The critical condition and historical motivation behind Time Studies The concept of time in the post-millennial age is undergoing a radical rethinking within the humanities. Time: A Vocabulary of the Present newly theorizes our experiences of time in relation to developments in post-1945 cultural theory and arts practices. Wide ranging and theoretically provocative, the volume introduces readers to cutting-edge temporal conceptualizations and investigates what exactly constitutes the scope of time studies. Featuring twenty essays that reveal what we talk about when (...) we talk about time today, especially in the areas of history, measurement, and culture, each essay pairs two keywords to explore the tension and nuances between them, from “past/future” and “anticipation/unexpected” to “extinction/adaptation” and “serial/simultaneous.” Moving beyond the truisms of postmodernism, the collection newly theorizes the meanings of temporality in relationship to aesthetic, cultural, technological, and economic developments in the postwar period. This book thus assumes that time—not space, as the postmoderns had it—is central to the contemporary period, and that through it we can come to terms with what contemporaneity can be for human beings caught up in the historical present. In the end, Time reveals that the present is a cultural matrix in which overlapping temporalities condition and compete for our attention. Thus each pair of terms presents two temporalities, yielding a generative account of the time, or times, in which we live. (shrink)

In this article we argue that our present-day mode of looking at bodies expresses a cosmetic gaze, that is, a gaze already informed by the techniques, expectations and strategies of bodily modification and a way of looking at bodies as awaiting an improvement. The cosmetic gaze, as we see it epitomized in contemporary media phenomena like reality makeover shows on television, is also a physiognomic gaze in that it creates a short-circuit between inside and outside beauty. Our article traces some (...) of the history of the present short-circuit between an inside and an outside and analyzes how different visual media have informed and shaped the gaze in historically specific ways, but also how aspects of that history inhere in media practices today. More specifically, we will analyze John Caspar Lavater’s hand-drawn portraits, Francis Galton’s photographical composites, the anthropometrically defined but still intuitively discovered ideals of the ‘Aryan body’ in Nazi Germany, and today’s reality television makeover shows in order to understand some of the continuities and discontinuities of the cosmetic gaze. (shrink)

Forensic DNA phenotyping is a genetic technology that might be used in criminal investigations. Based on DNA samples of the human body found at crime scenes, it allows to infer externally visible characteristics (such as eye, hair and skin colour) and continental-based biogeographical ancestry. By indicating the probable visible appearance of a criminal suspect, forensic DNA phenotyping allows to narrow down the focus of a criminal investigation. In this article, drawing on interviews with forensic geneticists, we explore how their narratives (...) translate contemporary focus on criminal molecularized bodies. We propose the concept of (de)materialization to approach three aspects of the forensic geneticists’ views. The first regards considering bodies as mutable entities. The second relates to socially contingent meanings attributed to bodies. The third regards to controversies surrounding data reliability. By reflecting upon the (de)materialization of criminal bodies, forensic geneticists juxtapose the defence and unsettling of forensic DNA phenotyping claims. (shrink)

Cosmetic dentistry is a divisive discipline. Within discourses that raise questions of the purpose of the dental profession, cosmetic dentistry is frequently criticised on the basis of it being classified as a non‐therapeutic intervention. This article re‐evaluates this assertion through examination of ethics of care of the self, healthcare definitions and the social purpose of dentistry, finding the traditional position to be wanting in its conclusions. The slide of dentistry from a healthcare vocation towards being a predominantly business‐focused interaction between (...) clinician and consumer conflicts with traditional notions of dentistry as a profession. Whilst it is undeniable that cosmetic dental treatment particularly lends itself to the commercial paradigm, this is not exclusive to this area of professional practice. The cultural basis of dental appearance and the potential of the dental profession to exert coercive pressure upon the public to undergo treatment that is based upon social norms is discussed. This essay concludes that cosmetic dentistry is undeniably part of the professional purpose of 21st Century dentistry. However, the caveat that may be placed upon this, is that this status is conditional upon the professional conduct of dental practitioners remaining resilient to commercial practices not compatible with professional obligations. (shrink)

This article is concerned with the relationship between body, image and affect within consumer culture. Body image is generally understood as a mental image of the body as it appears to others. It is often assumed in consumer culture that people attend to their body image in an instrumental manner, as status and social acceptability depend on how a person looks. This view is based on popular physiognomic assumptions that the body, especially the face, is a reflection of the self: (...) that a person’s inner character or personality will shine through the outer appearance. The modification and cosmetic enhancement of the body through a range of regimes and technologies can be used to construct a beautiful appearance and thereby a beautiful self. The article begins by examining body images in consumer culture and their relation to photography and moving images. This is followed by an examination of the consumer culture transformative process through a discussion of cosmetic surgery. The article then questions the over-simplistic logic that assumes that transformative techniques will automatically result in a more positive and acceptable body image. The new body and face may encourage people to look at the transformed person in a new way. But the moving body, the body without image, which communicates through proprioceptive senses and intensities of affect, can override the perception of the transformed appearance. A discussion of the affective body follows, via a closer examination of the body without image, the opening of the body to greater affect and indeterminacy. The affective body image and its potential greater visibility through new media technologies are then discussed through some examples taken from digital video art. The article concludes by examining some of the implications of these shifts within consumer culture and new media technologies. (shrink)

The Common School should promote a sense of the distinctive worth of all human beings. How is the respect thus owed to every individual to be properly understood? This familiar question is explored by discussing ‘lookism’, a form of discrimination on the grounds of appearance. The treatment is located within a wider analysis of stereotyping. Ultimately stereotyping overlooks persons as sources of actions with moral significance and as potential owners of moral virtues. The Common School could profitably approach traditionally emotive (...) issues such as racism indirectly by helping students to understand in some depth how ‘lookist’ attitudes deny agency. It could then encourage students to apply these insights to traditional forms of discrimination. (shrink)