Pub Date : 2002-10-01DOI: 10.1080/1362517022000047343
Peter E. D. Muir
This essay considers the beginnings of the journal October's critical practice and the significance of a work by Michel Foucault: “Ceci n'est pas une pipe”.1 The theoretical issues/problematics raised by this essay became key to future debates in and around October; the essay becoming something of an emblematic means by which October might be distinguishing from other visual art critical practices. The importance of Foucault's text in relation to October was revealed during correspondences with Rosalind Krauss in August 2001. Foucault's self-referential essay can be seen as crucial not only to Rosalind Krauss's intellectual development, but also to the continuing debate on the nature of text and image in which the journal would be involved. The spiralling interplay of Foucault's narrative, combined with Magritte's picture, might be interpreted as a metaphor for the mediations of post-structural visual criticism itself as its practitioners sought to institute language into the visual sign, a project that attempted to produce a theoretical rationale – and perhaps a justification – for images being treated as if they were texts; thus, paraphrasing Foucault, introducing into the plenitude of the image a certain disorder. Such a weaving together of representation and discourse is interpreted as the formation of a destabilizing dialectic, a dialectic that can be linked to the writings of October as it shifts its rhetorical locations (critical interventions) in an attempt to break down the normative pictorial and discursive frames of reference; becoming in essence a dedisciplinary and de-formative critical practice. This essay provides an outline of the determining conditions that led to the development of this “linguistic turn” and an associated reflection on Foucault's text that seeks to direct attention specifically towards its semiotic and discursive implications in relation to the developing oeuvre of criticism exemplified by the magazine. The essay is supported by interviews with Rosalind Krauss and Douglas Crimp conducted by the author in March 2002.
本文考虑了《十月》杂志批判实践的开端，以及米歇尔·福柯(Michel Foucault)的一部作品的意义:“Ceci n'est pas une pipe”本文提出的理论问题成为未来10月及其前后辩论的关键;这篇文章成为了一种象征性的手段，通过这种手段，十月可能会与其他视觉艺术批评实践区别开来。2001年8月，福柯与罗莎琳德·克劳斯(Rosalind Krauss)的通信揭示了福柯文本与《十月》相关的重要性。福柯的自我指涉文章不仅对罗莎琳德·克劳斯的智力发展至关重要，而且对持续不断的关于文本和图像本质的辩论也至关重要，而这本杂志也将参与其中。福柯的叙事与马格利特的画面相结合的螺旋式相互作用，可以被解释为后结构视觉批评本身调解的隐喻，因为它的实践者试图将语言纳入视觉符号，这一项目试图为图像被视为文本提供理论依据——也许是正当理由;因此，套用福柯的话，将某种无序引入图像的丰富性。这种表现和话语的交织被解释为一种不稳定的辩证法的形成，这种辩证法可以与十月的作品联系起来，因为它改变了修辞位置(批判性干预)，试图打破规范性的图像和话语的参考框架;本质上成为一种去学科化和去变形的批判实践。本文概述了导致这种“语言转向”发展的决定性条件，并对福柯的文本进行了相关的反思，旨在将注意力特别集中在与该杂志所例证的发展中的批评作品相关的符号学和话语含义上。这篇文章是由作者在2002年3月对罗莎琳德·克劳斯和道格拉斯·克里普进行的采访支持的。
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Pub Date : 2002-10-01DOI: 10.1080/1362517022000047352
Nick Zangwill
I defend traditional aesthetics against sociological criticism. I argue that “historicist” approaches (a) are not supported by arguments and (b) are intrinsically implausible. Hence the traditional ahistorical philosophical approach to the judgment of taste is justified. Many Marxist, feminist and postmodernist writers either eliminate aesthetic value or reduce it to their favourite political value. Others say that they merely want to give a historical explanation of the culturally local phenomenon of thinking in terms of the aesthetic. As a preliminary, I point out that the conception of the aesthetic these theorists operate with is a straw man. In particular, Kant would have rejected it. I then point out that the empirical evidence does not support their historicist views. Most sociological theorists adduce no evidence, thinking their view obviously correct. Where evidence is adduced (e.g. by Bourdieu), the evidence has little connection with their general historicist conclusions. Lastly, I put pressure on the historicist view, first by appealing to the enormity of the error attributed to ordinary people, and second by appealing to the inevitability of pragmatic inconsistency by those who assert the view. I conclude that traditional philosophical aesthetics was right to be ahistorical.
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Pub Date : 2002-10-01DOI: 10.1080/1362517022000047325
I. Devisch
In one of his latest books, La pensée dérobée (2001), Jean-Luc Nancy continues writing about the major themes of his work up until now: community, sense, being as being with, or singular plural being. These themes come together in a witnessing of the world “as such”: that is to say,the world here and now in which we are living in common. The sense of the world is nothing but this being-in-common. This makes Nancy a thinker of “globalization”, albeit in a very specific way, one concerned with the way in which we are “world”. One way to argue this is to consider the way in which Nancy's workis larded with enumerations. Very often he “recites” our singular plural being by giving lists of the diversity of “things”. This is also the case for a few of the texts in La pensée dérobée. In trying to catch an echo of these “recitals”, I want to review the theme world in Nancy's oeuvre and ask the question if and how Nancy thinks of our global coexistence nowadays. A part of this text was presented at the 4th annual conference of The Society for European Philosophy at the Manchester Metropolitan University (11–13 September 2001).
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Pub Date : 2002-10-01DOI: 10.1080/1362517022000047334
J. Wills
Over the last 30 years, the computer and videogame has emerged as a popular recreational pastime. While often associated with the artificial and alien, it is my contention that the modern videogame informs on the subject of “nature” and what we consider to be natural. This article delineates some of the “natures” posited in computer game design. It provides a valuable overview of gaming culture and might serve as an introduction to further research on specific game genres. It argues that virtual worlds are currently serving a dual purpose, of reinforcing traditional stereotypes of the natural world (as “red in tooth” and claw or as a material resource), while gradually moving towards radical, new forms of “virtual” nature to contend with. It suggests that the mimicking of biological systems in computer games expresses both our lingering cultural interest in the “great outdoors” and a need to give familiarity and substance to an electronic medium marked by its failure to fit within traditional notions of space and geography.
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Pub Date : 2002-10-01DOI: 10.1080/1362517022000047307
B. Diken, Carsten Bagge Laustsen
Focusing on the film Fight Club (Fincher 1999), the article deals with how microfascism persists in the network society in spite of its public denial. Considering microfascism as a line of flight with respect to the social bond, it asks what happens to the project of subversion when power itself goes nomadic and when the idea of transgression is solicited by the new “spirit of capitalism”. It is argued that every social order has an obscene supplement that serves as the positive condition of its possibility, and that increasing reflexivity today is accompanied by (re)emerging nonsymbolic forms of authority. In this context, the article deals with the question of violence and relates this to the problematics of critique, flight and act(ion) in contemporary societies.
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Pub Date : 2002-10-01DOI: 10.1080/1362517022000047316
M. Featherstone
Post-11 September Michael Hardt and Antonio Negri's Empire (2000) has found mass popularity. In this article I discuss the text's relationship to postmodern capitalism, attempt to understand its appeal after the attacks on New York and Washington, and consider its political message. To this end, the first part of the paper aims to situate Empire against the background of the global economy and the 11 September attacks. Beyond this formal critique of Hardt and Negri's book, the second part of the article undertakes a psychoanalytic critique of the text itself. The role of this section is to show how the formal situation ofEmpire is written into the fabric of the book. The conclusion of the article assesses Hardt and Negri's political position in relation to Derrida's critique of globalization in Specters of Marx (1994).
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Pub Date : 2002-07-01DOI: 10.1080/1362517022000007211
K. Ohnuma
While much has been written about the uniquely Hawaiian take on the category “local” – usually in terms of resistance to colonization, the alternative or counterhegemonic – little has been written about “haole” (white), the trope that served to silhouette the “local” and has evolved in dialectical opposition to it. A term that emerged during the plantation era to represent working-class immigrant workers mostly from Asia, “local” is constructed by exclusion. It has evolved to represent solidarity against all “external forces” controlling Hawai'i from without, such as land development, tourism and the military – all readily equated with haole, the visible sign of whiteness. The prevalence of the prescription “local vs. haole” in contemporary Hawai'i begs an inquiry into other interpretations that are being suppressed. This paper explores some suppressed histories, imaginings and subconscious aspects of identity in Hawai'i through the figure of the white person whose parents – and possibly great-great-great-grandparents – were born and raised in Hawai'i.
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Pub Date : 2002-07-01DOI: 10.1080/1362517022000007239
K. Ng
This essay articulates one way to conduct a cultural intervention from the Asia/Pacific region that recognizes the cultural governance of “Other” traffics. I investigate the discursive framework of Charlie Chan and Hawai'i detective fiction to inform the ways in which nation-states police cultural difference and enact geo-cultural homogeneity. I contend that Charlie Chan acts as a narrative of containment by inscribing and transcribing those spaces, times and bodies that would otherwise disrupt the national field of America. In particular, the imaginative geography of Charlie Chan not only affirms the tropical paradise coding of Hawai'i, it attempts to provide disciplinary insights from the perspective of a “native informant”; the figure of Charlie Chan translates and forecloses the discordant rhythms of minority and “native” communities in ways that enable the production of popular television shows such as Hawaii Five-O, Magnum P.I. and Baywatch Hawaii. However,despite this national deployment of Charlie Chan, I want to suggest that Charlie Chan can also be read as a tactic of geopolitical resistance. His figure can assume a parodic and critical stance in the form of a native mis-informant, and by so doing, his character insecures dark bodies, times, spaces of the Orient and the Oceanic.
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Pub Date : 2002-07-01DOI: 10.1080/1362517022000007220
Roderick N. Labrador
This paper interrogates the relationship between place and identity among Filipinos in Hawai'i. In the paper, I analyze Pag-ibig sa Tinubuang Lupa, one of numerous events and productions in Hawai'i and elsewhere in the United States that celebrated the centennial anniversary of Philippine independence from Spain in 1998. I argue that Pag-ibig sa Tinubuang Lupa illustrates one of the ways in which recent immigrants, particularly young Filipinos (theatrically) perform narratives which produce and distribute ideas and ideologies about community, culture and identity. Borrowing from Myerhoff, I understand cultural productions like Pag-ibig sa Tinubuang Lupa as types of “definitional ceremonies” which dramatize cultural and ethnic identity claims, constructing and enacting what it means to be “Filipino” and at the same time addressing issues of power, voice and visibility.
本文探讨了在夏威夷的菲律宾人的地域与身份之间的关系。在本文中，我分析了Pag-ibig sa Tinubuang Lupa，这是夏威夷和美国其他地方庆祝菲律宾1998年从西班牙独立一百周年的众多活动和作品之一。我认为Pag-ibig sa Tinubuang Lupa说明了最近的移民，特别是年轻的菲律宾人(戏剧性地)表演叙事的一种方式，这种叙事产生并传播关于社区，文化和身份的思想和意识形态。借用Myerhoff的观点，我认为像Pag-ibig sa Tinubuang Lupa这样的文化作品是一种“定义仪式”，它戏剧化了文化和种族认同的主张，构建和制定了“菲律宾人”的意义，同时解决了权力、声音和可见性的问题。
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Pub Date : 2002-07-01DOI: 10.1080/1362517022000007194
T. Tengan
In this paper I argue that indigenous men in the Pacific engage in gender practices that historically have had widely different consequences for their positions of power or marginality. I focus my analysis on the production of modern Polynesian masculinities in Hawai'i and Aotearoa (New Zealand), highlighting the importance of the intersection of European and American colonialism(s) with indigenous forms of social organization. I look specifically at the participation of indigenous men in the military and sports, two of the most important sites for the production of masculinities where indigenous men contend with hegemonic ideologies of gender and culture. I end with some critical reflections on the possibilities and limitations of reviving traditional indigenous masculinities in decolonization movements in Hawai'i and Aotearoa.
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