In seeking to neutralize affectivity and in requiring us to act for the right without reference to the conceptions of the good that normally attract our allegiance, some critics say, contemporary cognitivist theories of justice undercut human agency and leave justice hanging. This paper explores the merits of that charge by engaging the work of John Rawls and Jürgen Habermas. Rawls does offer an account of the sense of justice that can meet the motivational challenge, albeit not without compromising the (...) strict priority of the right over the good. Habermas objects to key elements of the Rawlsian compromise and defends a more strenuously pure proceduralism, acknowledging the motivational (if not the normative) difficulties this entails. The accommodations and the deficits found in Rawls and Habermas point to the irrepressible place that conceptions of the good and our affective attachments to them occupy within human moral psychology. This feature of moral psychology has more than merely practical significance. It affects the operation of practical reason, and on the contemporary cognitivist models of justice it is practical reason that establishes the validity of moral and political norms. Consequently, a fuller account of the moral psychology that supports just action also helps clarify the nature of norm justification. (shrink)

Before photography went digital and camera phones accompanied people most everywhere, Pierre Bourdieu observed in 1965 that photography had become a "middle-brow art". "How and why," he asked, "is the practice of photography predisposed to a diffusion so wide that there are few households, at least in towns, which do not possess a camera?". Novel at the time, the question has been superseded today. Estimates indicate that 1.27 trillion new photographs will be taken in 2017. That amounts to an ambient (...) symphony of over forty thousand clicking shutters per second. That means the human population will take three times more photographs in one year than there are stars in the Milky Way.... (shrink)

This article focuses on the affective potential of anticipation, in its ready endorsement of the unknown, as a formative lens for theorising feminist temporalities. I draw from earlier readings of Luce Irigaray’s conceptual paradigm of sexual difference to examine how its articulation of a feminist future that is inherently unknowable might contribute to recent debates on the temporalities of feminist thought. The article presents two broadly intersecting lines of argument. I first emphasise the continued centrality of sexual difference in its (...) anticipatory imperative for thinking feminism but – or perhaps, especially – through a contradictory retrieval of the term that re-narrates its contemporary significance. In other words, it is precisely the retroactive position that sexual difference occupies that exacts a critical reorientation of existing modes of feminist temporalities; it moreover does so as a theoretical construct that altogether circumvents our understanding of feminism as a progress narrative. Secondly, I build upon Drucilla Cornell’s contentions in Beyond Accommodation that the unknown futurity inaugurated by the trajectories of sexual difference demands a dimension of inquiry that is inevitably aesthetic (1991). I identify a possibility of literature’s reinvigoration in emergence narratives of feminist theorising, particularly in a certain ethical capacity precipitated by its affective experience of enchantment, which mirrors the ‘wonder’ that sexual difference incites. If we are to continue to use literature as a conducive space of feminist analysis, then it is the forward-looking perpetuation of feminist narratives that must also be rethought for their investment in the multiple contingencies of anticipation. (shrink)

For at least 50 years science fiction’s dangerousness has sprung largely from its leaps into the transgressive. But something has now changed; the biggest problem today for anyone trying to create dangerous science fiction is that in the developed countries we now live largely in a libertarian, post-transgressive culture. There is, however, at least one target for science fiction that grows increasingly dangerous; the border between scarcity and post-scarcity. This danger is perhaps best realized in the great Mars trilogy by (...) Kim Stanley Robinson, which not only imagines a bridge from our current scarcity-based culture to a post-scarcity culture, but also shows people building this very bridge up from the foundations of our life today. Perhaps more dangerously, he then follows Marcuse and Mumford in envisioning not only an end to the economic problem of poverty but also to the social, anthropological and psychical forces of scarcity, showing step-by-step the dramatic changes in psychology, values and lives that post-scarcity would bring. And so, like certain tales by Plato and Tolstoy, it is a ‘threshing tale’, a tale that forces us into an imaginative confrontation with our current values, intending to winnow the false from the true. This epic sets out to alter the way we see ourselves and our social sphere, hoping – like William Blake – that altering the eye alters all; perhaps nothing but such a plausible, non-utopian and social vision of life in post-scarcity can be truly dangerous to the way we now think, love, work and war. (shrink)

In this paper we examine attempts to reframe the ethics of nature-society relations. We trace a postmodern turn which reflects a distrust of overarching moral codes and narratives and points towards a more nuanced understanding of how personal moral impulses are embedded within, and inter-subjectively constituted by, contextual configurations of self and other. We also trace an ethical turn which reflects a critique of anthropocentrism and points towards moves to non-anthropocentric frames in which the othernesses and ethics of difference are (...) shaped by an acknowledgement that human and non-human agency are relationally bound and assembled in networks and places. These turns suggest the need for a more sensitive 'ethical mindfulness' which is grounded in particular space-time contexts. Throughout the paper we draw on research we have conducted on the interconnections between trees and places, and in particular we describe three specific tree-places - an urban square, an urban cemetery and an orchard - which provide grounded contexts of encounter and potential for ethical mindedness. We conclude that notions of intrinsicality, otherness, enchantment and hybridity are helpful in configuring the search for grounded ethical mindfulness, both for and in nature. (shrink)

This paper explores pedagogic strategies for resisting the racism of contemporary populism and age-old coloniality through challenging secularism in the academy, especially in social theory. Secularism sustains racism and imperialism in the contemporary academy and is inscribed, in part, through the norms of social theory. Post-secular social theory has been positioned by some as the decolonial answer, but often replicates the most problematic aspects of secularism. Whereas post-secularism affirms the previously denigrated side of the secular vs religious dualism, I am (...) more interested in unworking those classificatory schemas, setting the critical thought of religious teachers in relation with ‘secular’ social and political theorists such that boundaries erode. The ambition in this is to resist the hierarchical orderings of knowledge that pit Islamic, indigenous, and feminised subjectivity as backwards, dangerous or intrinsically inferior to secular, Christian, rational knowledge. It is also to disenchant the secular Gods and hold open space for critical play in relation to the transcendental - to create a permissive, legitimising, space for students’ spiritual dimension, conocimiento, or the cultivation of soul. The paper draws theoretical inspiration from Gloria Anzaldúa, Gayatri Chakravorty Spivak, and Sylvia Wynter. It also draws on a practical experiment in disenchanting secularism through teaching an undergraduate module in social theory called Capitalism and Religion. (shrink)

This thesis examines how designs based on a conjunction between craft and digital techniques may offer new possibilities for an architect or designer in contemporary practice. How is it relevant that what initially appear to be two distinct approaches to designing and making can be introduced to each other and coalesce to form a constructive attitude of mutually borrowed logic? The thesis champions the crafting of innovative design and the incorporation of digitally derived procedures that allow for globally efficient dissemination (...) and malleability. Such procedures have occupied the practice of architecture and design for some time, giving rise to the current sobriquet of a 'post-digital age'. I propose that at this point in time we can usefully speculate on the relationship between physical making and computer-based production. Too often the stylistic overtures popularly attached to the terms 'digital' and 'craft' narrow our perception of what each term may encompass and how they are likely to manifest. Traditionally, digitally derived design practice is attributed the efficiency of a mathematically precise mode of operation - an oscillation between zeroes and ones that produces a universal logic of smoothly rendered forms. By contrast, 'craft' is often cast into the realm of amateurish making, complete with mistakes, dropped stitches, fingerprints or other traces of human fault that are understood as being charming in the context of handmade human endeavour yet fall short when measured against 'serious' artistic categories that include architecture, design and fine art. This thesis seeks to move beyond such accepted and somewhat polarised positions. First, the thesis offers clearer and more dynamic definitions of the terms 'craft' and 'digital', seeking the ability for each to hold fast to the inherent merits of their particular logic while also finding productive opportunities to integrate with each other. Second, the thesis examines how crafted production can combine with digital tools to offer a useful direction for contemporary design practice. Case studies of contemporary architects' and designers' works are drawn on to illustrate and make observations on the different relationships that the selected practitioners have discovered in their projects, all of which conjoin the conception and manifestation of digital craft. The case studies vary in scale from fabric and furniture production to large-scale installations of significant spatial effect, to entire architectural projects. The range is useful in discussing how the concept of digital craft in architecture can be re ad from various perspectives. This reflects the numerous ways in which digitally created design is used to realise crafted results and is mindful of the fact that architectural processes often follow technological innovation first practiced at more intimate scales such as in industrial design. It is also interesting to compare the idea of the more intimately scaled relationship that craft has traditionally held with architectural practice. Finally, the thesis will speculate upon future developments for the conjunction of digital craft in architecture and design, and will pose several questions for further discussion. (shrink)