This paper approaches the problem of the ontology of the photographic image ‘post-digitalization’ historically, via a conception of photography as the historical totality of photographic forms. It argues, first, that photography is not best understood as a particular art or medium, but rather in terms of the form of the image it produces; second, that the photographic image is the main social form of the digital image ; and third, that there is no fundamental ontological distinction regarding indexicality between photographically (...) generated digital images and those of chemically based photography. ‘The anxiety about the real’ produced by digital imagery has its origins elsewhere, in the ontological peculiarities of the social form of value in societies based on relations of exchange. Distinguishing between the ‘event of capture’ and the ‘event of visualization’, it is argued that it is in its potential for an infinite multiplication of visualizations that the distinctiveness of the digital image lies. In the digital image, the infinite possibilities for social exchange generated by the abstraction of value from use finds an equivalent visual form. (shrink)

This book proposes a philosophical exploration of the educational role that media plays in university study practices, with a focus on the practices of lecturing and academic writing. Are the media employed in university study practices mere accessories, or rather constitutive of these practices? While this seems to be a purely theoretical question, its practical implications are wide and concern whether such a thing as a ‘digital university’ is possible. The 'digital university' has been, for a long time, a theoretical (...) construct. However, in the aftermath of the Covid-19 pandemic, moving the university into the digital realm has become a necessity. The difficulties in transitioning to an online university during the 2020 pandemic showed the increased urgency of the questions explored in this book. -/- The book describes lecturing and academic writing through the lens of a phenomenology of gestures and arrives at a description of the experience of university thinking as expanding the subject’s range of experiences about the world and about one’s modes of thinking about the world. The media configuration characteristic for university study practices is a movement of rendering inoperative one medium through another medium so that thinking can emerge, a movement called ‘mediatic displacement’. The question of the digital university becomes then a question whether mediatic displacement is possible on a digital screen. Although this is conceivable, digital technologies are still relatively new, and we are not used to playing with them in a profanatory way as the book discusses through the example of videoconferencing and MOOCs. The promise of the digital university seems to remain utopian until we figure out how to enact the techniques of mediatic displacement currently flourishing at the physical university. (shrink)

Using Buddhist thought, explores and challenges the philosophy of Jean-Paul Sartre.

There has been increasing attention in sociology and internet studies to the topic of ‘digital remains’: the artefacts users of social network services (SNS) and other online services leave behind when they die. But these artefacts also pose philosophical questions regarding what impact, if any, these artefacts have on the ontological and ethical status of the dead. One increasingly pertinent question concerns whether these artefacts should be preserved, and whether deletion counts as a harm to the deceased user and therefore (...) provides pro tanto reasons against deletion. In this paper, I build on previous work invoking a distinction between persons and selves to argue that SNS offer a particularly significant material instantiation of persons. The experiential transparency of the SNS medium allows for genuine co-presence of SNS users, and also assists in allowing persons (but not selves) to persist as ethical patients in our lifeworld after biological death. Using Blustein’s “rescue from insignificance” argument for duties of remembrance, I argue that this persistence function supplies a nontrivial (if defeasible) obligation not to delete these artefacts. Drawing on Luciano Floridi’s account of “constitutive” information, I further argue that the “digital remains” metaphor is surprisingly apt: these artefacts in fact enjoy a claim to moral regard akin to that of corpses. (shrink)

Anger is often an appropriate reaction to harms and injustices, but is it a politically beneficial one? Martha Nussbaum (Journal of the American Philosophical Association 1 (1), 41–56, 2015, Anger and Forgiveness. Oxford University Press, 2016) has argued that, although anger is useful in initially recruiting agents for action, anger is typically counterproductive to securing the political aims of those harmed. After the initial shockwave of outrage, Nussbaum argues that to be effective at enacting positive social change, groups and individuals (...) alike, must move quickly out of the state of anger. Feminist theorists (Frye, The Politics of Reality. Crossing Press, 1983; Lorde, 1997; Narayan, Hypatia 3 (2): 31–48, 1988) on the other hand have for long highlighted the efficacy of anger, as well as its moral and epistemic value, in fighting against the oppressive status quo. It might be thought therefore that for political action to be effective, a continued state of anger is preferable. Protestors must after all create and sustain a sense of moral obligation and justice. A main way of doing so is to promote successive moral shocks that trigger outrage (Jasper, Emotion Review 6 (3): 208–213, 2014). I present a novel, empirically informed defense of anger’s efficacy in political action. Nussbaum holds a traditional view on the nature of anger, inherited from Aristotle and the Stoics, which holds that anger constitutively involves a desire for retribution. The view that anger is counterproductive falls out of this and is dominant in academic work as well as in our personal and political lives. Based on work in social psychology, I argue that we need to reconsider this. In doing so, I highlight anger’s aim for recognition, rather than retribution, as key. Furthermore, I uncover conditions for anger’s political efficacy, as well as reasons for why the traditional view of anger has been so pervasive. (shrink)

Contemporary accounts on fictional emotions, i.e., emotions experienced towards objects we know to be fictional, are mainly concerned with explaining their rationality or lack thereof. In this context dominated by an interest in the role of belief, questions regarding their phenomenal quality have received far less attention: it is often assumed that they feel “similar” to emotions that target real objects. Against this background, this paper focuses on the possible specificities of fictional emotions’ qualitative feel. It starts by presenting what (...) I call the “phenomenological question” about the qualitative feel of fictional emotions (section 1) and by showing that this is irreducible to questions about their cognitive, intentional, evaluative, and embodied nature (section 2). Drawing on some insights from early phenomenologists, the next two sections elaborate criteria to distinguish between real and sham emotions on the one side (section 3) and between genuine and non-genuine emotions on the other (section 4). Finally, I apply this orthogonal distinction to the particular case of fictional emotions (section 5). The paper argues that fictional emotions are neither sham emotions nor quasi-emotions, but full-fledged emotional experiences, despite them displaying the distinctive phenomenology of emotions experienced as non-genuine. In the particular case of fictional emotions, they are non-genuine because our psychology is in fact in a state dominated by aesthetic enjoyment. (shrink)

In a chapter that hones in on certain Renaissance portraits by Hans Holbein, Giorgione, and Jan van Scorel, Hans Maes examines how it is that we can be deeply moved by such portraits, despite (or perhaps because of) the fact that we don’t know anything about their sitters. Standard explanations in terms of the revelation of an inner self or the recreation of a physical presence prove to be insuffi cient. Instead, Maes provides a more rounded account of what makes (...) said portraits moving and memorable, thereby relying on Barthes’ notion of ‘punctum,’ James Elkins’ account of why people cry in front of paintings, and a phenomenological exploration of the parallel between portraiture and the tradition of the Vanitas painting. (shrink)

Intersemiotic translation (IT) was defined by Roman Jakobson (The Translation Studies Reader, Routledge, London, p. 114, 2000) as “transmutation of signs”—“an interpretation of verbal signs by means of signs of nonverbal sign systems.” Despite its theoretical relevance, and in spite of the frequency in which it is practiced, the phenomenon remains virtually unexplored in terms of conceptual modeling, especially from a semiotic perspective. Our approach is based on two premises: (i) IT is fundamentally a semiotic operation process (semiosis) and (ii) (...) IT is a deeply iconic-dependent process. We exemplify our approach by means of literature to dance IT and we explore some implications for the development of a general model of IT. (shrink)

The face of a child in need is a visual trope that is at the forefront of the politics of spectacle in emergency news and aid initiatives. Images of children’s faces work on both affective and ethical levels, appealing to compassion and to a discourse of universal human rights. Acknowledging both the cultural fascination with and distrust of images of children, this article focuses on the strategies of persuasion used by an international NGO Save the Children in their child sponsoring (...) campaign. Identifying the ways that both NGO guidelines and strategies shape the way the image is composed and framed, and engaging with the concepts of ‘sponsoring,’ ‘saving,’ and ‘parenting,’ the article follows how the campaign configures financial help as an affective, rather than economic, relationship between the donor and the beneficiary. (shrink)

Recent debates in the field of contemporary art have underlined the political importance of creative reworkings of the past, especially for those subjects that have been traditionally marginalised. A feminist perspective has been nevertheless quite absent from such debates. This article addresses feminist uses of archival documents in the visual arts through the analysis of three works produced in the past two decades: The Fae Richard's Photo Archive (1997) by Zoe Leonard and Cheryl Dunye, Some Chance Operations (1998) by Renée (...) Green and Queen of the Artists’ Studios (2004–2007) by Andrea Geyer. These works share an interest for women's histories and representations by composing a series of documents (both factual and fictive) into complex narratives where history and subjectivity intersect. (shrink)

This article explores the phenomenology of mothers as they return to memorable photographs.[i] It reviews research on three mothers who articulate the lived experience of photographs, and how such experience might reveal basic ontological aspects of motherhood. The phenomenology of a mother’s memorable photographs discloses an aporia of human relationships that involves the connectedness she has with her children, and the awareness that her children have become separate individuals. These two themes – separateness and coexistence – are indissolubly at odds. (...) Each constitutes a mother’s potential lived experience of photographs as viewed in front of her. A concluding discussion reviews how each of these contradictory themes provides the necessary context for the other to arise, mutually presupposing the other. (shrink)

Most guidelines and proposalsfor Internet research ethics are based onregulations for human subjects research. In therelated research, Internet material is viewedas animate and described as people. Humanitiesresearchers have rarely been a part of thedebate about Internet research ethics and thepractices of these scholars have not been takeninto consideration when drafting most of theguidelines. This threatens to limit the kindsof Internet research that can be performed – critical strategies are particularlydiscouraged – and the ways that researchers andother users understand the Internet.Researchers (...) who use human subjects models havenot fully acknowledged computer mediation, theconstructed aspects of Internetrepresentations, and the screen. If we viewInternet material as cultural production thenthe models for Internet research would be ArtHistory and Visual Culture, English andLiterary Studies, Film and Media Studies, Musicand Sound Studies, and Theatre and PerformanceStudies. A more complete integration of theseapproaches into Internet Studies – either as asole investigatory strategy or in tandem withother forms of inquiry – would changeresearchers' ethical questions. It would alsoshow instances in which human subjectsguidelines do not apply to complex Internetmaterial. It is imperative to demonstrate thatInternet material is not people because thisconception makes highly constructed words andimages seem natural and stereotypedrepresentations appear to be real. (shrink)

In this paper, I look at three different perspectives on mourning in recent European thought. First, I consider Freud's discussion in “Mourning and Melancholia” and other writings. Next, I look at Roland Barthes, whose book on photography, Camera Lucida, is itself a work of mourning for his late mother; and Jacques Derrida, who in Memoires for Paul de Man and The Work of Mourning memorializes departed friends and describes the ambiguities of mourning that constrain us. I argue that Freud was (...) mistaken: mourning is not structured in terms of investment and loss. Barthes and Derrida clarify the complexities of mourning, but mourning is intractable and resists all sublimation: It is for the self, but it is also for the departed, who is neither “present” nor “absent” in the ordinary sense of these terms. Hanging on and letting go are both inappropriate responses to bereavement – how then should we mourn? (shrink)

Algorithmic vision, the computational process of making meaning from digital images or visual information, has changed the relationship between the image and the human subject. In this paper, I explicate on the role of algorithmic vision as a technique of algorithmic governance, the organization of a population by algorithmic means. With its roots in the United States post-war cybernetic sciences, the ontological status of the computational image undergoes a shift, giving way to the hegemonic use of automated facial recognition technologies (...) towards predatory policing and profiling practices. By way of example, I argue that algorithmic vision reconfigures the philosophical links between vision, image, and truth, paradigmatically changing the way a human subject is represented through imagistic data. With algorithmic vision, the relationship between subject and representation challenges the humanistic discourse around images, calling for a critical displacement of the human subject from the center of an analysis of how computational images make meaning. I will explore the relationship between the operative image, the image that acts but is not seen by human eyes, and what Louise Amoore calls an “emergent subject,” a subject that is made visible through algorithmic techniques. Algorithmic vision reveals subjects to power in a mode that requires a new approach towards analyzing the entanglement and invisiblization of the human in automated decision-making systems. (shrink)

Aesthetics and communications theories are often applied to art, media and popular culture but not within legal empirical (audiovisual) material—despite the fact that a judicial and legal process comprises a palpable utilisation of the visual as evidence of an historical reality. Based on four distinct Swedish cases, this study analyses the court’s reasoning, interpretation and use of (audio)visual evidence. Inspired by an embodied film theory, Benjamin’s thoughts on the technical-dramaturgical components of the camera and the later Barthes’ notion of the (...) ‘punctum’, the article discusses how (audio)visual evidence cannot be disconnected from affective and aesthetic significances that ultimately can be taken to affect the perception of truth and (the crime’s) reality. The gap between theory and practice is debated and argued as beginning to co-exist; instead of seeing (visual) theory and (judicial) practice as a dichotomy, an attempt should be made for a conversation between seemingly different but in practice related areas of knowledge. The author’s aim is to suggest that photographic and filmic evidence has a particular significance in itself, which means that the relation between (judicial) interpretation and outcome should be considered within an affective and aesthetic dimension, rather than being placed and/or theorized outside of it. (shrink)

Angelaki, Volume 18, Issue 4, Page 179-194, December 2013.

In relationships ‘I’ and ‘you’ become ‘we’; despite individual differences, couples obtain an interdependent identity due to their shared interactions. During a serious illness, biological and biographical disruptions can put any reciprocal relationship under strain. Through intermedial analysis of Judith Fox’s photographic project, I Still Do: Loving and Living with Alzheimer’s, I will explore ways the couple make sense of illness, how illness is communicated through text and image and also to identify the limits of representation. Here the photographs, I (...) argue, solidify their relationship and echo the stuck-in-the-present state of mind brought on by Alzheimer’s. (shrink)

This essay argues that Berger and Mohr’s A Fortunate Man (1967) – comprising social observation and photographs of the rural practitioner, Dr. Sassall and his patients – enacts an embodied, intersubjective empathy called “pain-work.” The book enacts “pain-work” through two strategies. Firstly, by conflating three ways of seeing – Berger’s observation, Mohr’s photography, and Sassall’s medical gaze – it shows that the clinical encounter embodies objective vision through intersubjective pain. Secondly, it employs the concepts of recognition and witnessing to show (...) how the subjectivity of the physician is distributed in his community. Thus, Berger and Mohr witness Sassall’s witnessing of his patients; even as Sassall and his patients are constituted intersubjectively, so too are Berger, Mohr, and Sassall. (shrink)

This article treats the ideational process that turns men into warring bodies. Beginning with a gloss on Immanuel Kant’s Perpetual Peace, where he expresses optimism about the peace-fostering potential of publicity, the analysis notes Kant’s neglect of what Michel Foucault calls ‘the coercive structure of the signifier’ and goes on to a reading of Michael Cimono’s film The Deer Hunter, which focuses on the discursive frailties that grease the skids for youth to slide from child-like innocence to nationalist-macho violence. The (...) Deer Hunter, which provides an elaborate treatment of the transition from working to warring bodies, features a group of young men whose lack of a discursive rapport with themselves – much less with each other – makes them susceptible to becoming ‘warriors’, sent out to an exotic venue in order to ‘proudly serve their country’ (as the MC directing the wedding festivities in the first half of the film puts it). Contrasting the thought world of the characters in The Deer Hunter with more discursively complex models of thought, the article ends with a speculation on the importance of genre disruption, and the scrambling of codes as antidotes to the linguistic claustrophobia that often attends unreflective transitions from citizen subjects to warring bodies. (shrink)

Engaging with the specific ways current media technologies interact with, or directly access the human body, we suggest developing a ‘symmetrical’ theory of touch. Critically referring to Bruno Latour’s invocation of ‘symmetrical anthropology’, we reconsider tactile agency as ‘technological agency’, arguing that the concept of touch – traditionally viewed as an exclusively human ability – should be extended to non-human actors and analysed in view of the cultural logic of capitalism. Its systematic focus, then, is on the productive intersections and (...) contact zones between biology and technology: from phenomena of non-human touch in industrial production to the material touching taking place in the instrumental grasp on the living in the 19th-century physiological laboratories and the invisible operations of tracing, tracking and sensing taking place in the technological milieus of today’s environments. In highlighting the tactile dimension of digital modernity and its economic genealogies, this article aims to advance a combined concept of human and non-human touch which provides a crucial angle for reconsidering bodies and technologies in the age of ubiquitous computing. (shrink)

Digital cameras and motion capture technologies that document and share creative practices have transformed the way we think about dance as an embodied knowledge as well as the way we experience it bodily. Computational media, which not only records and archives but also calculates, analyses and models dance, further complicates its ontological status. This move to document and inscribe dance in a tangible medium marks a shift from understanding dance as an ungraspable event towards conceiving of dance as a tangible (...) process that can be collected, transmitted, repeated and packaged or archived as an object. I look at two dance works – Matthias Sperling’s Loop Atlas and Siobhan Davies and Anri Sala’s Solo in the Doldrums – that trouble conventional notions of embodiment and its relationship to both presence and absence, at the same time they challenge how computational media fixates on figures and gestures that can be traced, mapped and calibrated. (shrink)

Benjamin and Barthes provide the starting point for a series of inter-connected propositions which seek to return the theorization of photography to the primacy of the pro-filmic. The index is reclaimed as a trace of the photographic event, capable only of delivering what Barthes termed the corps. The resulting contingency and exorbitance are the basis of photography’s prophetic and ‘troubling’ potential which free us from viewing photography as simply a screen for the social. The argument is advanced largely using material (...) from India and a case is made for a new conception of ‘world system photography’ which folds ‘belated’ histories into the ‘global’. (shrink)

The paper explores the non-institutional potential of the concept of community as it has been formulated in contemporary French philosophy. Special attention is given to historical experience, particularly in a globalizing world. Fantasies of the historical which attest to such experience are treated as constitutive of an anonymous community defined neither by a fixed identity nor by a given substance. Despite its anonymity, community calls for articulation and translation, producing various ‘as-if presentations’, to remember the Kantian term.

This article discusses the possibility for vulnerable writing within feminist methodological approaches to research. Drawing upon a project that involved difficulties and tensions in conducting transnational research, including the documenting and telling of a partial narrative of an individual who set herself on fire, the article discusses what it might mean to focus more explicitly on explicating and recognising vulnerability in writing. In providing examples from working with a situated, localised analysis that engages feminist, postcolonial and queer theoretical approaches to (...) attend to the particular and everyday, I address some of the hesitations and uncertainties in undertaking research and producing knowledge, and concerns with forms of reflexive practice. At the heart of the discussion is the question of a vulnerable ethics, of how it is possible for feminist methods to represent the lives of others, especially when stories fail in the telling, both in providing adequate explanations and in the ways that trauma and suffering can remain incommunicable. Included in this are concerns as to how we as researchers are affected within the production of research. As a form of receptivity and wounding, the article argues for vulnerable writing that challenges feminist methods to remain open and receptive to what will always resist sense-making, while continuing to respond to the demand that we do justice to the lives of others. (shrink)

The visual public record of the early West represents a site of national, continental, hemispheric, and global configurations of territory, power, and imagination. The early photograph reproduces the contradictory encounters between industry, settlers, and Indigenous communities as a particular future is envisioned and contested. The transformative value of a photograph was quickly recognized for nation building and soon served a political purpose as its uses expanded from surveying lands to promoting population growth and tourism and to artistic expression. The early (...) uses on the frontier, however, created a secondary history: an alteric and alternative history of Indigenous Peoples through an oral storytelling with a perspective of difference in assimilation, disidentification, and resistance. Transcultural photography, however, is never neutral as participants come from different worlds to participate in a contested exchange. This article looks at photographic encounters between Red Cloud, Mathew Brady, and Alexander Gardener as they enact a mediation in international relations. (shrink)

One of the most predictable implications of photography consists of the ability to fix some images returning them in a variable timeframe for the observation. In all the major world cities, it is common to incur in some book where recent photos are compared to old ones searching the same point of view in order to make the comparison more accurate and stimulate the critical ability of the observer. An exercise that sometimes stimulates a sort of regret for the past, (...) pointing out a diffused excess of nostalgia for times gone by. Nevertheless, the reality and meaning of modern city images are not always so prosaic. What happens when photographs are evocative of a reality that is completely lost in the collective imaginary even though it still exists and functions, despite being forgotten and buried in the depths of the city? This is the case of very few pictures capable of telling the story of a city, Milan, and its only “real” river, the Olona, whose waters, humiliated and rejected, continue to flow in total amnesia. It is a different story when photography does not have the role of nourishing nostalgia, but the power to make visible and explain the variation of a presence and its progressive obliteration. Some pictures testify to the passage from the bucolic amenity of the river and its banks in a pre-urban context to a muscular urban infrastructure. A rigid channelized river, shown with confidence, is trying to keep its presence, until the moment of its inevitable decline and disappearance. It is in these images that the possibility of reconsidering the Olona as a part of the new project for the city lies. (shrink)

In an essay published in 1918, Walter Benjamin sets forth a task that will concern him for the rest of his life: The task of a future epistemology is to find for knowledge the sphere of total neutrality in regards to concepts of both subject and object; in other words, it is to discover the autonomous, innate sphere of knowledge in which this concept in no way continues to designate the relation between two metaphysical entities. (‘‘The Coming Philosophy’’ 104) Benjamin (...) seeks an ‘‘autonomous, innate sphere of knowledge’’ that bypasses the Kantian dualism of subject and object to ‘‘form a pure and systematic continuum of experience’’ (105). He wants to break down the relation between subject and object that has led to the ossification of experience in fixed modes of life, in order to develop a theoretical thinking that ‘‘grasps the world as such as an undivided whole’’. (shrink)

The essay defends praying with images against those who claim this type of prayer is objectionable. The hermeneutical defence consists of three arguments. First I observe that people relate to ordinary photos in ways that cannot be explained in terms of the image's sign-value alone. Second, I develop an account of praying with images as a form of symbolic practice. Finally, in order to bolster my account, I compare icons with a particular class of symbolic objects, viz. relics. The general (...) idea I put forward is that icons have to be understood as expressions of the reality they represent, and not simply as accurate or inaccurate visual representations of that reality. Icons are not created by human hands; instead, the hand of the painter is the instrumental cause of God's self-expression, via the painter, on the canvas. (shrink)

In this paper I consider the four images from Auschwitz analyzed by Didi- Huberman in Images in Spite of All —the so-called Sonderkommando photographs— through the lens of the “historical sublime” as proposed by historian Eelco Runia. These photographs are taken as an example of a possible reconciled aesthetic experience with an “unimaginable” past that horrifies us. Moreover, I argue that aesthetic depictions are able to champion a model of historical commemoration which makes these events imaginable again. In order to (...) show this, I will first employ the concept of the “sublime historical event” which Runia proposes to interpret the Holocaust’s historical catastrophe. Runia’s “historical sublime” provides a framework to understand the process of becoming what “we are no longer” through the invention of new identities that defy our former ones and explain historical discontinuities. Secondly, I will examine the Sonderkommando photographs by applying Runia’s notion of commemoration to the viewer’s aesthetic experience of these images. I will finally suggest the possibility of a reconciliation with our former identities, those who committed sublime historical acts with which we no longer identify, thanks to this aestheticized experience of commemoration. (shrink)

Philosophical research into olfaction often focuses on its limitations. We explore instead an underappreciated capacity of the sense of smell, namely, its role in interpersonal experience. To illustrate this, we examine how smell can enable continuing connections to deceased loved ones. Understanding this phenomenon requires an appreciation of, first, how olfaction's limitations can facilitate experiences of the deceased person and, second, how olfaction enables experiences of what we refer to as the ‘olfactory air’ of a person. This way of experiencing (...) someone privileges their status as an environmentally situated human animal. (shrink)

This article explores the potent force of material objects in testimional culture by enacting an encounter with the ‘debris’ of a World War Two internment camp for Japanese Canadians. Pushing beyond the limits of the repetition of linear history, the article moves instead towards a phenomenological analysis of how yielding to remains of the past might allow us to reconnect with the destroyed worlds from which they were removed. Using Michel Taussig's notion of mimesis and Peggy Phelan's work on mimicry, (...) alongside Merleau‐Ponty's work on the habit‐body, this article brings into relief the neglected place of material objects collected by archives and brought to memorials in testimonial culture. (shrink)

Sociologists, philosophers and historians of science are gradually recognizing the importance of visual representation. This is part of a more general movement away from a theory-centric view of science and towards an interest in practical aspects of observation and experimentation. Rather than treating science as a matter of demonstrating the logical connection between theoretical and empirical statements, an increasing number of investigations are examining how scientists compose and use diagrams, graphs, photographs, micrographs, maps, charts, and related visual displays. This paper (...) focuses on diagrams in biology, and tries to demonstrate how diagrams are an integral part of the production of scientific knowledge. In order to disclose some of the distinctive practical and analytical uses of diagrams, the paper contrasts the way diagrams and photographs are used in biological texts. Both diagrams and photographs are shown to be “constructions” that separately and together mediate the investigation of scientific phenoman. (shrink)

The ArgumentThere can be no doubt about the moral and epistemological significance of what Shapin calls the “physical place” of the scientific laboratory. The physical place is defined by the locales, barriers, ports of entry, and lines of sight that bound the laboratory and separate it from other urban and architectural environments. Shapin's discussion of the emergence of the scientific laboratory in seventeenth-century England provides a convincing demonstration that credible knowledge is situated at an intersection between physical locales and social (...) distinctions. In this paper I take up Shapin's theme of the “siting of knowledge production,” but I give it a different treatment – one based on ethnomethodological studies of work. Without denying all that can be witnessed in the spectacle of the scientist at the bench and of the architectural habitat of the bench, I argue that the “place” of scientific work is defined by locally organizedtopical contextures. The paper describes two examples of such spatial orders – “opticism” and “digitality” – associated with distinct complexes of equipment and practice. These topical spaces might initially be viewed as “ideal” or “symbolic” spaces, but I argue that they are no less material than the “physical setting” of the laboratory; indeed, they are the physical setting. (shrink)

In the present paper, I suggest a modification to some aspects of Ingarden’s analyses of the sound-synchronized filmic work of art. The argument progresses through two stages: I clarify Ingarden’s claim that the work of art is a stratified formation in which the various aspects present objectivities; I elucidate and critically assess Ingarden’s suggestion that the filmic work of art is a borderline case in respect to other types of works of art—paintings and literary works. Here, I identify a problem (...) with Ingarden’s claims about the function of sound in the concretized filmic work’s presentation of its fictive world. Ingarden identifies the presented universe of the filmic work of art as a habitus of reality, but Ingarden seems oddly conflicted with respect to his notion of habitus. I argue that this stems from Ingarden’s conceptualization of the filmic work of art as primarily composed of the stratum of represented “visible aspects” in both the cases of the silent film and the sound-synchronized film, and his restriction of the role of phonetic content in the latter. I suggest that were we to reconceptualise the role of aurally presented phonetic content in the concretized sound-synchronized film, we could better understand how film has the seeming magical capacity to transfix us. (shrink)

Because Arthur ‘Weegee’ Fellig’s crime scene photographs have become the standard for visually representing crime scenes in popular culture, this paper examines the extra-legal lives of two of his images, both of which were produced at the site of a gangster’s death in 1936. To decode the crime scene photograph is to interrogate the ways in which we make sense of crime through seeing and narrating. To that end, this paper charts how these two crime images were contextualized first in (...) a tabloid narrative that invited viewer identification with the law enforcer, and later in Weegee’s own autobiographical narrative as a hardboiled photographer. In contrast to these human ways of seeing and narrating, the images are then examined through computer vision. By moving across these different ways of human and nonhuman seeing, we are arrested anew by the crime scene photograph as different narrators make clear, often for different audiences, who and what it is that we are looking at. Our visual point of focus, in turn, tells us how we engage with crime images at the mediated intersection of law and popular culture; it reveals how viewers identify with the law as a result of an image’s visual structure, as well as through representational exchanges that blur the edges between fact and fiction. (shrink)

In the House and Space2 photographic series, Francesca Woodman captures the environments that may be considered disruptive; still, it is a female model—in her inconstant poses, always partially blurred or hidden—that holds the viewer’s attention. The pictures therefore evoke a twofold sense of obscurity, since their unfriendly interiors are occupied by the uncanny, semi-absent yet ceaselessly present, dis-appearing woman, who turns out to be Woodman herself. Woodman’s spectral presence and the unhomely locations she haunts—being simultaneously the photographer and the object (...) of her photographs—are examined in this article by means of Bracha L. Ettinger’s matrixial theory. Ettingerian psychoanalysis, juxtaposed with Roland Barthes, Sigmund Freud, and Jacques Lacan, provides the tools to challenge the dominant non-affirmative understanding of Woodman’s self-portraits as works of disappearing and failing subjectivity: an understanding whose obvious point of support is found in the artist’s biography. Instead, Ettinger’s system makes it possible to look at this oeuvre through the prisms of fragility, homeliness, and the potential emergence of blurry, ghostly subjectivity. Moreover, the article examines the ways in which Woodman resists the divisions imposed on her and the medium she uses (such as the Barthesian triad of Operator, Spectator, and Spectrum, and the dichotomies of me / the Other and subject / object). (shrink)

In this paper, we explore the role of the lived body in meaningful understanding beyond linguistic conceptualization in phenomenologically oriented inquiries. In this exploration we consider the role of visuality and enactment as possibilities for accessing meaning beyond language-bound descriptions of the phenomenon of moving childhoods--that is, children's lived experiences of immigration. We suggest that immigration is an experience that interrupts the familiarity of the lifeworld, and thus brings immigrant children's awareness of their bodies to a conscious level. We ask: (...) What methods of inquiry can be used to access more directly the "embodied understanding" and, in particular, the lifeworlds of immigrant children as they leave the familiar "home world" and enter the "alien world" of a new school? In addressing this question, we focus on one aspect of phenomenological inquiry--gathering experiential accounts, or lived experience descriptions, in investigating childhood phenomena--which presents a particular challenge to researchers working with young children. We present an example of a method that bridges hermeneutic phenomenology and arts-based research methodology developed specifically to engage immigrant children bodily in accessing their lived experiences of their first day of school in the host country, and in the development of a polymedia text showing these experiences. We believe that the example demonstrates how fotonovela facilitates immigrant children’s recollection of and reflection on their experience of being at the door of a new classroom. Moreover, the production of visual texts, when shared with or read by others, has an evocative power similar to that of a phenomenological text. Thus, we argue, fotonovela is a particularly suitable method for engaging children in developing polymedia descriptive texts about their lived experiences. (shrink)

Name der Zeitschrift: Semiotica Jahrgang: 2015 Heft: 207 Seiten: 395-409.

The article challenges conventional assumptions regarding the question of incest survival within contemporary discourses. A textual analysis of Kathryn Harrison's autobiographical novel tracing her consensual sexual relationship with her father is used to address the issue of failed or unresolved mourning as a prototypically ‘modern’ cultural phenomenon. Psychoanalytically informed feminist literary criticism is used to explore the parallels between the cultural construction of femininity and failed or postponed mourning in western historical and philosophical traditions. Following the work of Juliana Schiesari (...) and Kathleen Woodward, the article contends that melancholia is a gendered discourse that has historically privileged male theorists and film-makers, such as Barthes and Fassbinder. The article suggests that contemporary women writers, such as Harrison, are engaged in a revisionary approach to the construction of loss within their writing. By situating themselves at the heart of the contemporary family narrative, instead of the ‘melancholic’ margins, they are able to produce a counter-discourse that dispels the conventional dynamics of the traditional family romance. By using the ‘writing cure’ to overcome ideological loss, the desiring daughter is able to challenge misogynist constructions of femininity within contemporary literature. (shrink)

In this article, we discuss some of the linguistic features of hermeneutic-phenomenological writing and, in so doing, we point to the close connection between lived experience and the ethical-aesthetic traits of writing the experience. Our exploration starts by contemplating texts written by the so-called Utrecht School. We reflect on their orientation as it has been understood, developed, and advocated by Max van Manen. The literary style of the Utrecht orientation is sometimes misunderstood and questioned. This article aims to explicate why (...) and how hermeneutic phenomenology needs an expressive language to "write the lived experience" rather than to simply write "about" the lived experience. Lived experiences are always past experiences that we try to bring into the present, and so the difference between recollections and memories are discussed in connection to writing the experience. We argue that what is being told and not seen is, metaphorically speaking, an event in sound, which can have ethical and aesthetic virtues of truth and beauty. Lived experiences, whether written as anecdotes or as other kinds of experiential accounts, can shine forth through the use of expressive language. But is this kind of language poetry? Can such an account be regarded as poetic writing? If it is poetic writing, exactly how does it differ from academic writing? Our exploration of questions like these leads us to the tentative conclusion that, as hermeneutic phenomenological researchers, we dwell in the borderland between a "poetic attitude" and a utilitarian writing style. (shrink)

For over 2000 years, the sublime has been a source of fascination for philosophers, artists, and even the general public at times. We have written hundreds of treatises on the subject, put forth innumerable definitions and explanations, and even tried to reproduce it in art and literature. But, despite our efforts, our understanding of the sublime remains elusive. In this paper, the sublime is explored as a potential human experience that can be evoked by an image. Drawing upon concrete experiences, (...) the phenomenon of sublimity suggests a compelling, embodied response to the visual object that can evoke a fundamental change of being. (shrink)

A British coffee chain’s fundraising practices constitute a background for this study to examine ideological discourses behind British charitable giving. The charity executes projects in coffee growing communities by providing education for children in disadvantaged neighbourhoods. The study takes a critical stance from a discursive paradigmatic perspective to analyse visual contents used by the charity. The applied visual critical discourse analysis was inspired by Barthes’ semiotic theory. Findings suggest that the adverts’ interpretative repertoires can serve ideologies that sustain the donors’ (...) social-cultural dominance over the recipients by justifying group-based social hierarchies. The chains of signifiers do not question the spectators’ moral position but rationalise status quo and maintain undisturbed consumption. Findings suggest the possibility that the discourses of prosocial behaviour incited under consuming conditions do not challenge but may even justify global inequality. This finding presents challenges facing charitable organisations balancing their work within wider commercial and cultural contexts. (shrink)

This article addresses the portrait as a philosophical form of art. Portraits seek to render the subjective objectively visible. In portraiture two fundamental aims come into conflict: the revelatory aim of faithfulness to the subject, and the creative aim of artistic expression. In the first part of my paper, studying works by Rembrandt, I develop a typology of four different things that can be meant when speaking of an image’s power to show a person: accuracy, testimony of presence, emotional characterization, (...) or revelation of the essential “air” (to use Roland Barthes’ term). In the second half of my paper this typology is applied to examples from painting and photography to explore how the two media might differ. I argue that, despite photography’s alleged ‘realism’ and ‘transparency,’ it allows for artistic portraiture and presents the same basic conflict between portraiture’s two aims, the revelatory and the expressive. (shrink)

In this article, I outline a logic of design of a system as a specific kind of conceptual logic of the design of the model of a system, that is, the blueprint that provides information about the system to be created. In section two, I introduce the method of levels of abstraction as a modelling tool borrowed from computer science. In section three, I use this method to clarify two main conceptual logics of information inherited from modernity: Kant’s transcendental logic (...) of conditions of possibility of a system, and Hegel’s dialectical logic of conditions of in/stability of a system. Both conceptual logics of information analyse structural properties of given systems. Strictly speaking, neither is a conceptual logic of information about the conditions of feasibility of a system, that is, neither is a logic of information as a logic of design. So, in section four, I outline this third conceptual logic of information and then interpret the conceptual logic of design as a logic of requirements, by introducing the relation of “sufficientisation”. In the conclusion, I argue that the logic of requirements is exactly what we need in order to make sense of, and buttress, a constructionist approach to knowledge. (shrink)

This text focuses from a philological perspective on media theories and their impact on traditional text-based disciplines. Therefore it looks at the problems that have emerged for Media Studies as well as for traditional studies in philology when reflecting on the concept of self-reference, since their subjects can seemingly no longer rely on the purity of the written word. If research work in the field of humanities is still mainly documented by texts, how does the advance of images as a (...) challenging research subject affect the text that is referring to that subject? Speaking in media terms: how is the medium `text', which still remains text when it is concerned with the medium `image', affected by the `other' medium? This question deals with the problem of self-reference, hence the construction of disciplinary limitations in various academic fields. Beginning with this question, I try to find out how the difference between self-reference and reference has been and still is being organized in texts. How can we compare different types of theorizing images in texts? These abstract problems will be exemplified by situating the word—image bias in a wider historical context. The text concludes by developing some possibilities for future research within this area of visual culture and academic writing. (shrink)

Tarot cards are one means to unlocking an image. In this article, the image is that of the Albanian writer and political dissident Musine Kokalari at her 1946 trial. Her photograph features in Albanian discourses about its communist past. I argue that the image provides clues as to the manner in which the country has faced up to its own history. For what is certain is that the Albanian account of the Enver Hoxha dictatorship remains incomplete. Drawing on Walter Benjamin’s (...) notion of ‘here-and-now in a flash’, and Roland Barthes’ and Italo Calvino’s reflections on photography and the power of the visual, we can identify at least two distinct memory regimes in the relevant historical, legal and political narratives. (shrink)