‘CRASH’ – TOWARDS A CRITICAL PEDAGOGY OF WHITENESS?

Critical whiteness studies has produced significant analysis of the terrors of white supremacist power. However, in relation to cultural-media studies pedagogy, impassioned calls for the denouncement of whiteness raise troublesome concerns and limits for productively addressing students' racialized identities. I maintain that renouncing whiteness in anti-racist teaching does not adequately connect with commonsense and affective experiences of ‘race’ in everyday life for many students. Through a ‘materialist’ analysis of the film Crash (2005), this article opens up the question of the im/possibility of engaging whiteness from an anti-racist stance that neither condemns nor buttresses white identity. Crash, considered from a reading practice that does not simply dwell on textual meaning and interpretation, offers an opportunity to pedagogically engage with the ambivalent representations of ‘race’ which pervade contemporary culture.     

A Transnational Flow of the Art of Tea: The Paradox of Cultural Authenticity in Taiwan

Being regarded as representing authentic Chinese cultural tradition in the eyes of many mainland Chinese, the Taiwanese practice of the art of tea, however, is displayed as an adapted authenticity that integrates multiple sources, including Chinese cultural legacy, Japanese art influences and constant innovations by Taiwanese actors. By conditionally selecting whether to side with Japanese or Chinese culture, a Taiwanese cultural identity through the art of tea is manifested as quests for liberal changes, leisure lifestyle, anti-showy representation and a paradox over commodified practices. This article traces the historical and ongoing transnational cultural flow among China, Taiwan and Japan in the art of tea, and focuses on exploring Taiwanese cultural reconstruction through the development of the art of tea. The author argues that the trajectory of the art of tea intrinsically reflects the paradox of cultural authenticity in Taiwan.     

Sense‐making in Taiwan's tea art ritual

This paper analyzes Taiwan's contemporary public tea gatherings from the perspective of “sense-scape,” the cultural world of sensory experiences. Performing elegance by way of tea brewing, bodily gestures and movements, costumes, utensil arrangements, and spatial design represents what is innovative about Taiwan's tea art culture, often referred to as “literati tea.” As the fragrance and flavors of tea, light and shadows, sounds and music, visual presentations of utensils, and space, as well as the general atmosphere of these events are captured by the senses and organized by the emotions, they inform us about who we are and who the other is. Despite its Japanese cultural infusion and Chinese cultural legacy, which have always complicated claims of a truly Taiwanese origin, Taiwan's tea art has been eagerly adopted by mainland Chinese tea communities since the late 2000s. That a local practice and invented tradition strongly identified with Taiwan has been embraced as “traditional” cultural practice in contemporary China presents a paradox that deserves our attention.     

Aesthetics of disaster as decolonial aesthetics: making sense of the effects of Hurricane María through Puerto Rican contemporary art

ABSTRACT

On 20 September 2017, Hurricane María made landfall on Puerto Rico causing unprecedented disaster. From that day onwards, the Puerto Rican multi-layered colonial, social and political context was further complicated by the traumatic acceleration of a human disaster via this natural disaster. This crystalized the urgency of using art as vehicle for (social) catharsis, a practice that continues to be used by individual artists, collectives, community organizations, art projects, and other art institutions on the island and abroad, through mural art, community paintings, art exhibitions, literature, music, and many other aesthetic expressions. This article examines, from a decolonial and critical cultural studies perspective, post-Hurricane María artistic expressions in contemporary art as decolonial aesthetics through the cathartic use of the frame of an aesthetics of disaster. It is argued that, an aesthetics of disaster aims to re-assert an artistic form that is able to accelerate the discursive nullification of a deeply rooted colonial, social and cultural problem by way of art as catharsis inspired by the way that Hurricane María unveiled these problems. The piece briefly contextualizes Puerto Rico, and it examines the idea of Puerto Rican contemporary art as catharsis. Then, it describes how Puerto Rican contemporary art exhibitions and associated aesthetic production are processing urgent post-hurricane issues through three illustrative pieces in exhibitions in PR and abroad in the United States (US). Lastly, decolonial aesthetics is reexamined and re-understood, informed by Édouard Glissant's view expressed in Poetics of Relation which aids to the conclusion that Puerto Rican contemporary art using the frame of an aesthetics of disaster functions as a powerful form of decolonial aesthetics.     

Power,capital, and artistic freedom: contemporary Chinese art communities and the city

This paper offers a critical review of the proliferation of the contemporary art colony in China since the beginning of the twenty-first century in the context of China's promotion of cultural creative industries as one of the strategies for urban development and economic growth. Through analyzing cases in Beijing, Xi’an, and Sanya, cities ranging from ‘first-tier’ to ‘third-tier’ in their size and status, the paper explores the challenges and opportunities many contemporary Chinese art professionals find themselves face amid the competitive city image building campaign, a top-down movement led by local state and private investors in cities across China. It is evident that contemporary art and alternative art spaces associated with it have been drawn into the process of commodification, inadvertently recruited to play an ancillary role in the reproduction of the hegemonic collusion between political power and capitalism in a rapidly urbanizing China. Nonetheless, I argue that the inclusion of contemporary art communities as a player in the production and reproduction of the urban space has provided critical-minded artists, critics, and curators opportunities to participate in the reconfiguration of the physical and cultural landscape of Chinese cities, albeit not always with positive outcomes. As such, some art professionals are able to appropriate the process of capitalist urbanization to create their own ‘infrastructures of resonance’ [Thompson 2015. Seeing Power: Art and Activism in the Twenty-first Century. Brooklyn: Melville House], which support artistic freedom and facilitate the growth of diverse forms of cultural creation and exchange despite the coming dominance of ‘power plus capital’ [X. Wang 2003. A Manifesto for Cultural Studies. In: C. Wang, ed. One China, many paths. London: Verso, 274–291].     

Work,culture, and play in the neoliberal condition

ABSTRACT

Foucault’s [2008. The birth of biopolitics: Lectures at the collège de France 1978–1979. New York, NY: Picador] lectures on neoliberalism present a powerful challenge to the Marxist critique of capitalist work as alienating and dehumanizing. Foucault suggests that neoliberalism allows work to be seen in terms of an individual’s pursuit of personal happiness. Seminal cultural theory in Hoggart [1957/2009. The uses of literary: Aspects of working-class life. London: Penguin] and Williams [1961. The long revolution. London: Chatto & Windus] view working-class culture as a matter of tacit rules and a ‘structure of feeling’ that permeates everyday life. Adorno’s critique of the capitalist ‘culture industry’, by contrast, suggests that a culture of neoliberal capitalism would be an oxymoron. This perspective is self-defeating, I argue, as we then essentially give up the task of understanding how neoliberalism translated into a pervasive social psychology. Following Richard Sennett’s [2008. The craftsman. New Haven, CT: Yale University Press; 2012. Together. New Haven, CT: Yale University Press] work on craft and cooperation, I examine some elements of such neoliberal culture. Across many contemporary cities, there is a clear trend of local small-scale production that stands at odds with the aesthetics if not the underlying reality of the globalized economy. This suggests that utopian counter-currents to neoliberal governance are better drawn from reconfiguration rather than abandonment of work.     

“Our Artistic Home”: Adolescent Girls and Domestic Interiors in the Girl’s Own Paper

Abstract

By zooming in on the Girl’s Own Paper (GOP), this essay demonstrates how the production and dissemination of shared domestic cultures are directed at adolescent girls through esthetic practices of furnishing and decorating the home. The essay aims to contextualize the role of household art in the relationship between female adolescence and bourgeois domestic interiors in fin de siècle Britain. The relationship reveals three important aspects of domestic cultures: household art, do-it-yourself crafts, and material collecting. First, the GOP advises adolescent girls to read and interpret the language of household art through selection and placing, which, in turn, facilitates the construction of the textuality of interior furnishings. The GOP’s esthetic theory, an integral part of educating and improving girls’ taste, functions to enhance their room-layout skills and also construct their architectural identities. Second, adolescent girls are credited with the active role of young home-makers in the GOP. The practice of amateur upholstery shapes female youth’s artistic self-expression and manifests their autonomous control over the making of home-crafted objects. And thirdly, the act of collecting furniture pieces and decorative items functions to address the various components of a room alongside contemporary social concerns about good taste. The accumulation of artifacts allows girls to achieve a sense of materiality and ownership contained within the domestic sphere. Home decoration in general provides a focal point for understanding how the familial space becomes the site of adolescent girls’ artistic labor and household elegancies.     

Poor theory and the art of plastic pollution in Nigeria: relational aesthetics,human ecology,and “good housekeeping”

ABSTRACT

The art of plastic pollution from Nigeria marks more than an environmental consciousness. It also marks an ecological consciousness based on contemporary plastic-waste artists’ commitment to advocating the recovery of traditions of repurposing materials and of skilled craft work. These contemporary artists are proposing that Nigeria negotiate its own modern identity by recuperating creative traditions of object making that combine the values of utility and of artistry in the practice of craft. The emphasis on plastic specifically as an artistic medium highlights the clash of what eco-artist Bright Eke calls a “bottled life” – entrapped, wasteful, unhealthy, ego-centric – with a traditional ethos of interconnectedness and eco-consciousness. Drawing together data from personal interviews, filmed documentaries, and museum talks, this essay argues that the current generation of artists is using salvaged plastic as a primary medium to rethink Nigerian ecology in terms of “good housekeeping” – a specifically Nigerian oikos.     

Biotech aesthetics: Exploring the practice of bio art

Advances in biotechnology include contemporary artists working in laboratories to create living and semi-living works of art. This paper offers an account of how bio art can be read as an emerging contemporary art practice of the early twenty-first century. This draws on the art-historical precedent of Marcel Duchamp, who transformed objects from commonplace existence into works of art, and contemporary theories of art. Empirical data, in the form of interviews with leading bio art practitioners Oron Catts, Eduardo Kac, Kira O'Reilly, Stelarc and Paul Vanouse, are used to study how artists navigate between disciplines. In doing so, we discuss bio art as a critical practice based on a communal ethos.     

Imagination laboratory: making sense of bio‐objects in contemporary genetic art

Public engagement in biotechnology has declined as cloning, genetic engineering and regenerative medicine have become socially and culturally normalized. Zooming in on existing bio‐technological debates, this article turns to contemporary genetic art as sites for ethical reflections. Art can be viewed as an ‘imagination laboratory’, a space through which un‐framing and rupturing of contemporary rationalities are facilitated, and, in addition, enabling sense‐making and offering fantastic connections otherwise not articulated. In this article, the framework of ‘bio‐objectification’ is enriched with Bennett's (2001) notion of enchantment and the importance of wonder and openness to the unusual, in order to highlight alternative matters of concern than articulated through conventional politico‐moral discourse. Drawing on a cultural sociological analysis of Eduardo Kac's Edunia, Lucy Glendinning's Feather Child, Patricia Piccinini's Still Life with Stem Cells and Heather Dewey‐Hagborg's Stranger Visions, we discuss how the intermingling of art, science, critics, art historians, science fiction, internet, and physical space, produce a variety of attachments that this article will unpack. The article demonstrates that while some modern boundaries and rationalities are highlighted and challenged through the ‘imagination laboratory’ of the art process, others are left untouched.     

People with sight impairment in the world of visual arts: does it make any sense?

Abstract

The article describes an educational and artistic project in Poland where individuals with sight impairments could learn more about visual arts through guided city tours around their greatest monuments, appreciation of art pieces and meetings with artists. During workshops, they could test their own artistic skills by creating tactile drawings, pottery sculptures, photographs and tactile picture book. The effects of their attempts were presented in a temporary exhibition in the contemporary art gallery (with an associated educational program). The exhibition was a significant experience both for the artists with visual impairments and the visitors. Through analysis of the structure and content of the artworks, the gallery visitors could understand more about the situation of people with sight impairments as they struggle with everyday tasks and how creative they are.     

Processing Culture: Cognition,Ontology, and the News Media1

This article discusses how people cognitively engage with the contemporary, mainstream, U.S. news in ways that yield ontological services. It treats the news as both a system of signs and a cultural object, and assesses how people mentally intercept, negotiate, and use the news in ways that foster a sense of control and order over an unstable and unpredictable social world (i.e., “ontological security”) ( Giddens, 1991 ). Based on interview data, it argues that through criticisms, consumption orientations, lay theorizing, and “ignorant othering,” all orbiting and drawing from the contemporary, mainstream, U.S. news, people cognitively sift through and simplify a broader frenzied social environment. In so doing, they are able to mentally establish at minimum a sense of rudimentary understanding and at most a sense of trusted certainty of what is real and true of the world outside their immediate social circles.     

The governmentalities of neoliberalism: panopticism,post‐panopticism and beyond

This paper draws on the writings of Michel Foucault, in particular his lectures on biopolitics at the Collège de France from 1978–79, to examine liberalism and neoliberalism as governmental forms that operate through different models of surveillance. First, this paper re‐reads Foucault's Discipline and Punish in the light of his analysis of the art of liberal government that is advanced through the course of these lectures. It is argued that the Panopticon is not just an architecture of power centred on discipline and normalization, as is commonly understood, but a normative model of the relation of the state to the market which, for Foucault, is ‘the very formula of liberal government’. Second, the limits of panopticism, and by extension liberal governance, are explored through analysis of Gilles Deleuze's account of the shift from disciplinary to ‘control’ societies, and Zygmunt Bauman's writings on individualization and the ‘Synopticon’. In response to Deleuze and Bauman, the final section of this paper returns to Foucault's lectures on biopolitics to argue that contemporary capitalist society is characterized not simply by the decline of state powers (the control society) or the passing down of responsibilities from the state to the individual (the individualization thesis), but by the neoliberal marketization of the state and its institutions; a development which is underpinned by a specific form of governmentality. In conclusion, a four‐fold typology of surveillance is advanced: surveillance as discipline, as control, as interactivity, and as a mechanism for promoting competition. It is argued that while these types of surveillance are not mutually exclusive, they are underpinned by different governmentalities that can be used to address different aspects of the relationship between the state and the market, and with this the social and cultural logics of contemporary forms of market capitalism more broadly.     

Literary clinical practice: desire,depression and toxic masculinity in Hamlet

ABSTRACT

This essay introduces the notion of a literary clinical practice for which it remains essential to continue to consider those texts that open up a place for a readership, or audience, or even a civilization to consider the endlessly generative failure of its literature to write mental health. Concerned with mental illness that is an effect of language on the subject, the body, and of the enigma of the truth as cause, psychoanalysis is the crucial interlocutor for any literary clinical concern with the maladies of literature and society. In order to re-assess the utility of Shakespeare’s Hamlet to contemporary problems such as depression – perhaps the dominant symptom of our time – this essay attempts a reconsideration of Jacques Lacan’s famous seminar on Hamlet from the perspective of the contemporary clinic of the Lacanian orientation in psychoanalysis led by Jacques-Alain Miller.     

Psychotherapy,Architecture and the Postmodern Attitude. An Essay

For all its faddishness, postmodernism as a set of ideas and as an attitude has much to offer contemporary psychotherapy. These ideas and attitudes are briefly outlined and their application to psychotherapy practice elaborated and illustrated with reference to postmodern design.     

Tomorrow,things will be different Qiu Zhijie’s concept of keeping alive life through art

Abstract

The paper examines Qiu Zhijie’s multi-layered project A Suicidology of the Nanjing Yangtze River Bridge (since 2008) and asks what is at stake when art literally and metaphorically is assigned with life-saving functions. Based on the artist’s assumption that today’s social and political reality as well as its subjects are historically constructed the article conceives of the Nanjing Bridge as an embodiment of a historically constituted contemporary Chinese reality. Through close readings of the works as well as analyses of theoretical writings by Qiu Zhijie the article scrutinises the relationship Total Art assumes between the social and the aesthetic realm and examines the premises and strategies the artist adopts in order to produce socially and aesthetically effective art that keeps ‘alive’.     

Speed Culture: Fast Strategies in Televised Commercial Ads

While various theorists explain the postmodern moment or culture by pointing at an acceleration of transformations in macro-social institutions, such explanations remain often abstract and removed from everyday experience. Seeking to concretize how speed is articulated in popular texts, I analyze here the various strategies TV commercial ads deploy to inscribe speed as a normal and desirable quality of everyday life, objects, and self. Focusing on both pictorial and textual dimensions, I call the reader's attention to these strategies, and discuss the possible social and psychological consequences of the ideological orientations they articulate.     

What Do Movements Mean? The Value of Participant-Observation

Participant-observation can teach us much about the everyday meanings of doing social activism. I conceptualize these implicit meanings in relation to work in the sociology of culture, and social movement studies, and give examples from activists' everyday interaction. A participant-observer's forays into implicit meanings illuminate three dimensions of activists' experiences: the ways activists practice democratic citizenship in their groups, the ways they build group ties, and the ways they define the meaning of activism itself. By probing these implicit meanings, we can address questions that concern many social movement scholars. We increase our understanding of how movements grow, accomodate conflict, and build alliances, and we can specify which insights are useful in theories of contemporary or new social movements.     

‘James always hangs out here’: making space for place in studying masculinities at school

All learning is emplaced. It happens somewhere and it involves material things. It is located and situated. This paper focuses on spaces and places outside of the classroom where lessons about ‘self’ and ‘other’ are learnt. Drawing on recent research (‘Space, place and the making of masculinities in primary schools in Ireland’, O Donoghue, Journal of Curriculum and Pedagogy, 2006, volume 3), the paper analyses the stories/narratives of a group of ten and eleven year old boys, stories that tell of how they learn to speak, act and perform masculinities in school spaces and places. These performances, ‘naturalized’ through repetition and regulation, happen in spaces that exert significant effects on boys by opening up/closing off certain behavioural possibilities. The paper makes visible processes of doing and re/presenting research into masculinities and schooling in, with and through art. It argues that a research approach drawing on theories and processes of contemporary art practice offers much for conceptualizing, doing and representing research and provides opportunities that other research methods close off.     

Outline of a sociology of decisionism

I propose an agenda for empirical research on decision, choice, decision‐makers, and decision‐making qua social facts. Given society S, group G, or field F, I make a twofold sociological proposal. First, empirically investigate the conditions under which something—call it X—is taken to be a decision or choice, or the outcome of a decision‐making process. What must X be like? What doesn't count (besides, presumably, myotatic reflexes and blushing)? Whom or what must X be done by? What can't be a decision‐maker (besides, presumably, rocks and apples)? Second, empirically investigate how decision/choice concepts are used in everyday life, politics, business, education, law, technology, and science. What are they used for? To what extent do people understand and represent themselves and others as decision‐makers? Where do decision‐centric or “decisionist” understandings succeed? These aren't armchair, theoretical, philosophical questions, but empirical ones. Decision/choice concepts’ apparent ubiquity in contemporary societies calls for a well‐thought‐out research program on their social life and uses.