Introduction

The challenge of ‘visualizing globalization’ requires analytical frames that engage the local‐global dynamic as well as a variety of visual methods. The article reflects on two uses of photography in a cross‐border research project tracing the journey of a tomato from the Mexican field to the Canadian fast food restaurant, and the role of women workers within the various stages of continental food production, distribution, and consumption. To examine globalization from above, the ubiquity of corporate advertising images is exploited, and their messages deconstructed and reconstructed to expose the production processes behind the commodities being promoted. Globalization from below is explored through photo‐stories of the daily lives of Mexican women agricultural workers as food producers at work and at home; Teresa's story illustrates how subsistence and market economies co‐exist and how family economies remain the survival and social base for Mexican peasants. The juxtaposition of two classic forms of image production—social documentary and corporate advertising photography—raises questions about the social construction of reality and creates new kinds of visual dialogues offering multi‐layered interpretations of the local‐global nexus.     

Women's self‐defense and sexual assault resistance: The state of the field

Public attention to sexual assault has increased dramatically over the last decade, spurring questions about how it can be prevented. One approach that has received scant attention is women's self‐defense training (sometimes known as sexual assault resistance training). This neglect is curious because empowerment‐based women's self‐defense (ESD) training is so far the only approach that has produced substantively significant decreases in victimization rates. In this article, I review the research evidence on women's self‐defense training. Does resisting a sexual assault affect the outcome of sexual violence? Does self‐defense training further reduce women's risk of violence? What are the other consequences of self‐defense training? How does self‐defense work for different groups of women—for example, those who have survived prior victimizations? Are the critiques of women's self‐defense training valid? Finally, what do we still need to learn about women's self‐defense? Overall, I argue that this evidence presents a compelling case that women's self‐defense training should be central to any efforts to prevent sexual violence.     

The devolution of social work knowledge

I am interested in the conditions under which practice knowledge can be used and developed in social work. I argue that the images we tend to have of how social workers apply theoretical knowledge, or appeal to practice wisdom, are misleading because they exaggerate the epistemological significance of individual experience. The concept of ‘practice theory’ is not of much help here because its attempts to codify implicit knowledge, quite apart from begging several questions, illegitimately confer paradigmatic status on the individual's relationship with a text. Instead, we need to begin with a collective analysis of experience, an example of which is offered in the second half of the paper. In effect, this illustrates a systematic process of induction which subjects both personal impression and encounters with theory to some stringent intellectual tests.     

More visualising, more methodologies: on video, reflexivity and qualitative research

This article was conceived as a response to Ruth Holliday's article published in The Sociological Review in 2001 (48 (4): 503–22) ‘We've been framed: visualising methodology’. Whilst recognising that Holliday's work makes both an important contribution to her substantive area and describes an innovative use of video in qualitative research, her critique of visual anthropology as a discipline that uses reflexivity as a muse to hide its positivist truth quest has some serious problems that need to be redressed. Here I shall draw from existing work to discuss how reflexivity has been a key theme in the development of visual anthropology since the latter part of the twentieth century.     

Resistance Is Not Futile: Liberating Captain Janeway from the Masculine‐Feminine Dualism of Leadership

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Ultimate concerns in late modernity: Archer,Bourdieu and reflexivity

Through a critique of Margaret Archer's theory of reflexivity, this paper explores the theoretical contribution of a Bourdieusian sociology of the subject for understanding social change. Archer's theory of reflexivity holds that conscious ‘internal conversations’ are the motor of society, central both to human subjectivity and to the ‘reflexive imperative’ of late modernity. This is established through critiques of Bourdieu, who is held to erase creativity and meaningful personal investments from subjectivity, and late modernity is depicted as a time when a ‘situational logic of opportunity’ renders embodied dispositions and the reproduction of symbolic advantages obsolete. Maintaining Archer's focus on ‘ultimate concerns’ in a context of social change, this paper argues that her theory of reflexivity is established through a narrow misreading and rejection of Bourdieu's work, which ultimately creates problems for her own approach. Archer's rejection of any pre‐reflexive dimensions to subjectivity and social action leaves her unable to sociologically explain the genesis of ‘ultimate concerns’, and creates an empirically dubious narrative of the consequences of social change. Through a focus on Archer's concept of ‘fractured reflexivity’, the paper explores the theoretical necessity of habitus and illusio for understanding the social changes that Archer is grappling with. In late modernity, reflexivity is valorized just as the conditions for its successful operation are increasingly foreclosed, creating ‘fractured reflexivity’ emblematic of the complex contemporary interaction between habitus, illusio, and accelerating social change.     

Women Who Work: The limits of the neoliberal feminist paradigm

This article examines Ivanka Trump's Women Who Work, arguing that it represents the newest permutation of the neoliberal feminist subject. After providing an overview of the recent emergence of neoliberal feminism, I explain why the book should be considered part of the wider cultural landscape in which this variant of feminism has increasingly become commonsensical. I then turn to demonstrate how Women Who Work construes the ideal female subject not only as generic human capital but also incites her to invest in herself constantly, where activities ranging from professional workshops through hobbies to friendships are understood as practices that appreciate the value of the self. The conversion of women into generic rather than gendered human capital remains, however, incomplete, since the ideal of a happy work–family balance continues to serve as a push back to the wholesale erasure of traditional notions of sexual difference. Finally, I highlight that neoliberal feminism is erasing other long‐standing divisions and political differences. Not only does the private–public divide collapse, but so, too, does the distinction between one's private self and one's public enterprise as the self itself becomes an enterprise. This dual process of collapse and reconfiguration shapes the newest neoliberal feminist subject, the main protagonist of Trump's Women Who Work.     

Sebastião Salgado and Visual Sociology

This paper links the work of Sebastião Salgado, recipient of the 2010 American Sociological Association (ASA) Award for Excellence in the Reporting of Social Issues, with the discipline of sociology. I reflect on Salgado’s biography, method, and concerns in order to demonstrate how his work contributes to the awareness and understanding of social issues. Toward this end, I summarize sociology’s record of involvement with visual documentation. Prior to 1915, the American Journal of Sociology regularly included photographs that provided visual documentation of environments under study. However, as sociology moved away from social reform activities and toward scientific investigation, the regular publication of photographs ceased. During the 1930s and 1940s, photographic projects in disciplines and social movements beyond sociology developed a variety of methods that would prove useful to sociology. During the 1970s, sociologists once again began to use visual methods in their teaching, research, and publication, putting sociology in the position to both contribute to and benefit from insights and social commitments that have distinguished Sebastião Salgado as a globally significant photographer and social activist during the late twentieth and early twenty‐first centuries.     

Castration and Medusa: Orlan's Art on the Cutting Edge

French multimedia artist Orlan (b. 1947) literally altered her body and identity in the name of art by undergoing multiple cosmetic surgeries that replaced her features with those from art historical masterpieces. She transformed herself into an objet d'art as well as a site for public debate, thereby injecting a radical sensibility into Western art and its history. The provocative surgeries at the core of Orlan's “carnal art” both exemplify and expand Freud's notion of castration to include the wish to transcend gender and even the body itself. Like Medusa, Orlan confronts us with blinding images that compel us to question our assumptions about art, beauty, gender, identity, and technology. Her project shows us the fate of human embodiment in a posthuman age. In addition to elucidating her social, feminist, and aesthetic agenda, this paper clarifies her personal psychology and her work's effect on the audience.     

PUBLIC ART/PRIVATE LIVES

This essay traces a body of work, as it emerges in the space between visual art and an engagement in the public sphere. A range of projects and exhibitions, using photography as medium, is described in the context of a discussion about the complexity of the photographic transaction. All of these projects explore notions of intimacy, pushing at the boundaries between ‘the private’ and ‘the public’ in the South African public cultural domain. The essay focuses particularly on Hotel Yeoville (2010), a participatory public art project-based online and in the library of the old Johannesburg suburb of Yeoville. Yeoville's estimated 40,000 inhabitants are largely disenfranchised migrants and refugees from every part of the African continent. The project comprised a website and an exhibition space with a series of digital, interactive booths in which members of the public were invited to document themselves through mapping, video, photography, text and social media applications. The essay reflects upon the performative, evocative and expressive potentials of the media platforms that could be accessed through the Hotel Yeoville installation and in this particular social and political context asks questions about the photographic encounter and its relationship to self-representation, truth, knowledge and power.     

Seeing through transparency: Performativity,vision and intent 1

Abstract

This paper engages with debates around transformations in the production and circulation of images and the changes in modes of perception that these offer. Paul Virilio (1991, 1994) has argued that technological developments have produced a shift in the site of meaning‐production from the material reference space of the image (print or celluloid) to the time of visual contact by the viewer. I consider what significance these temporalities have in relation to social difference, and I develop debates around the performative to consider how the viewer is constituted in visual performativity. This focus on time and performativity opens up questions of how vision may constitute the agency, intention and responsibility of the viewer. Drawing on an example of visual irony in advertising, I explore how the temporal suspension of meanings allows for a suspension of the terms of intent and responsibility. This visual performative accesses and reworks the terms of social difference and privilege in what I have called ‘retroactive intentionality’.     

WikiLeaks: Between disclosure and whistle‐blowing in digital times

The 2010 WikiLeaks' disclosures of U.S. war logs were the first megaleaks to shake the world of international diplomacy and political elites. Since then, more leaks followed, from the Snowden to the Panama Papers. As this phenomenon continues to evolve, a significant body of scholarly work has analysed the emergence, the struggle, and the history of WikiLeaks .This article aims to provide a cross disciplinary overview of the research that has explored the rise and the legacy of the disclosure platform and whistle‐blowing website WikiLeaks. It identifies four scholarship approaches to research focusing on Julian Assange's platform in order to understand its impact on various aspects of the media and of public life. The approaches considered range from the effect WikiLeaks has had on traditional journalism to the platform's challenge to power in the realm of the balance between openness and secrecy in domestic and international politics; further scholarships use WikiLeaks as a case study to understand the relationship between media and social movements and to study the platform's ethics and the legal consequences of its operations. The impact of WikiLeaks's revelations still poses relevant questions the media, politics, and regulators must address in such a pivotal time that sees a change in news consumption and an increasingly bitter debate between online privacy and transparency. The conclusion reflects upon current development of what the author calls “new digital culture of disclosure.” Future research should explore questions about the opportunities, challenges, and obstacles for this emerging culture of disclosure. What are the socio‐political‐economic conditions that have enabled this new culture? Are these leaks becoming a renewed example of democratic accountability? Is this culture of disclosure replacing public interest journalism in times of crisis?     

Calling for accounts: numbers, monsters and membership1

This article questions how accounts are marked. In asking why some accounts ‘pass muster’ and others fail, the analysis brings into focus the extent to which membership work helps hold the social and the technical apart. The analysis contrasts a long insistence on narrative forms of interaction as defining conditions of co‐presence with numerical regimes in which there is an implicit deletion of social contact under fashionable slogans like ‘action at a distance’. Taking numbers to act as ‘bearers of culture’, the paper contests the idea that numerical forms of accountability delete the membership work traditionally associated with narrative forms of account. Attending closely to ‘occasions’ in which it is appropriate for members to deploy numerical accounts rather than verbal accounts, the argument challenges the idea that a face to face negotiation of social order has been superceded by a pervasive use of perfonnance targets. The article begins by exploring how ‘calls to account’ are created by a reporting of adverse budget variatices within organizations. Using an extended example to consider how such ‘gaps’ affect a manager's conduct towards a spouse who is sick, the analysis shows how the use of numbers becomes crucial to sustaining one's affiliation across a range of memberships. As illustrated, the rehabilitation of numerical artefacts into conceptions of the social greatly expands possibilities for interaction beyond that anticipated by the sociological ideal of ‘co‐presence’.     

Briefly Noted

Last week, Safehouse, a Philadelphia nonprofit that will open a supervised injection site in the city (see ADAW, Oct. 15, 2018), has hired an executive director, Jeanette Bowles, Ph.D. According to radio station WHYY, Bowles will help with fundraising and finding a site. “I believe in it so much,” Bowles said. “We see this working in other places, and the evidence supports it so strongly, that we don't have progress in public health without some controversy and scrutiny accompanying it.” Whether the Department of Justice will allow the site to operate remains unclear. “I've joined the team that respectfully disagrees with the Justice Department,” Bowles said. “Sitting in the office and doing the work separate from the community has never been my approach or style,” she said. “Being embedded with the community and developing those relationships and having my feet on the ground has always been most important to me. That's how the best public health work is done, through building bridges with community members.” Bowles earned a bachelor's degree from Temple University; obtained his master's in social work from the University of Pennsylvania; did postdoctoral work at the University of California, San Diego; and for her Drexel dissertation focused on opioid overdoses in the Kensington section of Philadelphia. The city, in giving the go‐ahead for the injection facility, said it would have to be run by a private nongovernmental entity.     

Fairy Tales Gone Mad: Symposium on Nathalie Djurberg's It's the Mother

This symposium engages with the work of claymation artist Nathalie Djurberg. Djurberg molds and animates plasticine figures with as much precision and skill as she masterfully puppeteers her viewer's affective responses through a blizzard of violence, cruelty, and self/other boundary intrusions. Briefly commenting on some of the questions she proposes we concern ourselves with in her piece It's the Mother, I introduce 4 short commentaries that examine it from the perspective of maternality and its discourses, womanhood and its institutional abuses, internal objects that constitute our worlds with and/or against our consent, and the implications for psychoanalytic practice when a treatment traffics in the relational currency of sadism and masochism.     

Rendering Relations/Figuring Paint: The Work of Marlene Dumas in Measuring Your Own Grave

Measuring Your Own Grave is the title of a major U.S. midcareer retrospective of the work of Marlene Dumas that was on view at the Museum of Modern Art in New York City in winter 2008/2009. The exhibition presented a vast body of figurative and portrait paintings as well as drawings, notebooks, writing, and collage. Dumas's concentrated work presents the viewer with particularly powerful images that remind one of the corporeal links between public and private life. The work challenges our particular ways of viewing and naming what we see. When looking at the others within her paintings, we are little able to escape looking too at ourselves. This article is an attempt to examine what in Dumas's work makes this so.     

THE WORK OF (CREATING) ART

While engaging the process of artistic creation at the Creative Growth Art Center (CGAC) in San Francisco, California, Judith Scott produced numerous enigmatic three-dimensional fiber and mixed media sculpture pieces that subsequently received international attention. Approaching Scott's life and art from the perspective of Disability Studies – understood as an expressly political project – takes us beyond the limitations of the label of Art Brut/Outsider Art and of questions of artistic communication to properly situate her activities at the CGAC as work in both a social and economic sense. Judith's story – and her representation in a recent Spanish documentary film by directors Lola Barrera and Iñaki Peñafiel – suggests that in aspiring to achieve greater social and economic inclusion for such marginalized populations we must challenge the pervasive clinical paradigm that frames disability as lack and go further by cultivating sustainable, meaningful work experiences, such as that offered by the CGAC to people with developmental disabilities. Ultimately, creating art has the potential to be such a form of meaningful work.     

Queer visual pleasures and the policing of male sexuality in responses to images of David Beckham

Since he stepped out in a sarong in 1998, David Beckham's sexuality and gendered image has been a popular topic of discussion in the media. He has also attracted academic attention for the expanded range of masculinities he seems to represent. Some academic studies of Beckham have employed ‘queer theory’ to analyse the destabilising of gender that his public presentations seem to embody but little attention has been paid to the specifically visual dynamics of images of Beckham. In this essay, I take Sam Taylor-Wood's David (2004) as a starting point to suggest the types of visual pleasure that images of Beckham might be seen to offer to both male and female audiences. For the remainder of the essay I focus on an Armani male underwear advertisement from the 2007–2008 campaign. Informed by discourse analysis and queer theory, I identify a set of ‘queer’ responses to the advertisement, suggesting they represent the ‘policing’ of male sexuality, which often accompanies potential signifiers of homoeroticism. I conclude by considering how and why Beckham has retained his status as a heteronormative masculine icon despite his continued appearance in homoerotic images.     

Jacob Lawrence's The Migration Series: Art as Narrative History

Because art is a reflection of cultural heritage, a natural affinity exists between art and social studies. In Jacob Lawrence's The Migration Series, art serves as narrative history, with visual images telling the story of the Great Migration, a movement of African American people from the South to the North around World War I. Social studies and the arts can be effectively integrated using principles of discipline-based arts education and comprehensive arts education. In this article, the author provides (1) background information on the historical period, artist, and art, (2) objectives, (3) sample guided discussion questions and extension activities, and (4) sample assessment ideas. He also outlines a complete sample lesson, synthesizing the principles and ideas into a meaningful whole in which social studies studies enhances teaching and learning in the arts and vice versa.