Pub Date : 2022-12-01DOI: 10.1177/14704129221142493
Jae Emerling
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Pub Date : 2022-08-01DOI: 10.1177/14704129221125769
Kimberly Lamm
For Amelia Jones, performance art reveals the fault lines in dominant cultural orders and brings them to light. She has devoted her formidable energies to tracing these acts of excavation and disclosing how feminist, queer, and anti-racist politics animate them. Two recently published books, In-Between Subjects: A Critical Genealogy of Queer Performance (2021) and Queer Communion: Ron Athey (2020) (co-edited with Andy Campbell) underscore how serious her commitment is. These studies are intimate allies and they illuminate why performance and sexuality have warranted a lifetime of exploration: Jones sees the full liberatory range of erotic life in performance. It allows sexuality to be unpredictably alive and imbued with contingency, not a thing to possess but a process that unfolds by responding deeply to and with others. Creating and modeling the risks of intimate encounters, performance allows the vulnerabilities of marginalized bodies to transform shame and isolation into radically inclusive forms of belonging. Introducing In-Between Subjects, Jones writes that performance allows us to ‘enact’ rather than ‘suppress’ or ‘contain’ the ‘messy, durational, relational, and disorienting aspects of being a person in the world’ (p. 24). Jones’s scholarship shows that performance creates worlds in which such enactments must be fought for but are always possible.
{"title":"Amelia Jones, In-Between Subjects: A Critical Genealogy of Queer Performance Amelia Jones and Andy Campbell (eds), Queer Communion: Ron Athey, reviewed by Kimberly Lamm","authors":"Kimberly Lamm","doi":"10.1177/14704129221125769","DOIUrl":"https://doi.org/10.1177/14704129221125769","url":null,"abstract":"For Amelia Jones, performance art reveals the fault lines in dominant cultural orders and brings them to light. She has devoted her formidable energies to tracing these acts of excavation and disclosing how feminist, queer, and anti-racist politics animate them. Two recently published books, In-Between Subjects: A Critical Genealogy of Queer Performance (2021) and Queer Communion: Ron Athey (2020) (co-edited with Andy Campbell) underscore how serious her commitment is. These studies are intimate allies and they illuminate why performance and sexuality have warranted a lifetime of exploration: Jones sees the full liberatory range of erotic life in performance. It allows sexuality to be unpredictably alive and imbued with contingency, not a thing to possess but a process that unfolds by responding deeply to and with others. Creating and modeling the risks of intimate encounters, performance allows the vulnerabilities of marginalized bodies to transform shame and isolation into radically inclusive forms of belonging. Introducing In-Between Subjects, Jones writes that performance allows us to ‘enact’ rather than ‘suppress’ or ‘contain’ the ‘messy, durational, relational, and disorienting aspects of being a person in the world’ (p. 24). Jones’s scholarship shows that performance creates worlds in which such enactments must be fought for but are always possible.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":null,"pages":null},"PeriodicalIF":1.4,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48079025","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-01DOI: 10.1177/14704129221112976
Darlène Dubuisson
The circulation and consumption of the images of suffering and lifeless black bodies is a longstanding feature of US visual media. Since each archive of suffering and dead black bodies operates within specific histories, discourses, and affective relationships, this article examines a particular collection of images: the Time magazine photos of the 2010 Haiti earthquake victims. The article argues that the photos evoke the uncanny by using the Haitian zombie motif – an image of ‘monstrous’ black racial difference. The article traces the photos’ elicitation of the uncanny in two ways: one, it highlights how the images produce self/other slippages and thus affirm the uncanny; and two, it examines the insidious and violent ways these slippages dehumanize, dismember, and dispossess those depicted to produce a ‘negative familiarity’ for the non-black observer, thus lending to the banality of antiblack violence. The article ends with a call for ‘radical empathy’ to combat this violence.
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Pub Date : 2022-08-01DOI: 10.1177/14704129221125767
Marc R. H. Kosciejew
In Model City Pyongyang, the architects Cristiano Bianchi and Kristina Drapić shed light on this shrouded city by showing sumptuous photographs of its bizarre, yet beautiful, urban landscape. Specifically, Bianchi and Drapić provide a vibrant visual journey through the so-called hermit kingdom’s cryptic capital featuring 200 fanciful illustrations of buildings, structures and streetscapes rarely seen by foreigners. Adopting a photographic rather than textual approach to analysing the city, they explain that they ‘chose to communicate what we saw and the impressions we later digested through our photographs’ (pp. 13–15). By offering this extraordinary visual access to Pyongyang’s severely restricted world, they immerse readers in a seemingly different dimension, one full of elaborate symbolism. Indeed, this unparalleled photographic perspective reveals the extreme and singular ideological design of a city unseen elsewhere.
{"title":"Christiano Bianchi and Kristina Drapić, Model City Pyongyang, reviewed by Marc Kosciejew","authors":"Marc R. H. Kosciejew","doi":"10.1177/14704129221125767","DOIUrl":"https://doi.org/10.1177/14704129221125767","url":null,"abstract":"In Model City Pyongyang, the architects Cristiano Bianchi and Kristina Drapić shed light on this shrouded city by showing sumptuous photographs of its bizarre, yet beautiful, urban landscape. Specifically, Bianchi and Drapić provide a vibrant visual journey through the so-called hermit kingdom’s cryptic capital featuring 200 fanciful illustrations of buildings, structures and streetscapes rarely seen by foreigners. Adopting a photographic rather than textual approach to analysing the city, they explain that they ‘chose to communicate what we saw and the impressions we later digested through our photographs’ (pp. 13–15). By offering this extraordinary visual access to Pyongyang’s severely restricted world, they immerse readers in a seemingly different dimension, one full of elaborate symbolism. Indeed, this unparalleled photographic perspective reveals the extreme and singular ideological design of a city unseen elsewhere.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":null,"pages":null},"PeriodicalIF":1.4,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41800659","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-01DOI: 10.1177/14704129221125768
Marissa C. de Baca
Akin to the teardrop that opens Eugenie Brinkema’s first work, The Forms of the Affects (2014), her latest book, Life-Destroying Diagrams, commences with another signifier bound to the body: the neck. Through the neck, Brinkema critiques how established scholarship such as Linda Williams’s (1991) body genres, Noël Carroll’s (1990) aesthetic philosophy of horror, or James Twitchell’s (1985) Dreadful Pleasures has thought through horror exclusively as a bodily affect: the sensations of a shiver or the goosebumps on skin. ‘I am done with the neck’, Brinkema states as her opening salvo against privileging the body and thus limiting affective interpretations of horror (p. 1). Brinkema’s ingenious solution to the body problem – or otherwise, when affective teleology is only thought through the body – is to rethink horror through form. Therefore grids, charts, diagrams, hexagons, lines, circles, or tempo are deployed to activate affective potential. Yet, as the author makes clear, this book is not about horror, but about reading affect from form. Consequently, Life-Destroying Diagrams reinstitutes Brinkema’s theory of radical formalism, which demands ‘a return to the speculative ground or roots of what thinking can claim’ by launching a text’s potential through ‘readings that proceed without guarantee’ (p. 21). What results in Life-Destroying Diagrams is a provocative and commanding intervention into aesthetic theory that can enliven what has already been preconceived within scholarship on horror and within the larger fields of Visual Culture Studies, Literary Studies, Cinema Studies, and Continental Philosophy.
尤金妮·布林克玛（Eugenie Brinkema）的第一部作品《影响的形式》（the Forms of the Affects，2014）以泪珠开场，她的最新著作《毁灭生命的图表》（Life Destroying Diagrams）以另一个绑定在身体上的能指开始：脖子。Brinkema从脖子上批评了诸如Linda Williams（1991年）的身体流派、Noël Carroll（1990年）的恐怖美学哲学或James Twitchell（1985年）的《可怕的快乐》等学术界是如何将恐怖完全视为一种身体影响的：颤抖或皮肤上的鸡皮疙瘩Brinkema表示，“我受够了脖子”，这是她反对对身体的特权化，从而限制对恐怖的情感解读的开场白（第1页）。Brinkema对身体问题的巧妙解决方案——或者说，当情感目的论只通过身体思考时——是通过形式重新思考恐怖。因此，网格、图表、六边形、线条、圆圈或节奏被用来激活情感潜力。然而，正如作者明确指出的那样，这本书不是关于恐怖，而是关于形式的阅读影响。因此，《毁灭生命的图表》重新确立了布林克马的激进形式主义理论，该理论要求通过“无保证的阅读”来激发文本的潜力，从而“回到思维所能声称的推测基础或根源”（第21页）。《毁灭生命图》的结果是对美学理论的挑衅性和命令性干预，它可以活跃恐怖学术界以及视觉文化研究、文学研究、电影研究和大陆哲学等更大领域中已经先入为主的东西。
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Pub Date : 2022-08-01DOI: 10.1177/14704129221123844
Marquis Bey, Kara Carmack, Jill H. Casid, KJ Cerankowski, S. Crasnow, Stamatina Gregory, J. Halberstam, Lex Morgan Lancaster, Cyle Metzger, Kirstin Ringelberg, Cole Rizki, Wiley Sharp, Eliza Steinbock, Susan Stryker
This Roundtable is crafted from the online event held on Saturday 20 November 2021 on Trans Visual Cultures. That event was organized to celebrate the recently published themed issue of Journal of Visual Culture on new work in transgender art and visual cultures, guest edited by Cyle Metzger and Kirstin Ringelberg, and suggested for the journal by Jill H Casid. The themed issue emerged from a session run at the College Art Association in New York, 2018, programmed by Metzger and Ringelberg. For the event in November 2021, some of the contributors to the journal’s themed issue (Kara Carmack, Sascha Crasnow, Stamatina Gregory, Cyle Metzger and Kirstin Ringelberg) were joined by interlocutor Jill Casid, and respondent Jack Halberstam to share their thoughts on trans visual culture/s now, and to consider what it is to write trans visual culture, as well as to live in relation to transness. The event happened to fall on Transgender Day of Remembrance. Given the fraught or ambivalent feelings that many have about such a day, the event was also taken as an occasion to talk about ways of untethering trans visibility from what is lethal to trans viability. After the event, the organizers solicited a few additional reflections on concerns that emerged – in particular around matters of the visual, trans visibility, and lived experience. These are brought together to act as a refractive prism for what happens when we center thinking seriously with the implications and potentials of trans art and visual culture for trans hopes and fears, kinship and community, lives and loves. The publication of this Roundtable takes the themed issue as a crucial springboard for critical, transversal trans* imaginings of the variant worlds to be unfolded by undoing the lock of the gender binary and its settler colonial and white supremacist violences, and to further the demand that thinking with trans alters substantially the ways we approach the visual.
本次圆桌会议由2021年11月20日星期六举行的跨视觉文化在线活动精心打造。该活动是为了庆祝最近出版的《视觉文化杂志》关于跨性别艺术和视觉文化新作品的主题期刊，由Cyle Metzger和Kirstin Ringelberg担任客座编辑，Jill H Casid建议为该杂志撰稿。这期主题期刊出现在2018年纽约大学艺术协会的一次会议上，由Metzger和Ringelberg策划。在2021年11月的活动中，该杂志主题期的一些撰稿人（卡拉·卡马克、萨莎·克拉斯诺、斯塔马蒂娜·格雷戈里、赛尔·梅茨格和克尔斯汀·林格尔伯格）与对话者吉尔·卡西德和受访者杰克·哈尔伯斯塔姆一起分享了他们对跨视觉文化的看法，并思考了写跨视觉文化是什么，以及与变性相关的生活。这一事件恰好发生在跨性别纪念日。考虑到许多人对这一天的担忧或矛盾情绪，这次活动也被视为一个讨论如何将跨性别可见性从对跨性别生存能力的致命性中解放出来的机会。活动结束后，组织者就出现的问题征求了一些额外的思考，特别是关于视觉、跨视觉和生活体验的问题。当我们认真思考跨性别艺术和视觉文化对跨性别希望和恐惧、亲属关系和社区、生活和爱情的影响和潜力时，这些因素被结合在一起，成为一个折射棱镜。本次圆桌会议的出版将主题议题作为一个关键的跳板，通过解开性别二元对立及其定居者殖民主义和白人至上主义暴力的锁，展开对不同世界的批判性、横向跨性别想象，并进一步要求跨性别思维大大改变我们对待视觉的方式。
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Pub Date : 2022-08-01DOI: 10.1177/14704129221112975
F. Casetti
The Phantasmagoria was not just a spectacle based on projections of images of ghosts and monsters. Relying upon new archival findings, this article claims that the Phantasmagoria was instead an optical–environmental dispositive that combined an enclosed space with the exploration of three worlds: the otherworld of the Dead, the physical world of Nature, and the inner world of spectators’ Interiority. While its ultimate goal was to provide an unconventional map of the three domains that were of the greatest interest at the time, its combined interest in a spatial arrangement and a visual address suggests the need for a new, rhizomatic archaeology in which to include the screen-based dispositives.
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Pub Date : 2022-08-01DOI: 10.1177/14704129221112972
Rosalind Galt, Annette-Carina van der Zaag
This article addresses the racializing logic of white feminism and its alignment with white heteronormative registers of human life. It does so by considering Julia Ducournau’s (2017) film Raw in relation to cannibalism’s intersections of gender, sexuality and race. The film invokes feminist pleasures, centring on female desire and pitting Justine’s compulsive appetites against an inflexible social hierarchy of gender and species. However, its articulation of cannibal consumption and female subjectivity is dangerously ambivalent. By focusing on the colonial history and racializing logic of the cannibal, this article reads Raw as symptomatic of the subjective formations and social violence of white feminism. Raw portrays cannibalism as a feminist practice of posthuman resistance, but its seductive appeal also produces a troubling ambivalence around non-white and queer bodies, which resonates with black critiques of posthumanism’s reproduction of whiteness. The film invites us to inhabit our raw desires as a monstrous resistance, but what genres of human and nonhuman haunt this politics of monstrosity?
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Pub Date : 2022-08-01DOI: 10.1177/14704129221112971
Maayan Amir
While chemical attacks are rare and deemed an illegitimate form of warfare, the attempt to exploit international law in order to license military action is an eerily common custom. The practice of deploying a legal system to promote military objectives is now widely known as lawfare. In this article, the author focuses on what she calls visual lawfare, namely the weaponization of visual documentation used to provide evidence in order to either prove compliance, or to demonstrate violations, of international laws of warfare through appeal to a legal forum, in order to facilitate a military objective. Drawing on endeavours to affect the United Nations Security Council resolutions in the context of the Syrian Civil War, in addition to revisiting selected lawfare scholarship while providing the new concept of ‘visual lawfare’ itself, she expands on how visual evidence is employed or produced to sanction the lawful use of violence while citing international codes of conduct.
{"title":"Visual lawfare: evidential imagery at the service of military objectives","authors":"Maayan Amir","doi":"10.1177/14704129221112971","DOIUrl":"https://doi.org/10.1177/14704129221112971","url":null,"abstract":"While chemical attacks are rare and deemed an illegitimate form of warfare, the attempt to exploit international law in order to license military action is an eerily common custom. The practice of deploying a legal system to promote military objectives is now widely known as lawfare. In this article, the author focuses on what she calls visual lawfare, namely the weaponization of visual documentation used to provide evidence in order to either prove compliance, or to demonstrate violations, of international laws of warfare through appeal to a legal forum, in order to facilitate a military objective. Drawing on endeavours to affect the United Nations Security Council resolutions in the context of the Syrian Civil War, in addition to revisiting selected lawfare scholarship while providing the new concept of ‘visual lawfare’ itself, she expands on how visual evidence is employed or produced to sanction the lawful use of violence while citing international codes of conduct.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":null,"pages":null},"PeriodicalIF":1.4,"publicationDate":"2022-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43579338","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-04-01DOI: 10.1177/14704129221124448
Peter Morin
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