This paper examines the attempts of one mainstream women''s organization to organize and include women of color. Using the approach to social organization developed in the work of Dorothy Smith, I aim to make visible the complex of relations within which the work of this organization is embedded. In mapping the institutional relations structuring the activities in a local setting, the concern is to articulate how activities in the local setting are organized by and in relation to others. My analysis (...) takes as its point of departure my work involvements with this organization over a period of two years. Beginning with my own activities and others'' within the setting, the analysis problematizes the concepts of "organizing women of color" and "inclusion/exclusion." What comes into view are the ways in which "organizing" and "inclusion" are ideological constructs brought into service to account for the practices in which various members of the organization were engaged. Their ideological character came to be unveiled in the "troubles" the organization encountered in its attempts to "organize" women of color. The inquiry shows that those troubles arose out of the organization''s location at the juncture between private foundations, grassroots women, and the state. On the one hand, the activities of the organization are articulated to an understanding of what funders might be willing to support, and on the other hand the organization''s activities have to be seen as serving women of color by both women of color and others. Displayed through the mapping of institutional relations is the deep mismatch between the institutional characterization of what it means to be "organized" and the actual activities women of color were engaged in. I argue that the activities and practices of the mainstream organization embedded in a complex of relations with funding agencies, public policy makers and so on actually produce the definition of women of color as "unorganized.". (shrink)

In her contribution, Kamini Vellodi reflects on the chances of a methodological shift in the discipline of art history thanks to this expanded rethinking of fact by concentrating on the notion of the “pictorial fact”, or “matter of fact,” in Gilles Deleuze’s transcendental empiricism. Vellodi argues that Deleuze’s matter of fact can help us to overcome the still prevalent self-conception of art history as discipline, which has to trace historical facts, understood as given entities that “represent” already accomplished events, (...) that provide the foundations and target for subsequent interpretation and elaboration. Following these assumptions, facts are antecedent to art historical investigations; they are seen as empirical material, independent from the art historian, something, which he or she has to collect in order to reconstruct the authentic essence of the artwork. This reductive notion of facticity in art history dominates not only the understanding of material and historical facts of artworks but as well the understanding of their formal qualities, as Vellodi shows. In the representational regime, as Vellodi calls it, forms in artworks are reduced to their function to represent an antecedent “fact”, hence an external meaning. Instead, she counts to augment this regime of fact – which might be important concerning questions of technique, dates etc. – by a second conception of fact that foregrounds the dynamic qualities of those material qualities of the artwork, which cannot be explained by their representational function, but are sensed in presence of the artwork. Vellodi proposes to follow Deleuze’s notion of “matters of fact” as proper pictorial ligatures acting as living forces and hence affecting the perception of art by challenging prevailing notions of the artwork. Facticity in this sense is understood as the material quality of the artwork realized in sensation and hence radically dynamic and contingent. This notion of “matters of fact” bears ramifications for a philosophy of painting as well as for art history, as Vellodi shows. Art historical practice would in consequence be forced to take account of the difference of each artwork acting as dynamic force beyond and even against already acquired facts. If one follows Vellodis analysis, one could draw the consequence, that art history should be practised as a never completed activity trying to create facticity by forming differentiated new relations to each work of art in its specific material appearance. (shrink)

The works of the sixteenth-century Venetian painter Jacopo Tintoretto present us with a radicalised idea of the cosmos that challenges both the humanist centring of the world on man and the hierarchy of divine authority that dominate the artistic traditions to which he is heir. In their place, Tintoretto confronts us with a ‘machinic’ staging of forces in which man, nature, religious figure and artificial element are integrated within an extended material plane. With this pictorial immanence, Tintoretto presents a ‘cosmic (...) materialism’ unprecedented in Venetian painting. In this, his work gives provocative expression to Deleuze and Guattari's ontology of the artwork as ‘cosmic’ construction, and to their conception of the artist as ‘cosmic artisan’. Via readings of the art historical reception of Tintoretto's work by the art historian Arnold Hauser, and the artistic reception of Tintoretto's work by Paul Cézanne, I explore this expression, and attend to questions of modernity, temporality and art history as they are inflected in Deleuze and Guattari's thought. (shrink)

In traditional ethnographies, it is customarily assumed that the field researcher is an outsider who seeks to acquire an insider’s understanding of the social world being investigated. While conducting field research projects on education and tourism in Trinidad (West Indies) we found that the standard distinction between insider and outsider became problematic for us. Our experiences can be understood in terms of two competing conceptions of fieldwork. One, rooted in classical ethnography, views fieldwork as a process whereby the researcher learns (...) to translate the cultural practices of a little-known or misunderstood group into terms understandable to the ethnographic audience. The other, growing out of the institutional ethnography approach pioneered by Dorothy E. Smith, views fieldwork as a process of mapping the relations that govern an institutional complex. In the latter approach, local experiences provide the point of departure for exploring a wider set of social arrangements. In this article, we treat our own fieldwork experiences as points of departure for a reflexive examination of this alternative ethnographic strategy. (shrink)

Although social justice is an integral component of medical professionalism, there is little discussion in medical education about how to teach it to future physicians. Using adult learning theory and the work of Brazilian educator Paulo Freire, medical educators can teach a socially-conscious professionalism through educational content and teaching strategies. Such teaching can model non-hierarchical relationships to learners, which can translate to their clinical interactions with patients. Freirian teaching can additionally foster professionalism in both teachers and learners by ensuring that (...) they are involved citizens in their local, national and international communities. (shrink)

Table at Dimitri's Taverna : on seeking a philosophy of old age -- Old Greek's olive trees : on Epicurus's philosophy of fulfillment -- Deserted terrace : on time and worry beads -- Tasso's rain-spattered photographs : on solitary reflection -- Sirocco of youth's beauty : on existential authenticity -- Tintinnabulation of sheep bells : on mellowing to metaphysics -- Iphigenia's guest : on stoicism and old old age -- Burning boat in Kamini Harbor : on the timeliness of (...) spirituality -- Returning home : on a mindful old age. (shrink)