(2002). Rubbish! The Archaeology of Garbage. Ethics, Place & Environment: Vol. 5, No. 3, pp. 288-290.

Thai installation art provides a view into modern, non-monastic experiences of Buddhism. Buddhist practice and scholarship often depend on centuries-old ritual practices and texts, and designated religious sites and persons. However, installation art illumines a fluxing and organic Buddhism – and one that is increasingly globalised and public. An evolving artistic zeitgeist is fused with classical tenets of Buddhism and diverse spiritualties. Each with a unique flair and multi-media repertoire, artists such as Jakkai Siributr, Montien Boonma, Sarawut Duangjampa, Chalermchai Kositpipat (...) and others are offering creative contemplations on Buddhism today. Their works are often experienced in a leisurely fashion by the attending public, amidst social outings or intellectual excursions. People are encouraged to react however they wish to installations, which are themselves fundamentally transient – lasting usually between three and six months. Buddhism is thus asserted as an on-going project: a continual discovery rather than a quest for knowledge from the past. (shrink)

(2002). Promised Lands: Cinema, Geography, Modernism. Ethics, Place & Environment: Vol. 5, No. 3, pp. 287-288.

This paper seeks to illuminate the experiential structures implied in the viewing of televangelistic programming – with particular focus on programming of the charismatic faith-healing variety that culminates in the televangelist’s appeal to viewers to “touch the screen” and consummate a communion that transcends the separation implied by the televisual medium. By way of a “techno-phenomenological” analysis of this marginal media scenario, faith-healing televangelism is shown to involve experiential paradoxes that are tied to processes of social marginalization as well. Thus, (...) it is argued, faith-healing televangelism functions as a call to viewers to mount a head-on confrontation with the technological infrastructure of secular modernity and thereby to effect a specifically material negotiation of evangelical culture’s precarious balancing act between an entrenchment in and a self-marginalization from the secular mainstream. (shrink)

ArgumentThis essay considers the metaphors of projection in Hugo Münsterberg's theory of cinema spectatorship. Münsterberg (1863–1916), a German born and educated professor of psychology at Harvard University, turned his attention to cinema only a few years before his untimely death at the age of fifty-three. But he brought to the new medium certain lasting preoccupations. This account begins with the contention that Münsterberg's intervention in the cinema discussion pursued his well-established strategy of pitting a laboratory model against a clinical one, (...) in this case the “master-trope” of early cinema a spectatorship drawn from hysteria, hypnosis, and related phenomena like double-consciousness. Münsterberg's laboratory-oriented account also flowed from his account of cinema technology as an outgrowth of the apparatus of his own discipline of experimental psycho-physiology, which entailed a model of cinema spectatorship continuous with the epistemological setting of laboratory relations. I argue that inThe Photoplayand related writings projection functioned in three registers: material, psychological, and philosophical. Münsterberg's primary concern was with psychological projection, where he drew upon his own work in experimental aesthetics to articulate an account of how the basic automatisms of cinema produce a state of oscillation between immersion and distraction. I show how Münsterberg's experimental aesthetics drew upon German doctrines of aesthetic empathy, orEinfühlung, which Münsterberg sought to modify in accordance with the dynamic and temporal characteristics of psycho-physiological experiment. Finally, I argue that Münsterberg's cinema theory was enfolded in his action or double-standpoint theory, in which the transcendental self posits the material, objective conditions of laboratory experience as a means to know itself. This philosophical projection explained cinema's uncanny ability to suspend ordinary perceptions of space, time, and causality. It also made cinema uniquely suited for the philosophical emancipation of a popular mass audience. (shrink)

According to Hugo Münsterberg, the direct application of experimental psychology to the practical problems of education, law, industry, and art belonged by definition to the domain of psychotechnics. Whether in the form of pedagogical prescription, interrogation technique, hiring practice, or aesthetic principle, the psychotechnical method implied bringing the psychological laboratory to bear on everyday life. There were, however, significant pitfalls to leaving behind the putative purity of the early psychological laboratory in pursuit of technological utility. In the Vocation Bureau, for (...) example, psychological instruments were often deemed too intimidating for a public unfamiliar with the inner workings of experimental science. Similarly, when psychotechnical means were employed by big business in screening job candidates, ethical red flags were raised about this new alliance between science and capital. This tension was particularly evident in Münsterberg's collaboration with the Paramount Pictures Corporation in 1916. In translating psychological tests into short experimental films, Münsterberg not only envisioned a new mass medium for the dissemination of psychotechnics, but a means by which to initiate the masses into the culture of experimental psychology. (shrink)