This essay and the photographs examine visual traces of irregular mobility in the border landscape between Italy and France. The ruined buildings and objects witness decades of movement of undocumented people on this old migrant path across the mountains. By taking the theoretical concept of multidirectional memory (Rothberg 2009) the essay argues that the Path of Hope can be thought of as a memory site through which the issues of migration in contemporary Europe can be seen in a more sustainable light. The ruins and discarded objects link memories of different places – including different border zones – in ways that allow us to critically examine borders as a practice – rather than as existing dividing lines. Reading visuality of this border zone allows one to imagine a migrant’s vision of the landscape.
{"title":"Live free or die motionless: Walking the migrant path from Italy to France","authors":"Karina Horsti","doi":"10.5130/CSR.V24I2.5923","DOIUrl":"https://doi.org/10.5130/CSR.V24I2.5923","url":null,"abstract":"This essay and the photographs examine visual traces of irregular mobility in the border landscape between Italy and France. The ruined buildings and objects witness decades of movement of undocumented people on this old migrant path across the mountains. By taking the theoretical concept of multidirectional memory (Rothberg 2009) the essay argues that the Path of Hope can be thought of as a memory site through which the issues of migration in contemporary Europe can be seen in a more sustainable light. The ruins and discarded objects link memories of different places – including different border zones – in ways that allow us to critically examine borders as a practice – rather than as existing dividing lines. Reading visuality of this border zone allows one to imagine a migrant’s vision of the landscape.","PeriodicalId":51871,"journal":{"name":"Cultural Studies Review","volume":"11 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-10-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80148341","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
How is it possible to write of the myriad kinds of silence with which we are surrounded? I am thinking especially of those dense or jagged silences so impervious to words, which increasingly appear in a world become too much, and too little, to bear.
{"title":"Silences","authors":"Lucy Tatman","doi":"10.5130/csr.v24i2.5877","DOIUrl":"https://doi.org/10.5130/csr.v24i2.5877","url":null,"abstract":"How is it possible to write of the myriad kinds of silence with which we are surrounded? I am thinking especially of those dense or jagged silences so impervious to words, which increasingly appear in a world become too much, and too little, to bear.","PeriodicalId":51871,"journal":{"name":"Cultural Studies Review","volume":"80 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-10-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78027731","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Is security seen? Is security seen in images of peace and safety, or is it perceived in the troubled images of the horrors of violence and suffering? Vision has played a crucial role in shaping the modern Western preoccupation with, and prioritisation of security. Historically, security has been visually represented in a variety of ways, typically involving the depiction of its absence. In Medieval and Early Modern Europe especially, security and insecurity were presented as coterminous insofar as each represented separate conditions – their shared boundary envisioned in representations of the temporal threshold separating human mortality from divine salvation. This ocular demonstration of thresholds has been heightened by the ‘war on terror’ conducted by neo-liberal states since 2003. Neoliberalism operates as a discourse of constant global circulations (of money, goods and people) premised on a perpetual anticipation and pre-emption of insecurity. In the neoliberal scheme, security and insecurity are no longer coterminous, but mutually sustaining in perpetuity. In that sense, neoliberal security is ‘sight unseen’ - an uncanny presence that is not there. In the reiterated troubled images of horror amplified by the seemingly endless 'war on terror', neoliberal security operates as a terrifying visual reflex: we cannot see it but in new horrors.
{"title":"Sight Unseen: Our Neoliberal Vision of Insecurity","authors":"Bruce Buchan","doi":"10.5130/CSR.V24I2.6051","DOIUrl":"https://doi.org/10.5130/CSR.V24I2.6051","url":null,"abstract":"Is security seen? Is security seen in images of peace and safety, or is it perceived in the troubled images of the horrors of violence and suffering? Vision has played a crucial role in shaping the modern Western preoccupation with, and prioritisation of security. Historically, security has been visually represented in a variety of ways, typically involving the depiction of its absence. In Medieval and Early Modern Europe especially, security and insecurity were presented as coterminous insofar as each represented separate conditions – their shared boundary envisioned in representations of the temporal threshold separating human mortality from divine salvation. This ocular demonstration of thresholds has been heightened by the ‘war on terror’ conducted by neo-liberal states since 2003. Neoliberalism operates as a discourse of constant global circulations (of money, goods and people) premised on a perpetual anticipation and pre-emption of insecurity. In the neoliberal scheme, security and insecurity are no longer coterminous, but mutually sustaining in perpetuity. In that sense, neoliberal security is ‘sight unseen’ - an uncanny presence that is not there. In the reiterated troubled images of horror amplified by the seemingly endless 'war on terror', neoliberal security operates as a terrifying visual reflex: we cannot see it but in new horrors.","PeriodicalId":51871,"journal":{"name":"Cultural Studies Review","volume":"26 1","pages":"130-149"},"PeriodicalIF":0.0,"publicationDate":"2018-05-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84777043","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This essay examines two works of video art to think through the apparent ‘immortality’ of recorded data and digital images, along with the use of ‘animism’ as a framework to describe the ‘liveliness’ of objects in recent cultural theory. In discussing Cecile B. Evans’ Hyperlinks or it Didn’t Happen (2014) and Korakrit Arunanondchai’s Painting with history in a room filled with people with funny names 3 (2016), we highlight how framings of death and digital images are not uniform, and are often articulated to other cultural beliefs. Yet these beliefs cannot be temporally or spatially opposed in any rigid fashion (as ‘modern’ or ‘premodern’, ‘Western’ or ‘Eastern’), in spite of attempts to suggest a ‘return’ to animism to theorise the agency of objects is an embrace of premodern, non-Western epistemologies and ontologies. The ‘troubled images’ we discuss here should be thought through a sense of ‘trouble’ derived from Donna Haraway: as stirring up, or making cloudy. We aim to further complicate and ‘trouble’ the ethical imperatives of animism (in the work of those like Haraway) given the role of digital media in sustaining or putting into practice the animisms of our present. In doing this, we also advance an ontological argument about data and its relationality, suggesting that data be theorised through tropes of metonymy and synecdoche.
本文考察了两件录像艺术作品，以思考记录数据和数字图像的明显“不朽”，以及在最近的文化理论中使用“万物有灵论”作为描述物体“活力”的框架。在讨论Cecile B. Evans的《Hyperlinks or it Didn ' t Happen》(2014)和Korakrit Arunanondchai的《在一个充满有趣名字的人的房间里画历史》(2016)时，我们强调了死亡和数字图像的框架是如何不统一的，并且经常与其他文化信仰相关联。然而，这些信仰不能以任何严格的方式在时间或空间上对立(如“现代”或“前现代”，“西方”或“东方”)，尽管有人试图建议“回归”万物有灵论，将物体的代理理论化，这是对前现代、非西方认识论和本体论的拥抱。我们在这里讨论的“麻烦的图像”应该通过唐娜·哈拉威(Donna Haraway)的“麻烦”的意义来思考:搅动，或使阴云。鉴于数字媒体在维持或实践我们当前的万物有灵论方面的作用，我们的目标是进一步复杂化和“麻烦”万物有灵论的道德要求(在哈拉威等人的工作中)。在此过程中，我们还提出了关于数据及其关系的本体论论证，表明数据可以通过转喻和提喻的比喻来理论化。
{"title":"‘Do You Really Want to Live Forever?’: Animism, Death, and the Trouble of Digital Images","authors":"G. Bollmer, K. Guinness","doi":"10.5130/CSR.V24I2.5995","DOIUrl":"https://doi.org/10.5130/CSR.V24I2.5995","url":null,"abstract":"This essay examines two works of video art to think through the apparent ‘immortality’ of recorded data and digital images, along with the use of ‘animism’ as a framework to describe the ‘liveliness’ of objects in recent cultural theory. In discussing Cecile B. Evans’ Hyperlinks or it Didn’t Happen (2014) and Korakrit Arunanondchai’s Painting with history in a room filled with people with funny names 3 (2016), we highlight how framings of death and digital images are not uniform, and are often articulated to other cultural beliefs. Yet these beliefs cannot be temporally or spatially opposed in any rigid fashion (as ‘modern’ or ‘premodern’, ‘Western’ or ‘Eastern’), in spite of attempts to suggest a ‘return’ to animism to theorise the agency of objects is an embrace of premodern, non-Western epistemologies and ontologies. The ‘troubled images’ we discuss here should be thought through a sense of ‘trouble’ derived from Donna Haraway: as stirring up, or making cloudy. We aim to further complicate and ‘trouble’ the ethical imperatives of animism (in the work of those like Haraway) given the role of digital media in sustaining or putting into practice the animisms of our present. In doing this, we also advance an ontological argument about data and its relationality, suggesting that data be theorised through tropes of metonymy and synecdoche.","PeriodicalId":51871,"journal":{"name":"Cultural Studies Review","volume":"3 1","pages":"79-96"},"PeriodicalIF":0.0,"publicationDate":"2018-05-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88007955","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
While research has addressed the ways in which autism is represented in popular culture, in literature and in film, this article points to how autistic cultural assemblages afforded by the unevenly global-digital or globital age act to queer neurotypical communication and media ethics more broadly. The article argues that evidence points to the emergence of new human communication ethics that embraces neurodiversity and that values the sensorial, perceptual, cognitive and communicative variety of human meaning making as well as including the communicative affordances of non-human persons and our environment. . Since communication and ethics are configured through a culture of ‘normalcy’ this article asks how images about, by and with people with autism invite a reorientation of ethical assumptions about images more widely. How do new kinds of digital images of autistic people made possible through the affordances of the globital age trouble or rather unsettle not only a history of troubled images of autistic people in medicine and popular culture but also ontologically challenge the human-centric and neurotypical bias of communication ethics? The article draws on self-advocacy You Tube videos made by and with autistic people, a campaign video made by the UK’s National Autistic Society, and films as ‘translations’ of a nonverbal autistic world to suggest these unsettle and queer a genealogy and history of troubled images of autistic people .
{"title":"Neurodiversity and Communication Ethics: How Images of Autism Trouble Communication Ethics in the Globital Age","authors":"A. Reading","doi":"10.5130/CSR.V24I2.6040","DOIUrl":"https://doi.org/10.5130/CSR.V24I2.6040","url":null,"abstract":"While research has addressed the ways in which autism is represented in popular culture, in literature and in film, this article points to how autistic cultural assemblages afforded by the unevenly global-digital or globital age act to queer neurotypical communication and media ethics more broadly. The article argues that evidence points to the emergence of new human communication ethics that embraces neurodiversity and that values the sensorial, perceptual, cognitive and communicative variety of human meaning making as well as including the communicative affordances of non-human persons and our environment. . Since communication and ethics are configured through a culture of ‘normalcy’ this article asks how images about, by and with people with autism invite a reorientation of ethical assumptions about images more widely. How do new kinds of digital images of autistic people made possible through the affordances of the globital age trouble or rather unsettle not only a history of troubled images of autistic people in medicine and popular culture but also ontologically challenge the human-centric and neurotypical bias of communication ethics? The article draws on self-advocacy You Tube videos made by and with autistic people, a campaign video made by the UK’s National Autistic Society, and films as ‘translations’ of a nonverbal autistic world to suggest these unsettle and queer a genealogy and history of troubled images of autistic people .","PeriodicalId":51871,"journal":{"name":"Cultural Studies Review","volume":"116 1","pages":"113-129"},"PeriodicalIF":0.0,"publicationDate":"2018-05-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79367254","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article introduces the term ‘post-pornography’, drawing on diverse texts from the last three decades. We propose that ‘post-pornography’ expands Porn Studies beyond its focus on explicit representations of sex. First, we outline the history of post-pornography as a concept that emerged in the sex-positive, anti-censorship and queer/feminist moment in the United States in the 1980s and 1990s and has subsequently been taken up by a diverse group of artists, activists and scholars to describe practices that both reference and attempt to move beyond pornography. We define post-pornography as characterised by three aspects—the denaturalising of sex, the de-centring of the spectator and the recognition of media and technology as inseparable from sex. We examine the history of Porn Studies in the university, including in our own faculty at UNSW Art & Design, and the singular influence of Linda Williams in defining its place and setting out its pedagogical methods. We propose post-pornography as a framework that can confront prevailing assumptions about sex and sexuality that underpin Porn Studies and its critique of pornography, and outline a set of concepts that have emerged from the development of the second- and third-year art theory course Post-Pornographic Bodies.
{"title":"Teaching Post-Pornography","authors":"Tim Gregory, A. Lorange","doi":"10.5130/CSR.V24I1.5303","DOIUrl":"https://doi.org/10.5130/CSR.V24I1.5303","url":null,"abstract":"This article introduces the term ‘post-pornography’, drawing on diverse texts from the last three decades. We propose that ‘post-pornography’ expands Porn Studies beyond its focus on explicit representations of sex. First, we outline the history of post-pornography as a concept that emerged in the sex-positive, anti-censorship and queer/feminist moment in the United States in the 1980s and 1990s and has subsequently been taken up by a diverse group of artists, activists and scholars to describe practices that both reference and attempt to move beyond pornography. We define post-pornography as characterised by three aspects—the denaturalising of sex, the de-centring of the spectator and the recognition of media and technology as inseparable from sex. We examine the history of Porn Studies in the university, including in our own faculty at UNSW Art & Design, and the singular influence of Linda Williams in defining its place and setting out its pedagogical methods. We propose post-pornography as a framework that can confront prevailing assumptions about sex and sexuality that underpin Porn Studies and its critique of pornography, and outline a set of concepts that have emerged from the development of the second- and third-year art theory course Post-Pornographic Bodies.","PeriodicalId":51871,"journal":{"name":"Cultural Studies Review","volume":"1 1","pages":"137–49-137–49"},"PeriodicalIF":0.0,"publicationDate":"2018-04-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81578309","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Meaghan once remarked (I think to the poet and art critic Ken Bolton) that she didn’t like poetry because of all the empty space on the page. A quarter of a century ago in 1992, in Ecstasy and Economics: American Essays for John Forbes, she said she was ‘a desultory reader of poetry’ and that reading poetry might induce a ‘scary cultural estrangement’.1 In the foreword, she extrapolates the ‘awkward’ place of poetry in cultural studies then as being more an American problem than an Australian one but nearly a quarter of a century later I wonder if poetry has made an individuated local spot for itself, or even if it cares to. I mean, ‘should poetry worry?’
{"title":"Forms of Life for Meaghan Morris","authors":"P. Brown","doi":"10.5130/CSR.V24I1.5971","DOIUrl":"https://doi.org/10.5130/CSR.V24I1.5971","url":null,"abstract":"Meaghan once remarked (I think to the poet and art critic Ken Bolton) that she didn’t like poetry because of all the empty space on the page. A quarter of a century ago in 1992, in Ecstasy and Economics: American Essays for John Forbes, she said she was ‘a desultory reader of poetry’ and that reading poetry might induce a ‘scary cultural estrangement’.1 In the foreword, she extrapolates the ‘awkward’ place of poetry in cultural studies then as being more an American problem than an Australian one but nearly a quarter of a century later I wonder if poetry has made an individuated local spot for itself, or even if it cares to. I mean, ‘should poetry worry?’","PeriodicalId":51871,"journal":{"name":"Cultural Studies Review","volume":"1 1","pages":"26–30-26–30"},"PeriodicalIF":0.0,"publicationDate":"2018-04-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90144124","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Meaghan has been part of the Inter-Asia Cultural Studies project from the very beginning— she was at the founding conferences, organised by Chen Kuan-Hsing, in National Tsing Hua University, Taiwan, between 1992 and 1995. The two conferences bore the title of ‘Trajectories: Towards a New Internationalist Cultural Studies’ and ‘Trajectories II: A New Internationalist Cultural Studies’, respectively. According to Kuan-Hsing, he was motivated by historical changes in Asia, from postwar decolonisation to post-Cold War in late 1980s, marked locally in Taiwan with the lifting of martial law in 1987. This was also the period of the rise of Asia within global capitalism, beginning with Japan, followed by the so-called ‘Tiger’ or ‘Dragon’ economies of South Korea, Taiwan, Hong Kong and Singapore via the export-oriented industrialisation. The industrialisation model was subsequently picked up by China and the other Southeast Asian countries. The conferences certainly lived up to their promise of being international, with presenters from first and third world locations, and the core concerns were very much grounded in the historical conjuncture of Asia at the end of the twentieth century. One evening during the second conference, while the edited volume for selected papers were being prepared for publication, Rebecca Barton, the editor for the book project at Routledge, brought up the idea of an Asian cultural studies journal. In a hotel room in Taiwan, with Meaghan, the late Jeannie Martin, Kuan-Hsing and myself from the conference and Rebecca, the plan for Inter-Asia Cultural Studies was hatched. It was decided that Kuan-hsing and I would be the co-executive editors, supported by a relatively large editorial collective drawn across Asia and Australia.
{"title":"Meaghan Morris in Cultural Studies in Asia","authors":"C. B. Huat","doi":"10.5130/CSR.V24I1.5965","DOIUrl":"https://doi.org/10.5130/CSR.V24I1.5965","url":null,"abstract":"Meaghan has been part of the Inter-Asia Cultural Studies project from the very beginning— she was at the founding conferences, organised by Chen Kuan-Hsing, in National Tsing Hua University, Taiwan, between 1992 and 1995. The two conferences bore the title of ‘Trajectories: Towards a New Internationalist Cultural Studies’ and ‘Trajectories II: A New Internationalist Cultural Studies’, respectively. According to Kuan-Hsing, he was motivated by historical changes in Asia, from postwar decolonisation to post-Cold War in late 1980s, marked locally in Taiwan with the lifting of martial law in 1987. This was also the period of the rise of Asia within global capitalism, beginning with Japan, followed by the so-called ‘Tiger’ or ‘Dragon’ economies of South Korea, Taiwan, Hong Kong and Singapore via the export-oriented industrialisation. The industrialisation model was subsequently picked up by China and the other Southeast Asian countries. The conferences certainly lived up to their promise of being international, with presenters from first and third world locations, and the core concerns were very much grounded in the historical conjuncture of Asia at the end of the twentieth century. One evening during the second conference, while the edited volume for selected papers were being prepared for publication, Rebecca Barton, the editor for the book project at Routledge, brought up the idea of an Asian cultural studies journal. In a hotel room in Taiwan, with Meaghan, the late Jeannie Martin, Kuan-Hsing and myself from the conference and Rebecca, the plan for Inter-Asia Cultural Studies was hatched. It was decided that Kuan-hsing and I would be the co-executive editors, supported by a relatively large editorial collective drawn across Asia and Australia.","PeriodicalId":51871,"journal":{"name":"Cultural Studies Review","volume":"43 1","pages":"44–5-44–5"},"PeriodicalIF":0.0,"publicationDate":"2018-04-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90443705","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
We have been asked to contribute to a special section of Cultural Studies Review in honour of Meaghan Morris and her significant influence to cultural studies. Before sharing my contribution to the Meaghan Morris Festival, it is important to note that my role in this intellectual celebration was minor, but Meaghan’s influence on me is rather large and meaningful.
{"title":"Meaghan Morris: A Student's Perspective","authors":"A. Bandali","doi":"10.5130/CSR.V24I1.5957","DOIUrl":"https://doi.org/10.5130/CSR.V24I1.5957","url":null,"abstract":"We have been asked to contribute to a special section of Cultural Studies Review in honour of Meaghan Morris and her significant influence to cultural studies. Before sharing my contribution to the Meaghan Morris Festival, it is important to note that my role in this intellectual celebration was minor, but Meaghan’s influence on me is rather large and meaningful.","PeriodicalId":51871,"journal":{"name":"Cultural Studies Review","volume":"28 1","pages":"71–3-71–3"},"PeriodicalIF":0.0,"publicationDate":"2018-04-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78429246","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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