.". (shrink)

Approximately at the turn of the nineteenth century, the visual encounter between humans and birds, which has been going on since both forms of life have existed, began to solidify into a hobby, into something that a middle-class citizen of American might spend a morning doing. Certain technologies—optics , field guides, and later, automobiles—helped to enable this pursuit. In the twentieth century, bird watching became an immense industry. At the beginning of the twenty-first century, one report claims that in America (...) "an estimated 70.4 million people now go out-of-doors to watch birds one or more times per year" . Much has been written on how and why bird watching has grown in popularity during the last 150 years or so. 2 This essay will look instead at the effects produced by the nearly infinite acts of looking inherent to a hobby that has been described as one of "Americans' most-favored [outdoor] activities". (shrink)

In the aftermath of a normalized Foucaultian world with an all encompassing web of biopower, one remaining hope is to cultivate nimbleness. Nimbleness is an embodied aesthetic sensitivity to the material presence. Cultivating nimbleness is a particular style of cultivation; it is to willfully gather together one’s self in the wake of a formative force far richer than the derivative web of living power relationships of human embeddness within a horizon of social, economical, political and historical subjectivating power relations; which (...) are chronicled and labeled by Michel Foucault as the normalizing practices of biopower. In other words to have freedom, one must start by rejecting the categories and labels normally internalized in order to relearn to learn from the material presence. Such a style of cultivation is a means of resisting normalizing power relations which co-opt cultivating practices to engross their own dominance which has had the by-product of an impotence to negate the gross material injustices present. This normalizing style of cultivation is a prevalent, corrupted, semblance which denies the importance of beauty for that of efficiency, rejects non-human purposiveness, and limits its measure of ethics to short term economical pragmatism. The thesis acknowledges that something is awry with the world and that giving care to beauty might help. The aim is to examine the event of Beauty as depicted by the philosopher Immanuel Kant and to apply this characterization to elective architectural spaces such that it may motivate individuals to cultivate their own nimbleness in relation to a formative force of nature. However given the revealed need for sensitivity to the particular material presence, the thesis can not be a rule book or catalog for beautiful design. Rather it is a rehabilitation for architects who are already heterospatially curious, with the desired outcome of architects cultivating their own nimbleness to reflectively judge as a ground up, multi-node, rhizomatic means of resistance to normalizing power practices as manifest in bad architecture. (shrink)

What can postmodernism do for, or to, educational research? The article discusses its potential for resisting closure and simplification. Developing a ‘preposterous’, anachronistic postmodern method that is caught up with surrealism and the baroque, the article plays with trompel'oeil paintings and outmoded popular entertainments such as magic lanterns, peep shows and clockwork automata as figures for critique and analysis. It argues for defamiliarisation, fascination, recalcitrance and frivolity as methodic practices for research in the compromised conditions of postmodernity, and as forms (...) of ethical resistance to the risk-averse literalism that pervades contemporary education policy. (shrink)

In this paper I chart the seismic shift that has occurred over the past three decades in attitudes towards the interpretation of visual images. My strategy implies the argument that the reading of visual images would appear to be an inevitability given the accelerating change of attitudes towards pictures as containers of determinate knowledge. French critical theorists (Foucault, Barthes, Derrida et. al.) dominated debate on interpretation of text and image in the 1980s, where my survey begins. Michel Foucault dismissed the (...) image (in Madness and Civilization 1959/1988) as a fascinating site for the madness of dreams but one standing outside of reasoned interpretation because of an inherent excess of meaning and deeply hidden attributes and allusions. Generally, however, when images were discussed using identifiable interpretive strategies in the 1980s the framework was a variant of semiotic analysis (Marin, Eco and Barthes – who famously, diverges from this mode in Camera Lucida). I use W. J. T. Mitchell’s Iconology: Image, Text, Ideology 1986 as a focal text from the 1980s and follow this with two of his publications on images, one from 1995 and another from 2005 to demonstrate the dramatic shift in the approach to pictures across almost three decades. Around these focal texts by Mitchell I reference other texts and trends that culminate in the more recent proliferation of texts related to visual studies and the re-emergence of aesthetics. (shrink)

Two case studies of students from California School for the Blind studying artworks in museums and on the Web are discussed. The analysis focuses on the traditional understanding that unreachable artworks in the museum are deciphered by non-intellectual elites primarily from the perspective of visual perception and museums are simple vessels of art, as contended by Ernst Gombrich and Pierre Bourdieu, and that exclusion is either passive or active. It is also argued that there is a bridge between sensing an (...) object and understanding it that is beyond perceptions. The article concludes that the two students featured in the case studies were more likely to be passively rather than actively excluded from unreachable and two-dimensional artworks, and that they could still develop a symbolic intellectual and emotional connection with these artworks and the museum through verbal descriptions and being in their presence. (shrink)

The aim of this article is to explore how the differences between Guy Debord and Gilles Deleuze delineate two different interpretations of the politics of found footage cinema. To do so, the notion of cinematic interval is crucial. While Debord's practice of détournement presupposes a Hegelian-inspired notion of interval that allows for self-awareness to be achieved, Deleuze puts forth a Bergsonian concept of interval that functions as a condition of possibility for creating an ‘image of movement in itself’. To explore (...) these two interpretations, this article uses Guy Debord's 1973 film The Society of the Spectacle as a case study. By focusing on this specific object, the two interpretations of the cinematic interval make it possible to compare two alternative ways of dealing with the representability – or unrepresentability – of capital, and hence to sketch two alternative views on the politics of found footage film practices. (shrink)

This article examines the temporality of organ transplantation with a focus on memoirs where the recipient has received an organ from a deceased donor. I argue that death constitutes life. That is, this absent presence – that the organ is materially present but the person is dead and therefore absent – is the foundation for rethinking relationality as constituted through the haunting presence of those who remain central to the continuity of life but who are not alive in any strict (...) definition of the term. This article is therefore attentive to the various meanings of haunting, drawing on queer theory to show how narratives of haunting are derealised experiences and thus a struggle for epistemological authority over specifically transplantation and relationality more broadly. It draws out how these epistemological challenges reimagine ontology as a haunted experience, and thus an intimate tie between the living and the unknown – and somewhat present – dead. (shrink)

This study places Nāgārjuna and Plato in dialogue regarding how both seek to orient philosophy in the face of indeterminacy observed at the elemental level of existence, specifically, the indeterminacy of fire’s light. Looking to the elemental within Chōra and Śūnyatā, a directive becomes discernible for calibrating philosophy to this indeterminacy, and crucial limitations are disclosed, which expand philosophy by enabling a productive relation to the non-philosophical. What emerges are directives for language, which serve to modify philosophy’s violence towards the (...) world by striking a middle way between the binaries of reification and nihilism, speech and silence. (shrink)

This article examines an experimental genre of philosophical writing known as the Denkbild (‘thought-image’) practiced by members of the Frankfurt School to show how it is resurrected in the Augmented Reality installation of the artist-scholar Caitlin Fisher. It argues that Circle (2012) renews the Frankfurt School’s project of reaching to art to find a way for critical theory to bring about ‘a transformation of consciousness that could become a transformation of reality’. However, as a material and virtual artifact that produces (...) a unique circuit of exchange, the digital artwork is able to provide a sharper picture of that reality, positing community as the context and goal of philosophical thinking. Through a complex sculpting of its form, content, and image of its own thoughts, Fisher’s Denkbild strives to create a fluid, ‘disconnected and non-binding’ form capable of building what Adorno described as a ‘shared philosophy from the standpoint of subjective experience’. (shrink)

This thesis explores how we might think the relation between psychoanalysis and the cultural field through Donald Winnicott’s concept of the environment, seeking to bring the concept into dialogue with more “classical” strands of psychoanalytic theorizing. A substantial introduction sets out the rationale behind the thesis by reading Freud and Winnicott in relation to the “classic” and the “romantic”, or the “negative” and “positive”, in psychoanalytic thought. It goes on to outline the value of bringing these tendencies together in order (...) to think the relationship between psychoanalysis, culture and change. The chapters which follow move from psychoanalysis as a “cultural cure” – a method and discourse drawing on and feeding into a broad conception of cultural life – towards a notion of “culture as cure” informed by Winnicott’s theory of the environment. Chapter one examines Freud’s refusal of the “culture”/ “civilization” distinction and considers what it means for the idea of a cultural cure. Chapter two considers whether Winnicott’s thinking about “culture” ultimately prioritises the aesthetic over the political. Chapter three uses Aldous Huxley’s Brave New World to explore an analogy between totalitarianism, technology and maternal care. Chapter four turns to the series In Treatment to think about the intersections of therapy and technology in terms of reflection and recognition. Chapter five employs Ian McEwan’s Saturday as a means to reflect on the capacity of culture to cure. Ultimately, I suggest that social “cure” may require more than “good-enough” cultural forms and objects, but Winnicott’s “romantic” theorization of the aesthetic, coupled with a “classic” attention to structures of power and oppression may offer a means of thinking the relationship between psychoanalysis and culture in potentially transformative ways. (shrink)

A novel rereading of the relationship between ethics and ontology in Aristotle.

The ArgumentDavid Bloor often wrote that Karl Mannheim had “stopped short” in his sociology of knowledge, lacking the nerve to consider the natural sciences sociologically. While this assessment runs counter to Mannheim's own work, which responded in quite specific ways both to an encroaching “modernity” and a looming fascism, Bloor's depiction becomes clearer when considered in the light of his principal introduction to Mannheim's work — a series of essays by Robert Merton. Bloor's reading and appropriation of Mannheim emerged from (...) his background in experimental psychology and his attempts to supercede Merton's own structural-functionalist program for the sociology of knowledge. By retracing this extended trail of readings and re-readings, we may begin to understand the roots of Bloor's curious interpretation of Mannheim's sociology of knowledge, and inquire in a reflexive way about the present and future directions of science studies. (shrink)

The rise in Study Abroad participation among college students has increased interest among educationalists wondering about the impact of SA on students, particularly when students return home without evidence of deep engagement and understanding of other cultures and people. The purpose of this case study was to locate one potential source of the meanings ascribed to the SA experience, through analysis of multimodal representations on the institutional website of a popular SA program provider. In this study, Kress’ model of multimodal (...) social semiotic communication was employed in the analysis of the ensemble of modes of communication on the website, and their role in the production and dissemination of discourses of SA. Findings indicate that discourses of tourism prevail over discourses of education, and the representations enacted on the institutional website are mirrored in the discursive practices of students. (shrink)

In this chapter my aim is to suggest that an engagement with visuality is worthwhile, may be even necessary, for qualitative methods in geography. In doing this I want to push the case for these methods when despite sometimes warm words there are relatively few examples of their use. Indeed if one were to look at the methods in qualitative textbooks in geography, then the overwhelming dominance is of linguistic sources – be they written and/or spoken. I will focus upon (...) methods connected to the production of what we might call visual ethnographies. In doing this I want to highlight not a set of techniques, as though they were some items on an a la carte menu, but also paradoxes in the ways visual material is treated in geographical work. That is I want to highlight an ambivalence around visuality and its treatment in geography, and point to some theoretical critiques and slippages. I shall throughout this chapter be trying to position the visual as being used for more than just creating ‘data’ to be brought into accounts. Rather I am trying to suggest it may figure more prominently in finalised versions and as outputs. In this I must confess my complicity as a long time cheerleader for visual research and new forms of visuality without really developing those forms. I shall effectively focus upon photographic and video work. This is not to deny the good work done in terms of other visual methods – such as respondent drawings and maps. Partly my aim is to focus on visual media at a time when they are proliferating in society, and thus may form either a topic for study and a means for studies. It is also a time when visual ways of knowing have come under intense and refined critique within the discipline. My starting point is a sense that ‘visual methods’ may almost have been killed off before they were born in qualitative geography by powerful arguments about the problematic elements of visual knowledge – and in geography especially. A variety of visual methods, and especially the long reliance on modes of observational practice in landscape work and visual tropes for truth and knowledge across the discipline, have been criticised for assumptions of detachment and objectivity of knower leading to objectification of the known. Recently the issue of representational knowledge has been challenged tout court – and the visual seems perhaps inescapably bound to the representational. It has become common to hear the refrain that geography is a ‘visual discipline’ – and that this in some sense is a problem or limitation. But often ‘those asserting the occularcentrism of geography, do so only as a prelude to other sensory articulations of knowledge’ to produce what might be claimed as a more rounded version of the discipline. Just as classical anthropology positioned textual approaches against embodied experience, so in geography the visual is said to have been opposed to the embodied. Vision is positioned as the problem both in how geographers know and a powerful locus of practice within the discipline. There is much to gain from taking this line of argument seriously and I will work with and through some of these problematics below. And yet, as I browse through geographical journals, I am not exactly overwhelmed by the deployment of visual media. My contention is that we have allowed one sense of visuality, with a troubling past, to rather dominate our critical understanding of what visual methods might comprise or what they might do. This chapter will begin with a review of some of the classic heritages of visual knowledge in geography, and their politics and legacies. It will develop an account of some of the deployments of visual methods, and different modes of visuality therein. The chapter will examine visual ethnographies that seek to offer an engaged, participatory form of seeing and set it against a more ironic and perhaps even alienated, critical forms of seeing. It will conclude by trying to refigure how we think of seeing as representing rather than a medium of connecting and making present. It will thus ask about the how we might show what is not seen, when it cannot be pictured and how we might think about vision not as the antithesis of touch but through a haptic register. (shrink)

Social theory draws energy not just from the concepts it articulates but also from the images it invokes. This article explores the image of the veil in social theory. Unlike the mask, which suggests a binary account of human conduct (what is covered can be uncovered), the veil summons a wide range of human experiences. Of special importance is the veil’s association with religion. In radical social thought, some writers ironize this association by “unveiling” religion as fraudulent (a move indistinguishable (...) from unmasking it.) Baron d’Holbach and Marx offer classic examples of this stratagem. But other writers, notably Du Bois and Fanon, take a more nuanced and more theoretically productive approach to both religion and the veil. Refusing to debunk religion, these authors treat the veil—symbol and material culture—as a resource to theorize about social conflict. Proceeding in three stages, I, first, contrast the meanings of mask and unmasking with more supple veil imagery; second, identify anti-religious unveiling that is tantamount to unmasking; and, third, examine social theories of the veil that clarify the stakes of social adversity and political struggle. Du Bois’s and Fanon’s contributions to veil imagery receive special attention. (shrink)

The lived experience of COVID-19 forcibly returns us to our bodies. This essay uses this return to embodiment to consider how our senses, as well as our “sense” of space, have been reoriented by this pandemic. It turns to certain strands within feminist philosophy that have questioned the privileged place vision has been accorded in the history of Western thought, as well as to mid-twentieth century phenomenologist Maurice Merleau-Ponty’s aim to rediscover the world of perception by philosophically centring the body, (...) as touchstones to put forth a phenomenology of contagion. Contagion makes us confront our phenomenological and embodied experience of tactility. This focus on tactility undermines the philosophical hierarchy of the senses that accords sight as the most “noble” of the senses in Western canonical thought. While COVID-19 results in us rediscovering our bodies through touch in a moment of fear and panic, this essay considers how this rediscovery may be harnessed for different, possibly more just, futures. (shrink)