Drawing upon a range of theorists, photographers and literary texts, this article explores the role of memory in grounding identity. If the subject is constituted in language, it is argued, identity can be achieved only in the realm of the imaginary, through fixation in an imago of the self. It is memory above all that gives this being-in-denial its imagined solidity; but that solidity is an effect of language’s ability to create verisimilitude in an eternal present of signification, and not (...) of memory’s relation to a real past. Identity therefore always remains precarious, because the signifiers that furnish the points de capiton of what we remember always also defer elsewhere. (shrink)

In this article we argue that our present-day mode of looking at bodies expresses a cosmetic gaze, that is, a gaze already informed by the techniques, expectations and strategies of bodily modification and a way of looking at bodies as awaiting an improvement. The cosmetic gaze, as we see it epitomized in contemporary media phenomena like reality makeover shows on television, is also a physiognomic gaze in that it creates a short-circuit between inside and outside beauty. Our article traces some (...) of the history of the present short-circuit between an inside and an outside and analyzes how different visual media have informed and shaped the gaze in historically specific ways, but also how aspects of that history inhere in media practices today. More specifically, we will analyze John Caspar Lavater’s hand-drawn portraits, Francis Galton’s photographical composites, the anthropometrically defined but still intuitively discovered ideals of the ‘Aryan body’ in Nazi Germany, and today’s reality television makeover shows in order to understand some of the continuities and discontinuities of the cosmetic gaze. (shrink)

This paper examines the connection between politics and public space at a time when photography and the new media have put the classical distinction between the public and the private into question. My focus is on the body which, according to Hannah Arendt and the classical philosophers, is the most private thing there is. Drawing on the work of Weimar photojournalist Erich Salomon – who was among the first to infiltrate the spaces where political talks were held and decisions taken (...) – I argue for an understanding of the body as an aesthetic object and a site where public and private criss-cross and intersect. The body in photography leads me to the final part of the paper where I trace the figuring of the body in the texts of Plato, Aristotle and the Stoics, and argue that far from being a recent phenomenon, the aestheticisation of politics is already at work in the tradition that celebrates deliberation and the public use of reason. (shrink)

By the early years of the twentieth century, astronomers regarded photography as one of the most valuable tools at their disposal, a technique which not only provided an accurate and reliable representation of astronomical phenomena, but also radically changed the role of the astronomical observer. Herbert Hall Turner, professor of astronomy at Oxford, wrote in 1905: ‘The wonderful exactness of the photographic record may perhaps best be characterised by saying that it has revealed the deficiencies of all our other astronomical (...) apparatus – object-glasses and prisms, clocks, even the observer himself.’ H. C. Russell, government astronomer in Sydney, suggested that photography might in the future make the observer redundant: ‘In many cases the observer must stand aside while the sensitive photographic plate takes his place and works with the power of which he is not capable… I feel sure that in a very few years the observer will be displaced altogether.’ Such visions were not uncommon at the time, emanating from the trust invested in the photographic process after the spectacular achievements of the late nineteenth century. (shrink)

This paper focuses on the documentary photography of Eugène Atget in late 19th and early 20th-century Paris. I will begin by exploring Atget’s position as a pioneering documentary photographer in the field, followed by an engagement with the urban environment of Paris, in which Atget worked almost exclusively. Finally, I will analyse a single photograph in depth while discussing it in relation to the work of Charles Baudelaire and Jacques Rancière. This text is a contribution to a literature of critical (...) engagement with documentary photography, urban history and the politics of class visibility. I will do so by arguing for the political significance of reading Atget’s images in a critical, political manner that engages with Rancière’s concept of the ‘anonymous multiple’. Atget is considered a key documentary photographer, and, as such, he is exemplary of the history of documentary photography and its treatment of its subjects. (shrink)

Snap‐shots of live theatre: the use of photography to research governance in operating room nursing The use of photography is an underreported method of research in the nursing literature. This paper explores its use in an ethnographic research project, the fieldwork of which was undertaken by the first author. The aim was to examine the governance of operating room nursing in the clinical setting and the theoretical orientation was the work of Michel Foucault. The focus of this paper is on (...) how photography was used as a means of data generation. To establish some context we begin by drawing on writers from sociology and anthropology to provide an overview of the status of vision and visual research methods in contemporary social research. We then move to a brief discussion of the uses of photography in social research and the limitations imposed by ethical considerations of its use in clinical nursing settings. As well, the process and approach involved in this research project, and issues of analysis are discussed. Three ‘snap‐shots’ of operating room nursing, taken by participants, are presented. Each is analysed in terms of its contributions to the research process as well as its substantive contribution to the theoretical framework and the research aims. (shrink)

This article questions the role of the author in the photographical image. Undoubtedly, the invention of photography has changed our attitude towards ourselves, towards the world. The impact of photography on one’s life is growing with the development of technology, mainly the photo-technology. One cannot but trust technological tools more than oneself, because any technological device nowadays is considered to be smarter, faster, and more precise than any human being. The technology plays a special role in photography, and that is (...) why the author’s position as the creator of the image is being challenged. Hence, there is also a much wider problem, the impact of technology on a person. Therefore, the purpose of this article is to show that photography as a kind of visual art is not directly a product of human creative activity. Nevertheless, as a technical product, it tends to anonymity when the question of authorship is simply decreasing. Although each image, as a human creation, has its author, in the photography the author becomes the background. We agree with Flusser that it is worthwhile to distinguish between the functionary and the photographer as candidates for the role of the author in the photographic process; but in the process of contemplating the photographs, the name of the author of the photographical image, regardless of his or her claims, is ignored, because the photography, retaining the function of objective documentation, captures any events without any interest. It is also completely dependent on technology; claiming not only for the mediation but also for the "authorship", it introduces the mode of anonymity and accidental fixation of events. The image is deprived of subjective features and the need to have an author. One can say that in any case the photographer falls into the "shadow" created by the device. The author "dies", giving the life to the photography, and dissolves in the technicality of the image. (shrink)

Сучасна філософія тяжіє до осмислення людської дійсності у дедалі ширших міждисциплінарних контекстах. Спочатку традиційні, а віднедавна й інтернет-медіа та інформаційні технології опинилися у полі зору філософів та стали джерелом для переосмислення чималої кількості так званих вічних філософських запитань. Серед них зокрема і найширші, як-от усвідомлення меж реального та розуміння, які саме явища й речі з тих, що конституюють людське, можна вважати реальними. Цю статтю присвячено дослідженню одного з понять, що є ключовим для осмислення реальності, – поняттю віртуальності. Авторка висвітлює його (...) витоки, особливості і специфіку вжитку в сучасному філософському дискурсі. Зокрема, показано конотації віртуального з усіма трьома часовими вимірами: минулим, теперішнім та майбутнім. Наголошено, що поняття віртуального спочатку було «перевідкрите» Жилем Дельозом, а потім пережило ще низку сутнісних змін у філософії ХХ–ХХІ століть. Тож віртуальне розглянуто як контрагент реального. Зокрема, у статті приділено увагу різноманітним конотаціям між поняттями віртуальності, реальності та фактичності. Крім того, розкрито моральні аспекти віртуальності – як у трансцендентному, так і в іманентному сенсі. Висвітлено підґрунтя для нерозрізнюваності «реального» та «віртуального». Зроблено висновок про те, що в ситуації так званої підміни реальності різноманіття конотацій поняття віртуальності може бути використане для перевідкриття вже самого поняття реальності. (shrink)

Foetal images have been central to the medicalized abortion debate since the 1960s. Feminists have extensively analysed such pictures, arguing that the pregnant body is separated from the foetus and erased from view, and that the rights of women and foetuses are set in opposition. In this article I introduce the latest image in this debate, the 3D sonogram, which is widely reported as new evidence for a reduction in the gestational time limit. Through close analysis of two examples, I (...) argue that the rhetorical use of these images can be characterized by a conflation of knowing with seeing. With the new clarity of sonograms to the untrained eye, image producers are legitimated by a discourse of public information and concerned citizens are called upon to exercise their rights to see/know. For feminist theory, this implies the need for continued analysis of the epistemology of foetal images and renewed focus on the subject position of the viewer. (shrink)

The visual public record of the early West represents a site of national, continental, hemispheric, and global configurations of territory, power, and imagination. The early photograph reproduces the contradictory encounters between industry, settlers, and Indigenous communities as a particular future is envisioned and contested. The transformative value of a photograph was quickly recognized for nation building and soon served a political purpose as its uses expanded from surveying lands to promoting population growth and tourism and to artistic expression. The early (...) uses on the frontier, however, created a secondary history: an alteric and alternative history of Indigenous Peoples through an oral storytelling with a perspective of difference in assimilation, disidentification, and resistance. Transcultural photography, however, is never neutral as participants come from different worlds to participate in a contested exchange. This article looks at photographic encounters between Red Cloud, Mathew Brady, and Alexander Gardener as they enact a mediation in international relations. (shrink)

This paper engages with Italo Calvino’s lecture on Visibility, included in his last—and testamentary—volume Six Memos, by understanding it in an educational and pedagogical key. While the question of pedagogy is expressly addressed by Calvino himself in his lecture, the interpretation here provided is not merely an application of his tenets but an elaboration on and an autonomous development of them. In particular, in the spotlight there is the intimate bond image-cum-writing which seems to preside over Calvino’s insights and is (...) here suggested as key to tackling the challenges of the contemporary mediascape and the “tautological vision” dominating therein. While a part of the educational discourse invokes “homeostatic” pedagogical solutions, namely the (ultimately confrontational) deployment of writing to compensate for the iconic ruling regime, this paper explores the possibility of a specific kind of visual education (instantiated by comics and Otto Neurath’s Isotype), which combines the role of the image with some features traditionally attributed to the pedagogy of writing (e.g. the cultivation of abilities of abstraction, of reflection etc.). A pedagogy of figuration is, accordingly, proposed as an interruption of the tautological vision of the new media and as conducive to educating readers of the unwritten world and of the world of digital images, Mr. Palomar—the hero of Calvino’s last novel—possibly being the archetype of this kind of (new?) readership. By referring to two influential notions in the contemporary debate in educational philosophy and theory, this pedagogy is finally interpreted in term of (visual) thing-centredness rather than (visual) subjectification. (shrink)

There is an ongoing discussion concerning personal vs. impersonal considerations in professional care. In this article, three different positions within the ethics of closeness will be discussed. These are: (a) reserving the ethics of closeness for close experienced others, ‘including the experienced Other’, which is Nortvedt's position; (b) trying to bring the distant, non‐experienced others closer, ‘including the Third’; and (c) finally, an examination of whether a perspective of closeness may lead to the exclusion of various groups in need of (...) help, ‘including the Other at the expense of the Third’. These positions are discussed with a view to clarifying some of the challenges that the ethics of closeness faces when it maintains that greater ethical obligation is associated with personal than with impersonal relations, without discussing the terms on which the obligation is based. Key questions that arise for a nurse or other health professional are: If our primary moral responsibility is for those that are close to us, the experienced others, who is to be responsible for those that are outside the established health services, the non‐experienced others? Is it evident that favouring the experienced others is based on legitimate needs? Can a discussion on the legitimate basis of nursing be avoided in questions relating to closeness and priorities? This discussion touches the heart of our discipline. Is a one‐sided perspective of closeness, rejecting moral responsibility for those with whom we have no relationship, a defensible ethical position? (shrink)

There is an ongoing discussion concerning personal vs. impersonal considerations in professional care. In this article, three different positions within the ethics of closeness will be discussed. These are: (a) reserving the ethics of closeness for close experienced others, ‘including the experienced Other’, which is Nortvedt's position; (b) trying to bring the distant, non‐experienced others closer, ‘including the Third’; and (c) finally, an examination of whether a perspective of closeness may lead to the exclusion of various groups in need of (...) help, ‘including the Other at the expense of the Third’. These positions are discussed with a view to clarifying some of the challenges that the ethics of closeness faces when it maintains that greater ethical obligation is associated with personal than with impersonal relations, without discussing the terms on which the obligation is based. Key questions that arise for a nurse or other health professional are: If our primary moral responsibility is for those that are close to us, the experienced others, who is to be responsible for those that are outside the established health services, the non‐experienced others? Is it evident that favouring the experienced others is based on legitimate needs? Can a discussion on the legitimate basis of nursing be avoided in questions relating to closeness and priorities? This discussion touches the heart of our discipline. Is a one‐sided perspective of closeness, rejecting moral responsibility for those with whom we have no relationship, a defensible ethical position? (shrink)

ABSTRACTFollowing the terrorist attacks against the US in 2001, the Bush administration reaffirmed the Dover ban, the policy that prohibited press coverage of military coffins arriving at Dover Air Force Base from conflicts abroad. Conventional wisdom holds that the Bush administration enforced the ban in the hope of maintaining public support for the wars in Afghanistan and Iraq. This understanding, though, is incomplete. If the Dover ban were enforced only in response to eroding public opinion, then other coalition states would (...) have responded likewise to this shared incentive. I argue instead that maintaining public support is only one factor among many that led the US to uphold this policy. In addition to considering the influence of factors such as perceived media bias and casualty aversion, I focus on necropolitics and the related impetus for governments to regulate the observation of death. Through this interpretation, part of the American response to the involuntary loss of sovereignty on 9/11 was... (shrink)

The idea that looking at a photograph is akin to face-to-face perception and that photographs provide genuine perceptual access to the objects they depict was notoriously defended by Kendall Walton in “Transparent Pictures.” Walton’s main thesis is that photographs are transparent in the sense that we can see objects through them. The main goal of this article is to support Walton’s view by providing a full account of photographic transparency. I will argue that the transparency that characterizes photography is not (...) metaphorical but in fact exhibits all the essential properties of transparent materials. To understand how a photograph can be transparent, one must understand the special type of causal connection between a photograph and what it shows. Building on Fritz Heider’s work, I will argue that photography is a visual medium, like air, water, glass, or mirrors, capable of transmitting the visual properties of distant objects to the perceiver. (shrink)

This article traces the significant links that Virilio's dromological analysis posits between the social and political impact of mechanical vehicles and communications media. Focusing on the way that the 'revolutions' of transportation and transmission have fundamentally altered contemporary experiences of space and time, the article explores the implications of Virilio s concept of spatio-temporal 'overexposure". My contention is that Virilio's work has been of critical importance in placing questions about differential spatio-temporal regimes Oin the political agenda. However, his critique of (...) 'tele-presence. is ultimately hampered by his continued attachment to a phenomenological subject, which I argue does not provide an adequate basis from which to rethink the dominant social relations of time and space manifest in the contemporary media. (shrink)

In 2014, a large archive of hacked nude photos of female celebrities was released on 4chan and organized and discussed primarily on Reddit. This paper explores the ethical implications of this celebrity nude photo leak within a frame of gendered privacy violations. I analyze a selection of a mass capture of 5143 posts and 94,602 comments from /thefappening subreddit, as well as editorials written by female celebrities, feminists, and journalists. Redditors justify the photo leak by arguing the subjects are privileged (...) because they are celebrities; that the celebrities are at fault for failing to appropriately protect their information; and that the only person ethically responsible for the leak is the hacker. The popular press primarily took a feminist perspective, linking the photo leak to institutionalized sexism and misogyny. I argue that the Reddit participants frame the privacy violations within a context of geek masculinity, in which references to masturbation and pornography and casually misogynist language are used to signify a normative masculine self. Privacy violations are de-emphasized when the victims are women and gender or feminist concerns are rejected. Entitlement to viewing women’s bodies and male sexual desire are prioritized over ethical concerns over privacy violations. The paper contributes to understanding how privacy violations are normatively gendered and reinforced by gender inequality. (shrink)

The aim of this paper is to contribute to the understanding of imagistic violence by focusing—by means of a phenomenology open to dialogue with neighboring disciplines, from historiography to semiotics—on the particular case of photographs depicting atrocities, examples of photojournalism or images captured at crime scenes by forensic agents and presented as evidence during trials. To this end, I will implement a three-step analysis. First, I will seek to clarify the meanings associated with photography presented as evidence by adopting Husserl’s (...) phenomenological framework and by following a historiographical and juridical approach while verifying the grounds for the opposition that appears to be emerging between a paradigm of resemblance and a model of indirect, conjectural knowledge. Second, I will focus on how photography’s capacity to sustain a maximum degree of the reproduction of the real is problematized when the pictorial object is a violent scene that suspends, contradicts, and dismantles the order of the viewer’s experience. Finally, I will conclude by offering a hypothesis on the act of “seeing-with-other” and its phenomenological implications for the case of imagistic violence as evidence. Specifically, I will argue that we are more likely to understand imagistic violence at the level of a collective seeing than through a solitary gaze. (shrink)

This article focuses on Jacques Rancière’s reflections on Alfredo Jaar’s The Rwanda Project in the context of wider discussions of the politics of naming the dead. Against the claim that his reflections reveal a depoliticizing, universalist commitment to naming all the dead, it contends that foregrounding the relation between naming and counting in this discussion shows Rancière’s focus to be the policing and politics of naming. In an original argument, it focuses specifically on how, for Rancière, in this context, individualized (...) proper names function politically and dissensually. To do so it explores Rancière’s analysis of the role of the mainstream media during the Rwandan genocide in perpetuating the police order which divided nameable individuals from anonymous masses, thereby constituting living and dead Rwandans as of little or no account, and his account of how Jaar’s art is able to disrupt the ‘partition of the sensible’ underpinning this count. The article concludes by considering how Rancière’s ideas about the relationship between naming and counting and between politics and police serve as a useful supplement to and extension of existing discussions of grievability. (shrink)

According to C. S. Peirce, resemblance or similarity is the basis for the relationship of iconic signs to their dynamical objects. But what is the basis of resemblance or similarity itself and how is the phenomenon of iconicity generated? How does it function in cultural practices and processes by which various forms of signs are generated (say, for example, the cartographical procedures by which maps are drawn, more generally, the diagrammatic ones by which networks of relationships are iconically represented)? To (...) what extent are they themselves performances (maps are always both the result of mappings andthe impetus for re-mappings)? With examples from texts by Virginia Woolf, W. G. Sebald and Reif Larsen, I will argue that literary texts provide us with uniqueresources for exploring, among other matters, the performative dimension of iconicity in the complex interaction among icon, index and metaphor as aprerequisite for semiosis, the generation of signs. (shrink)

Because Arthur ‘Weegee’ Fellig’s crime scene photographs have become the standard for visually representing crime scenes in popular culture, this paper examines the extra-legal lives of two of his images, both of which were produced at the site of a gangster’s death in 1936. To decode the crime scene photograph is to interrogate the ways in which we make sense of crime through seeing and narrating. To that end, this paper charts how these two crime images were contextualized first in (...) a tabloid narrative that invited viewer identification with the law enforcer, and later in Weegee’s own autobiographical narrative as a hardboiled photographer. In contrast to these human ways of seeing and narrating, the images are then examined through computer vision. By moving across these different ways of human and nonhuman seeing, we are arrested anew by the crime scene photograph as different narrators make clear, often for different audiences, who and what it is that we are looking at. Our visual point of focus, in turn, tells us how we engage with crime images at the mediated intersection of law and popular culture; it reveals how viewers identify with the law as a result of an image’s visual structure, as well as through representational exchanges that blur the edges between fact and fiction. (shrink)

Long-exposure photographs present distinctive philosophical challenges. They do not quite look like things in motion. Experiences of such photos take time, but not in a way that mimics the time of the motion depicted. In fact, it would not be off base to worry that these photos fail, strictly speaking, to depict motion or things-in-time. And if they fail to depict motion, then it is an interesting question what, if anything, they succeed in depicting. These timeless traces of temporal patterns (...) are thus a challenge to how we understand pictures. In addition to being representations, however, such photographs are recordings. They witlessly register aspects of scenes in a manner that can be replayed. The following shows that recording is a valuable and neglected tool for investigating representational practices. Aspects of what photos record also figure in their representational contents, and this provides a way of approaching the photography of events in time. This article proceeds by framing, and then answering, three questions. First, what do photos record about temporal patterns? Second, which aspects of such recordings also show up in photos’ representational contents? And third, do these pictures depict, rather than merely represent, such temporal patterns? (shrink)

Between February 2002 and April 2006, the Sydney Morning Herald online [www.smh.com.au], an influential Australian newspaper which went online in 1995, showed a remarkable degree of change in the design of its home page. However, over the same time period, the use of images in hard-news stories on its home page was remarkably consistent, both diachronically and synchronically. These hard-news images are small `thumbnails', and are most typically close crops of faces. Their small size, their consistent and limited subject matter, (...) and their positioning in news stories represent a new practice in hard-news reporting, and raise questions about the role they play in the multimodal story-telling practices of the newspaper, and about the discursive practices of online newspapers more generally. This article presents an analysis of these thumbnails using tools from systemic functional semiotics, and an investigation from three socio-historical perspectives. On this basis, I argue that in the specific discursive context of the home page of the Sydney Morning Herald online during the time period studied, thumbnails function less as images and more as an expression of the expanding system of language in computer-mediated communication. (shrink)

I begin by examining perception of photographs from two directions: what we think photographs are, and the aspects of mind involved when viewing photographs. Traditional photographs are shown to be mnemonic tools, and memory identified as a key part of the process by which photographs are fully perceived. Second, I describe the metamorphogram; a non-traditional photograph which fits specific, author-defined criteria for being memory. The metamorphogram is shown to be analogous to a composite of all an individual’s episodic memories. Finally, (...) using the metamorphogram in artistic works suggests a bi-directional relationship between individual autobiographical memory and shared cultural memory. A model of this relationship fails to align with existing definitions of cultural memory, and may represent a new form: sociobiographical memory. I propose that the experiences documented here make the case for promoting a mutually beneficial relationship between philosophy and other creative disciplines, including photography. (shrink)

In this paper, we explore the role of the lived body in meaningful understanding beyond linguistic conceptualization in phenomenologically oriented inquiries. In this exploration we consider the role of visuality and enactment as possibilities for accessing meaning beyond language-bound descriptions of the phenomenon of moving childhoods--that is, children's lived experiences of immigration. We suggest that immigration is an experience that interrupts the familiarity of the lifeworld, and thus brings immigrant children's awareness of their bodies to a conscious level. We ask: (...) What methods of inquiry can be used to access more directly the "embodied understanding" and, in particular, the lifeworlds of immigrant children as they leave the familiar "home world" and enter the "alien world" of a new school? In addressing this question, we focus on one aspect of phenomenological inquiry--gathering experiential accounts, or lived experience descriptions, in investigating childhood phenomena--which presents a particular challenge to researchers working with young children. We present an example of a method that bridges hermeneutic phenomenology and arts-based research methodology developed specifically to engage immigrant children bodily in accessing their lived experiences of their first day of school in the host country, and in the development of a polymedia text showing these experiences. We believe that the example demonstrates how fotonovela facilitates immigrant children’s recollection of and reflection on their experience of being at the door of a new classroom. Moreover, the production of visual texts, when shared with or read by others, has an evocative power similar to that of a phenomenological text. Thus, we argue, fotonovela is a particularly suitable method for engaging children in developing polymedia descriptive texts about their lived experiences. (shrink)

The study of natural disaster and its discursive dimensions from a semiotic perspective can provide a theoretical frame for the scientific communication of global catastrophes. In this paper I will suggest two models; one is a semiotic model on the natural catastrophic events and the other is a hexagon model composed of semiotic dimensions of natural disaster discourse. The six main modules include narration, description, explication, visualization, prevention, and recovery action.

The article presents a rhetorical analysis of online galleries. The author argues that the selection of photographs presented in a gallery serves the purpose of fulfilling a persuasive goal. That is proved by, as indicated in the analysis, the verbal and visual markers of coherence, and the narrativeness visible at the level of individual photographs, groups of photographs, and the entire gallery.

I argue that authentic photography is not able to develop to the full as a communicative representational art. Photography is authentic when it is true to its self-image as the imprinting of images. For an image to be imprinted is for its content to be linked to the scene in which it originates by a chain of sufficient, mind-independent causes. Communicative representational art (in any medium: photography, painting, literature, music, etc.) is art that exploits the resources of representation to achieve (...) artistically interesting communication of thought. The central resources of representation are content, vehicle properties, and the interplay between these two. Whereas painting and other representational arts are able to exploit all three to communicate thought, authentic photography can exploit interplay only to a very limited degree. However, the exploitation of interplay is the culmination of communicative representational art: the natural endpoint in its development. (shrink)

The phenomenon of war occupies one of the leading places in socio-philosophical and cultural studies. War also has an ambiguous position in human life. On the historical map we see the ongoing waves of armed conflicts, which inevitably lead to fatal consequences for countries, peoples and human beings. War mainly appears in the form of horrors and tragedies. However, in philosophical studies, war is considered from different angles. Philosophers often emphasize the ambiguity and multidimensionality of war. In this work, the (...) authors analyze the phenomenon of war, given a certain “attractiveness” and even the “necessity” of this phenomenon for humans. The authors also summarize the available range of answers to the question of where the desire for violence comes from, that is, the so-called “thirst for war”. It is this desire that gives rise to a constant stay of people in a state of war. The results of this study show that war is indeed an important phenomenon, which can also be considered one of the fundamental attributes of human nature. Analyzing various approaches that explain the causes of war the authors note that the source of any armed conflict is precisely the “militancy” in the very essence of homo sapiens. Human beings must constantly fight for their existence. And such a struggle often takes various forms, which can be considered as concrete variants of the same phenomenon. This phenomenon at the theoretical and philosophical level is fixed in the concept of war. Despite the natural sense of horror that the word “war” evokes at the level of everyday consciousness, pain and hope, death and freedom, faith in human and the justice of the universe, as well as a willingness to fight for this justice, are simultaneously hidden under this “ language shell”. All these internally contradictory meanings are united within the framework of the philosophically processed concept of war, and are also embodied in many different “wars” that a person constantly wages due to his / her specific “being structure”. Human, therefore, is a “warring creature,” or, as the authors propose to denote this feature, “homo militaris”. (shrink)

This review essay of two edited volumes sketches how STS scholars have analyzed scientific representation and visualization in recent work. Several key foci have emerged, among them attending closely to materiality, engaging the digital through embodied action, turning to ontology, as well as benefitting from artistic practice and critique. In diverse ways these choices are informed by a discontentment with the Cartesian split of mind and body as well as the picture theory of language. Yet, naturalism endures as a template, (...) an expectation, and sometimes a specter with and against which much representational work in science is done. What STS scholars have learnt about representation in laboratory and expert settings still awaits being employed more comprehensively for making sense of practices beyond the lab, especially in contested political, social and ecological environments. In setting out to do so, they ought to reflect on the kinds of logic that their practices of representing representation enact. (shrink)

The article challenges conventional assumptions regarding the question of incest survival within contemporary discourses. A textual analysis of Kathryn Harrison's autobiographical novel tracing her consensual sexual relationship with her father is used to address the issue of failed or unresolved mourning as a prototypically ‘modern’ cultural phenomenon. Psychoanalytically informed feminist literary criticism is used to explore the parallels between the cultural construction of femininity and failed or postponed mourning in western historical and philosophical traditions. Following the work of Juliana Schiesari (...) and Kathleen Woodward, the article contends that melancholia is a gendered discourse that has historically privileged male theorists and film-makers, such as Barthes and Fassbinder. The article suggests that contemporary women writers, such as Harrison, are engaged in a revisionary approach to the construction of loss within their writing. By situating themselves at the heart of the contemporary family narrative, instead of the ‘melancholic’ margins, they are able to produce a counter-discourse that dispels the conventional dynamics of the traditional family romance. By using the ‘writing cure’ to overcome ideological loss, the desiring daughter is able to challenge misogynist constructions of femininity within contemporary literature. (shrink)

Grounded in the authors’ theoretical and ethnographic work on pregnancy and social life after death, this article explores the ways in which the body is involved in processes of identification. With a focus on the embodied nature of social identity, the article nonetheless problematizes a model of the life course that begins at the moments of birth and ends at death. Instead, it offers a more extended temporal perspective and examines other ways in which identity may be claimed, for example, (...) via material objects and practices which evoke the body as imagined or remembered. By documenting pre-birth and post-mortem identity-making of this kind, it demonstrates how the unborn and the dead may come into social existence. In addition, a cultural privileging of both the body and visuality is shown to shore up the capacity of material objects and practices to shape social identities in a highly selective fashion. The article therefore proposes that models of the life course need to accommodate the meanings of pre-birth and post-mortem materialities and so incorporate a conceptualization of social identity as contested, relational and inevitably incomplete. (shrink)

In this article we offer analysis of the intersection between what is theorized as the knowledge economy, US schools, and identity politics through our examination of a sample of print media advertisements. The thematic thread we use to tie these pieces together is the concept of smartness, which we frame as a metanarrative of truth reflected in schooling and society. In sum, 156 advertisements are examined and discourses of smartness, race/ethnicity, and gender analyzed. We discuss the ways power has shifted (...) within the knowledge economy to privilege smart identities as representations of human capital and those representations? connections to schooling. (shrink)

Most of us have grown up with faces on television that look back at us, talk to us, even whenwe ignore them. They smile at us, and seem to address us personally. But they cannot seeor hear us, and we may or may not know who they are. Increasingly, in societies wherescreens are prevalent , our encounters with fellow humanbeings are mediated in ways such as this. Has the ubiquitous intervention of screens in ourlives thus made it harder to understand (...) and communicate directly with one another? Or,have screens extended our capacity to empathise and ‘socialise’, bringing us face-to-facewith people and points of view that we otherwise would never have encountered? In thisessay, I examine the idea that cinematic perception enables us to see the social world froma radically different perspective, and that an experience of this perspective may in itself beethical. I focus on the use of ‘direct address’, and discuss two documentaries by Errol Morriswhere the technique of direct address is used in ways that complicate ideas of mediationand empathy: Mr. Death: The Rise and Fall of Fred A. Leuchter, Jr. and The Fog of War:Eleven Lessons from the Life of Robert S. McNamara . I also draw on the philosophyof Emmanuel Levinas, particularly his work on ethics and the face, to analyse the effects ofMorris’s techniques. The essay highlights the importance of responsibility in human communication, and maintains that by reflecting on the viewing situation we are betterpositioned to empathise with Morris’s controversial subjects. (shrink)

This article explores the intersemiotic affordances of photography and poetry and the expansion of meaning that surpasses the meanings embedded in and elicited from both. We specifically investigate the processes and mechanisms of this semantic expansion by systematically reconstructing the compositional process of poems written from three photographs and forensically investigate how the poems emerged out of each visual frame. We discovered that intersemiosis between photography and poetry demonstrates a strong interpretative component. Intra-semiotic connections between elements within the photograph are (...) interpreted by the viewer or writer and are translated by means of inter-semiotic triggers into intra-semiotic connections within the emerging poem during the process of composition. The resulting inter-semiotic connections between the photograph and the poem create and multiply meaning for both mediums together and independently. In other words, in the process of composition, the poem reads the meanings of components of the photograph framed by the photographer and super-frames them; creating a new frame of meanings that draw upon, and extend, meanings in the original frame of the photograph. At the same time, the poem enters a stage of self-change and self-reflection, inhabiting the life of the photograph. (shrink)

The invention of photography in the early 19th century changed the way that we see the world, and has played an important role in the development of western science. Notably, photographic vision is implicated in the definition of a new temporal relation to the natural world at the same time as modern biological science emerges as a disciplinary formation. It is this coincidence in birth that is central to this study. I suggest that by examining the relationship of early photography (...) to nature, we can gain some insight into the technological and epistemological underpinnings of biological vision. To this end, this article is primarily concerned with the role of photographic technology in the genealogy of biological vision. I argue that photography has always been ambiguously located between art and science, between nature and culture, and between life and death. Hence, while it may be a technological expression of the scientific desire to know and to control nature, photographic vision has continually disrupted and frustrated the ambitions of biological technoscience. The technovision of early biological science illustrates that the elusive temporality of nature has always been central to the production of knowledge of life. (shrink)

Jacques Rancière, in his essay ‘Are Some Things Unrepresentable?’, puts forth a challenge that is ever more pertinent to our times. What constitutes the unrepresentable today? Rancière frames his answer in a very specific way: the question of unrepresentability leads directly to the way in which political violence may or may not be put into an image. Offering an alternative to Rancière’s approach, the present article turns instead to the information society, asking if and how something might be unrepresentable in (...) a world saturated by data and information. Thus one approaches the issue of transparency and secrecy here from the perspective of the relative perspicuity of data visualization. Two theses structure the argument, first that ‘data have no necessary visual form’ and, second, that ‘only one visualization has ever been made of an information network’. The tension between these two theses leads to a disconcerting conclusion, that the triumph of information aesthetics precipitates a decline in informatic perspicuity. One is obligated therefore to call for a strong reinvigoration of poetics and hermeneutics within the digital universe, so that representation as such can take place, perhaps for the first time. (shrink)

The thylacine was a shy and elusive nonhuman animal who survived in small numbers on the island of Tasmania, Australia, when European settlers arrived in 1803. After a deliberate campaign of eradication, the species disappeared 130 years later. Visual and verbal constructions in the nineteenth century labeled the thylacine a ferocious predator, but photographs of individuals in British and American zoos that were used to illustrate early twentieth-century zoological works presented a very different impression of the animal. The publication of (...) these photographs, however, had little effect on the relentless progress of extermination. This essay focuses on the relationship between photographs of thylacines and the process of extinction, between images and words, and between pictures of dead animals and live ones. The procedures, claims, and limitations of photography are crucial to the messages generated by these images and to the role they played in the representation of the species. This essay explains why the medium of photography and pleas for preservation could not save the thylacine. (shrink)

ArgumentThe discovery of the Alps in the second half of the eighteenth century spawned an aesthetics of sublimity that enabled overwhelmed beholders of mountains to overcome their confusion symbolically by transforming initial speechlessness into pictures and words. When travelers ceased to be content with beholding mountains, however, and began climbing them, the sublime shudder turned into something else. In the snowy heights, all attempts to master symbolically the challenging landscape was thwarted by vertigo, somnolence, and fatigue. After 1850, physiologists intervened, (...) using the Alpine terrain as a laboratory landscape that was ideally suited to examine one of the most threatening concerns offin de siècleindustrial societies: fatigue. This essay examines how the picturesque voyage turned into an experimental physiology of fatigue, and how the “wordless subjectivity” of romantic travelers turned into the “wordless objectivity” of life scientists. (shrink)

As even those who endorse it concede, cosmopolitanism has a motivational problem. There is a need for strategies to generate support of global norms conducive to cosmopolitanism, but which do not rely primarily on the motivating force of the moral argument. This article makes the case for civic vigilance as an answer to this problem. It argues that support for cosmopolitan norms could be advanced by encouraging a recognition of the ‘boomerang effect’: the ways in which global injustice undermines the (...) freedom of one’s own political community. The article offers evaluative criteria for different motivational strategies, assesses prominent alternatives to moral motivation, and finally defends the appeal to civic vigilance. (shrink)