{"title":"Islam and Popular Culture","authors":"L. McLean","doi":"10.7560/308875","DOIUrl":"https://doi.org/10.7560/308875","url":null,"abstract":"","PeriodicalId":51898,"journal":{"name":"SOCIAL ALTERNATIVES","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71337356","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}
Pub Date : 2017-01-01DOI: 10.1007/978-981-15-7118-3_5
M. Bussey
{"title":"Cosmopoesis: Navigating the Strangeness of Planetary Realizations","authors":"M. Bussey","doi":"10.1007/978-981-15-7118-3_5","DOIUrl":"https://doi.org/10.1007/978-981-15-7118-3_5","url":null,"abstract":"","PeriodicalId":51898,"journal":{"name":"SOCIAL ALTERNATIVES","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"51104626","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}
Pub Date : 2017-01-01DOI: 10.1007/978-981-15-7118-3_3
F. Dallmayr
{"title":"Earth and World: Roots and Routes","authors":"F. Dallmayr","doi":"10.1007/978-981-15-7118-3_3","DOIUrl":"https://doi.org/10.1007/978-981-15-7118-3_3","url":null,"abstract":"","PeriodicalId":51898,"journal":{"name":"SOCIAL ALTERNATIVES","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"51104538","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}
Pub Date : 2017-01-01DOI: 10.1007/978-981-15-7118-3_4
P. Strydom
{"title":"First and Second Nature","authors":"P. Strydom","doi":"10.1007/978-981-15-7118-3_4","DOIUrl":"https://doi.org/10.1007/978-981-15-7118-3_4","url":null,"abstract":"","PeriodicalId":51898,"journal":{"name":"SOCIAL ALTERNATIVES","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"51104546","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}
Pub Date : 2017-01-01DOI: 10.1007/978-981-15-7118-3_6
Iván Márquez
{"title":"Understanding “Roots and Routes” from a Post-Kantian Tradition of Critique","authors":"Iván Márquez","doi":"10.1007/978-981-15-7118-3_6","DOIUrl":"https://doi.org/10.1007/978-981-15-7118-3_6","url":null,"abstract":"","PeriodicalId":51898,"journal":{"name":"SOCIAL ALTERNATIVES","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"51104636","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}
Batchen G. Gidley M., Miller N. and Prosser J. 2011, Picturing Atrocity: Photography in crisis, Reaktion Books. ISBN 9781861898722 by Ross Watkins.The visual display of the suffering of others and the ethics of 'looking' have historically focused on the violence and trauma of war photography. Picturing Atrocity: Photography in Crisis contributes to that body of literature by presenting diverse short essays which explore these concepts via (arguably) iconic and lesser known twentieth century photographic images. With 27 contributors discussing a range of instances of human atrocity-from Wounded Knee (1890) through to Haiti (2010)-and with generally accessible language, the scope of this book creates the potential for wide appeal.In Susan Sontag's well-known On Photography (1989) she states that the 'ethical content of photographs is fragile' due to their potential to be decontextualised by time and their dependency on a viewer's political consciousness to maintain an 'emotional charge' (1989: 19-21). This fragility is tested in Picturing Atrocity, which presents the case that any image capturing an occurrence of atrocity engages the viewer's consideration of their own subjectivity compared with that which has been represented. In this way, the 'reader' of an image may actively construct a sense of 'familiarity' to make meaning; familiarity which 'builds our sense of the present and immediate past' (Sontag 2004: 76). Iconic imagery-'familiarity' on a public scale-is most likely to engage a reader's sense of ethics in the construction of meaning. In the increasingly visual media climate, photography constitutes a significant component of journalism's 'truth claims' (Hanusch 2010: 56) and as such images depicting trauma during catastrophic events become iconic in encapsulating a 'collective memory' of the event's actuality. However, as Sontag points out, the root function of iconic imagery in a socio-cultural context is fictive, or at least narrative based:Photographs that everyone recognises are now a constituent part of what a society chooses to think about, or declares that it has chosen to think about. It calls these ideas 'memories', and that is, over the long run, a fiction. Strictly speaking, there is no such thing as collective memory [...] All memory is individual, unreproducible-it dies with each person. What is called collective memory is not a remembering but a stipulating: that this is important, and this is the story about how it happened, with the pictures that lock the story in our minds. (2004: 76-77)Many of the images featured in Picturing Atrocity will not be familiar to the reader and this appears to be a contention for some of the book's reviewers. …
{"title":"Picturing Atrocity: Photography in Crisis","authors":"R. Watkins","doi":"10.5860/choice.50-1293","DOIUrl":"https://doi.org/10.5860/choice.50-1293","url":null,"abstract":"Batchen G. Gidley M., Miller N. and Prosser J. 2011, Picturing Atrocity: Photography in crisis, Reaktion Books. ISBN 9781861898722 by Ross Watkins.The visual display of the suffering of others and the ethics of 'looking' have historically focused on the violence and trauma of war photography. Picturing Atrocity: Photography in Crisis contributes to that body of literature by presenting diverse short essays which explore these concepts via (arguably) iconic and lesser known twentieth century photographic images. With 27 contributors discussing a range of instances of human atrocity-from Wounded Knee (1890) through to Haiti (2010)-and with generally accessible language, the scope of this book creates the potential for wide appeal.In Susan Sontag's well-known On Photography (1989) she states that the 'ethical content of photographs is fragile' due to their potential to be decontextualised by time and their dependency on a viewer's political consciousness to maintain an 'emotional charge' (1989: 19-21). This fragility is tested in Picturing Atrocity, which presents the case that any image capturing an occurrence of atrocity engages the viewer's consideration of their own subjectivity compared with that which has been represented. In this way, the 'reader' of an image may actively construct a sense of 'familiarity' to make meaning; familiarity which 'builds our sense of the present and immediate past' (Sontag 2004: 76). Iconic imagery-'familiarity' on a public scale-is most likely to engage a reader's sense of ethics in the construction of meaning. In the increasingly visual media climate, photography constitutes a significant component of journalism's 'truth claims' (Hanusch 2010: 56) and as such images depicting trauma during catastrophic events become iconic in encapsulating a 'collective memory' of the event's actuality. However, as Sontag points out, the root function of iconic imagery in a socio-cultural context is fictive, or at least narrative based:Photographs that everyone recognises are now a constituent part of what a society chooses to think about, or declares that it has chosen to think about. It calls these ideas 'memories', and that is, over the long run, a fiction. Strictly speaking, there is no such thing as collective memory [...] All memory is individual, unreproducible-it dies with each person. What is called collective memory is not a remembering but a stipulating: that this is important, and this is the story about how it happened, with the pictures that lock the story in our minds. (2004: 76-77)Many of the images featured in Picturing Atrocity will not be familiar to the reader and this appears to be a contention for some of the book's reviewers. …","PeriodicalId":51898,"journal":{"name":"SOCIAL ALTERNATIVES","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2013-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71139103","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}
Pub Date : 2010-07-28DOI: 10.4324/9781315279251.CH10
K. Gibson, J. Graham, J. Cameron
{"title":"Community Enterprises: Imagining and enacting alternatives to capitalism","authors":"K. Gibson, J. Graham, J. Cameron","doi":"10.4324/9781315279251.CH10","DOIUrl":"https://doi.org/10.4324/9781315279251.CH10","url":null,"abstract":"","PeriodicalId":51898,"journal":{"name":"SOCIAL ALTERNATIVES","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2010-07-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"70644425","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}
What Color Is the Sacred? By Michael Taussig 2009. Chicago: The University of Chicago Press ISBN-13: 978-0-226-79006-0. To approach this book as if it is simply about colour, a final word on the history of colour, or even the colour of history would be amiss. Rather, one should go in with the understanding that, at its core, Taussig's project is a critique of experience. It is an in-depth, provocative exploration of life in colour (and colour in life) that begins in the seventh century AD and culminates in the present day. Indeed, the title could easily be figured as a rhetorical question and rewritten to read, 'what is sacred about colour?' This, after all, is the question that Taussig attempts to answer by way of a genealogical account and quasi-ethnography of colour itself. In a mix and mingle of prose, poetry and aphorism, he blends first-hand accounts, second-hand interpretations, and a first-rate rhetorical invention that borrows insights from Walter Benjamin, William S. Burroughs, Marcel Proust and Friedrich Nietzsche. He begins by establishing a myriad of anecdotal accounts of colour that reappear throughout the book. Taking then as a given Goethe's notion that, in a natural state, uncivilized persons have an innate affinity for colour, Taussig recounts Western civilisation's proscription of colourlessness as a sign of refinement. Draped on bodies as clothing and upon the material world as decor, colour in the West, he contends, has become a matter of taste, a concord of experience and intellect, as well as a cause for "chromophobia. Recognising the contradictions, Taussig argues that this represents colour's core ambiguity, its oscillation between deceit and authenticity. Here he builds off his earlier work on light and heat in My Cocaine Museum to found a link between calor (heat) and colour, which eventually leads him to connect both with global warming. Prior to this, however, Taussig charts the colonisation of colour from the ethnographic work of Bronislaw Makinowski, who ostensibly formulated the standard Western notions of subjectivity. Specifically, he positions colonial authority as white and clothed, and indigenous Others as dark, naked and obscene. Yet a look at Makinowski's diaries reveals, Taussig claims, the contrivance of relational colourings. They also expose Makinowski as a parody of himself, a studious subject that was simultaneously an object of study. Underscored by Benjamin's notion of the 'mimetic faculty,' Taussig lauds such blurrings of self and otherness, colour and ritual, body and landscape as means for recapturing experience. He advances this further by interrogating the relationship of colour to slavery. Particularly, he shows how the purchase of slaves with coloured clothing during the African slave trade is a luminous shell that blinds the eye from a dark underbelly- the underbelly, Taussig posits, is the history of indigo. …
{"title":"What Color Is the Sacred","authors":"Christopher J. Gilbert","doi":"10.5860/choice.47-1510","DOIUrl":"https://doi.org/10.5860/choice.47-1510","url":null,"abstract":"What Color Is the Sacred? By Michael Taussig 2009. Chicago: The University of Chicago Press ISBN-13: 978-0-226-79006-0. To approach this book as if it is simply about colour, a final word on the history of colour, or even the colour of history would be amiss. Rather, one should go in with the understanding that, at its core, Taussig's project is a critique of experience. It is an in-depth, provocative exploration of life in colour (and colour in life) that begins in the seventh century AD and culminates in the present day. Indeed, the title could easily be figured as a rhetorical question and rewritten to read, 'what is sacred about colour?' This, after all, is the question that Taussig attempts to answer by way of a genealogical account and quasi-ethnography of colour itself. In a mix and mingle of prose, poetry and aphorism, he blends first-hand accounts, second-hand interpretations, and a first-rate rhetorical invention that borrows insights from Walter Benjamin, William S. Burroughs, Marcel Proust and Friedrich Nietzsche. He begins by establishing a myriad of anecdotal accounts of colour that reappear throughout the book. Taking then as a given Goethe's notion that, in a natural state, uncivilized persons have an innate affinity for colour, Taussig recounts Western civilisation's proscription of colourlessness as a sign of refinement. Draped on bodies as clothing and upon the material world as decor, colour in the West, he contends, has become a matter of taste, a concord of experience and intellect, as well as a cause for \"chromophobia. Recognising the contradictions, Taussig argues that this represents colour's core ambiguity, its oscillation between deceit and authenticity. Here he builds off his earlier work on light and heat in My Cocaine Museum to found a link between calor (heat) and colour, which eventually leads him to connect both with global warming. Prior to this, however, Taussig charts the colonisation of colour from the ethnographic work of Bronislaw Makinowski, who ostensibly formulated the standard Western notions of subjectivity. Specifically, he positions colonial authority as white and clothed, and indigenous Others as dark, naked and obscene. Yet a look at Makinowski's diaries reveals, Taussig claims, the contrivance of relational colourings. They also expose Makinowski as a parody of himself, a studious subject that was simultaneously an object of study. Underscored by Benjamin's notion of the 'mimetic faculty,' Taussig lauds such blurrings of self and otherness, colour and ritual, body and landscape as means for recapturing experience. He advances this further by interrogating the relationship of colour to slavery. Particularly, he shows how the purchase of slaves with coloured clothing during the African slave trade is a luminous shell that blinds the eye from a dark underbelly- the underbelly, Taussig posits, is the history of indigo. …","PeriodicalId":51898,"journal":{"name":"SOCIAL ALTERNATIVES","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2010-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71127035","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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