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].     

Home,city and diaspora: Anglo–Indian and Chinese attachments to Calcutta

This article is about the city as home for people living in diaspora. We develop two key areas of debate. First, in contrast to research that explores diasporic homes in relation to domestic homemaking and/or the nation as home or ‘homeland’, we consider the city as home in diaspora. Second, building on research on transnational urbanism, translocality and the importance of the ‘city scale’ in migration studies, we argue that the city is a distinctive location of diasporic dwelling, belonging and attachment. Drawing on interviews with Anglo–Indian and Chinese Calcuttans who live in London and Toronto, we develop the idea of ‘diaspora cities’ to explore the importance of the city as home rather than the nation as ‘homeland’ for many people living in diaspora. This leads to an understanding of the importance of migration and diaspora within cities of departure as well as resettlement, and contributes a distinctively diasporic focus to broader work on comparative urbanism.     

‘My anorexia story’: girls constructing narratives of identity on YouTube

The phenomenon of pro-anorexia (‘pro-ana’) communities has attracted extensive academic attention over the last 15 years, with feminist scholars fascinated by the political complexities of such cultures. But the internet has also enabled a range of eating disorder recovery cultures to emerge – whether organized around blogs, Facebook, Instagram or YouTube – and such spaces have been largely ignored by feminist scholarship which has fetishized the apparently more resistant and controversial discourses of pro-ana. As such, this article explores a set of videos posted on YouTube under the title of ‘My anorexia story’ which present narratives of recovery, or efforts to recover, from anorexia. Primarily produced by white, Western, teenage girls, these videos are effectively slide shows made up of written text and photographs, with selfies of the body sitting at their core. The conceptual and political significance of self-representation has been seen as central to the construction of subjectivity within the digital media landscape, with particular attention paid to the ways in which such practices compare, speak back to, or challenge the existing representational discourses of ‘dominant’ media and wider relations of social power. In this regard, this article explores questions of agency in gendered self-representation, examining what kinds of self-narratives the girls are producing about anorexia. In doing so, it examines how the stories seek to ‘author’ and regulate the meanings of the anorexic body; how these constructions intersect with dominant constructions of anorexia (such as those offered by medical discourse and the media); as well as the implications of the aesthetic strategies they employ. In considering how the narratives visualize, display and ‘expose’ the anorexic body, I draw upon a growing area of work which examines the selfie in relation discourses of surveillance, visibility and selfhood.     

THE MICRO-ETHICS OF EVERYDAY LIFE

In this article I offer an unfashionably ideological critique. I argue that, in the USA, ideology now appears in the form of the narratives that capitalism tells itself about itself, in particular at sites of commodity consumption. I examine three everyday sites in which capitalism constructs an Imaginary version of itself as it exhorts contemporary consumers to consume ethically: during a visit to a Target Superstore; on an overnight stay in a hotel room; and while purchasing a bag of fair trade coffee. In these moments and at these sites, corporations instruct us in the ‘ethical’ use of their commodities, and obeying those instructions promotes us to the rank of ‘consumer activist’. This article attempts to explain how this ‘ethical consumption’ – a form of what I call ‘micro-ethics’ – has displaced more social, or ‘macro’, forms of ethical action. To make my case, I argue that globalized capitalism denies many of us the social coordinates, or handholds, that are necessary if we are to feel that we can act meaningfully within the Symbolic Order, or social reality itself. This ‘deworlding’ effect, as Alain Badiou calls it, encourages us to reject social forms of ethical and political life and to retreat to a careful policing of the Imaginary boundaries of our ‘inner selves’ instead. In other words, global capitalism logically produces, as its own ideological support and supplement, a micro-ethics that attends only to what the single person can do, and only within the realm of consumption. We participate in this fantasy version of ‘eco-capitalism’ that advertising, publicity and other discourses establish to the extent that we accept consumption as the ultimate horizon of our ability to intervene in problems of ecological depredation and the exploitation of labour in the First and Third Worlds.     

Oscar Pistorius: disability discourses in homosexual forums

This article performs textual analysis of discourse on Oscar Pistorius that appears on the homosexual discussion forums DataLounge and JustUsBoys. ‘Before’ and ‘after’ discourses – divided by Pistorius’s 2013 fatal shooting of his girlfriend – read Pistorius and his crime along sexuality and disability lines. I argue that it is worthwhile analysing how disability is constructed from different positions of marginalisation, especially when this at times yields discriminatory narratives. Pistorius, his disability, and his infamy are read by a community that itself exists outside the realm of mainstream debate, offering insight into disability and (homo)sexuality, adding greater dimension to ‘intersectional’ approaches to both.     

Climate riskscapes in world port cities: situating urban‐cosmopolitan risk communities via Ulrich Beck's comparative tactics

Building on empirical research into translocal connections among world port cities in addressing shared challenges of climate risk mitigation and adaptation, in this article I review two widespread tendencies in urban studies – methodological city‐ism and methodological globalism respectively – as a springboard for articulating a methodologically cosmopolitan alternative. This alternative, I argue, involves epistemological issues of how to interrogate ‘the urban’ as assemblages that constitutively draw together the near and the faraway, as well as more practical issues of mobile, multisited, and comparative urban research methods. Empirically, I compare the ways in which urban actors stage global climate risks on the waterfronts of four world cities – Hong Kong, Rotterdam, Yokohama and Copenhagen – to argue that such a comparative tactic of variable ‘riskscapes’ helps situate Ulrich Beck's notion of urban cosmopolitan risk communities more thoroughly into urban studies. In such ways, I suggest, Beck's methodological cosmopolitanism is germane to studying ongoing and far ranging transformation in world political geography, in which transurban networks, communities, and governance arrangements come to complement nation‐state centred institutions. Such conclusions must be tempered, however, by the deployment of Beck's equally strong impetus towards comparative attention to the varieties of second modernity; and doing so, I conclude, aligns well with ongoing transformations in urban studies itself.     

Circular economy and the city: an urban political economy agenda

ABSTRACT

The circular economy (CE) has become a matter of urban development. A literature review shows that the CE debate is biased toward technology-driven industrial change, while bracketing broader socio-political interests. We address this gap by exploring the political economy of scale of the CE. Looking into the case of Brussels (Belgium), a city that has recently adopted the CE as part of its socio-economic strategy, we explore how the anticipated transition to a ‘circular city’ chimes with long-standing urban development agendas. While there is little evidence of stable growth coalitions between corporate and political elites, we argue that the CE provides an ‘urban sustainability fix’ by selectively incorporating ecological goals in urban governance strategies. We further scrutinise the landscape of diverse and heterogenous CE practices in food and transport, highlighting how they are regulated and organised, what labour conditions they offer, and how they are anchored in urban space.     

Sharing beyond Slacktivism: the effect of socially observable prosocial media sharing on subsequent offline helping behavior

New forms of youth social and political participation have been termed ‘Slacktivism’ – low-cost online forms of social engagement that decrease subsequent offline participation. Previous experimental work has provided support for a ‘Slacktivism effect,’ but it is unclear if this theoretical model applies to youth media sharing on social networking sites. This study uses a novel sharing simulation paradigm to test the effect of publicly vs. anonymously sharing a social cause video on subsequent willingness to engage in offline helping behavior. Results show that publicly (as compared to anonymously) sharing a selected video on one’s own Facebook wall led to a greater willingness to volunteer for an issue-related cause. Participants’ existing use of social media for engagement in social issues/causes moderated the effect, such that only participants low in use of social media for social engagement were susceptible to the sharing manipulation. Implications for reconceptualizing media sharing as a unique form of online participation beyond ‘Slacktivism’ are discussed.     

Decolonial Hip Hop: Indigenous Hip Hop and the disruption of settler colonialism

ABSTRACT

Contemporary Detroit has gone through many changes – or so it appears. From streets lined with vehicles made by Chrysler, Ford, and General Motors and driven by the nearly 2 million people who called the city home in 1950 to certain parts of the city looking like ghost towns; from a population that dwindled to 670,000 to the revival of downtown. Yet, what has been remarkably consistent is the invisibility of the Motor City’s Indigenous population. Indeed, Indigenous erasure, combined with rhetoric and policies that continue to marginalize and subjugate African Americans in Detroit, create a place rooted in multiple colonialisms. This essay examines how Detroit’s Indigenous Hip Hop artists resist settler colonialism through art, creativity, and culture as well as the practices of Detroit 2.0, a rhetoric and policy used by Detroit elites to reimagine it as a place of opportunity. By making visible the connections between blackness and indigeneity, as well as by linking the struggle of colonized peoples in Detroit to those in Palestine, Indigenous artists are not only asserting their humanity and challenging the longstanding idea of their erasure, but also constructing pathways for artists and activists to disrupt the effects of multiple colonialisms that continue to marginalize people of colour in urban areas. Detroit’s Indigenous Hip Hop artists make socially conscious music and also participate as activists in the city of Detroit. They serve as a window onto contemporary Indigenous identity, represent an exemplar of the urban Indigenous experience, and combine activism with art in a variety of ways.     

Art,climate change and (other) eco materials: rethinking the cosmopolitanization of aesthetics and the aesthetics of cosmopolitanization with Ulrich Beck

Based on fieldwork in Japan and Hong Kong, I ask how methodological cosmopolitanism, as formulated by Ulrich Beck, may afford new and highly needed modes for grappling with climatically concerned art and aesthetic practices across geographical regions. I will argue that methodological cosmopolitanism serves as an important framework for approaching such art practices, and suggest that two overall intertwined strands concerning aesthetic practices engaged in global issues of climate change, emerge from this – the cosmopolitanization of aesthetics and, reversely, the aesthetics of cosmopolitanization. Departing from my fieldwork among farming artists in the Hong Kong countryside and in the Japanese satoyama – rural mountain – areas, I will, on the one hand, argue that art practices are ‘cosmopolitanized’ by the awareness of global risks, manifested in anticipation of the comprehensive climatic changes (in)discriminately affecting across nations and regions. At the same time, and importantly, art practices are actively attending to this ‘risky’ cosmopolitanization, giving aesthetic voice, form and ‘visuality’ to unfolding climatic issues and concerns and hereby practising what I will call an ‘aesthetics of cosmopolitanization’.     

Sense making through poem houses: an arts-based approach to understanding leadership

This article introduces an arts-based approach to leadership inquiry using ‘Poem houses’ – an art form developed by Brigid Collins. Poem houses are three dimensional artefacts combining visual interpretation with poetic text and which hold special significance for the maker. The bringing together of poetry and assemblage in the artworks made by Collins is a conscious attempt to create the conditions in which an ‘uncovering’ may happen, by means of a process of layered collage and juxtaposed words and images – in what amounts to ‘intermediality’. This artistic form has inspired the methods and tools used in the workshops led, with Grisoni and described in this paper. The focus for this inquiry is leadership development and, in particular, sense making processes arising from the creation of and reflections on poem houses made by workshop participants. The poem houses provide an innovative visual narrative of individual and organisational experiences of leadership. Examples are drawn from a workshop for public sector managers where we show how new insights of what it means to be a leader and collective reflections on the creative process were generated. These findings create individual and organisational narratives that contribute to our understandings of the current context of public sector leadership.     

A strange lobster tale of self-sacrificial transversality: or,transversal poetics flourishes in the spectral ether of Deleuze,Bataille, and Shakespeare

ABSTRACT

Written from the perspective of Transversal Poetics, this essay involves an exploration of the theory’s various selves in the context of a self-immolating spectacle staged at London’s New Globe Theatre by the theory’s progenitor, Dr. Bryan Reynolds. The essay outlines the history of this scandalous affair, which was inspired by the work of Rodrigo Garcia (Accidens: Matar Para Comer), Deleuze and Guattari, and George Bataille. Transversal Poetics travels with Reynolds to London and is shocked and appalled by the lurid transgression that unfolds on stage as Reynolds is hung on a massive hook and then dismembered for the adoring crowds. Exploring the complexity of its own reactions to this new initiative by Reynolds – and his attempt to conceive an ‘offspring’ with Bataille through a highly questionable and outrageous Deleuzian approach – Transversal Poetics is itself subtly transformed. It casts a powerful light on the urban milieu surrounding the New Globe (Southwark, the City of London) as it brings the era of neoliberal financialization to a close. A lobster-city that combines both ‘central place’ and the ‘maritime’ qualities (as identified by Christaller), London turns out to be the perfect location for the demolition of the Deleuzian taboo against the sacrificial.     

Strangers asking strange questions? A methodological narrative of researching belonging and identity in English rural communities

This paper emerges from a current research project that examines the relationship between contemporary English rurality and notions of identity and belonging. While this is primarily a methodological narrative we argue that this narrative speaks to an analysis of current rural relations. The paper concerns itself with two key methodological issues that have arisen during the ‘doing’ of the research. First, it examines our own relationship, as ‘outsider’, urban-based researchers, to the rural and the use and/or relevance of our biographies as resources for making ourselves seem less ‘strange’ and for accessing, and being in, rural environments. At the same time as providing us with a map into our micro rural worlds the paper draws on this biographic-research relation in order to problematize notions of homogenous rural identities and polarized rural/urban identities. The second part of the paper argues that who we were/how we were perceived had a relation to what ‘truths’ and accounts we were told by our respondents. More particularly, we show how our use of focus group interviews had a direct role in the rehearsal and presentation of these ‘truths’. Given the current contestations and tensions over what and who ‘the rural’ is, it was clear that those involved in the focus group discussions wanted to give us particular stories that often fell into a consensus pattern of either ‘rural idyll’ or ‘rural crisis’ narratives. Drawing on Simmel's notion of the stranger and focus group data we argue that for these narratives to be told we, as researchers, were ascribed by the group members to shifting positions of intimacy and remoteness.     

A ‘desi’ diaspora? The production of ‘desiness’ and London's Asian urban music scene

Increasingly, the term ‘desi’ amongst British Asians has been commonly used to describe South Asian diasporic cultural forms and practices, particularly regarding musical genres and styles. This article opens up debate on its contested meanings and usage within the London Asian urban music scene. In unpacking the complex and contradictory meanings and uses of ‘desi’ across time, space and place, ‘desiness’ becomes exemplary of the ambivalent spaces of youthful diasporic identities in process. I argue that cultural practices, such as music production and consumption, provide critical tools to critique one-dimensional notions of ‘Britishness’ and ‘Asianness’, as well as to reassert normative notions of belonging and diaspora. The exploration of diasporic identities in the making within the spaces of London Asian cultural production highlights the importance of everyday forms and practices and fosters a better understanding of multiculture and new modes of belonging in London.     

I am not that Caitlin: a critique of both the transphobic media reaction to Caitlyn Jenner’s Vanity Fair cover shoot and of passing

In this article I discuss and critique transphobic media reactions to the celebrity Caitlyn Jenner’s 2015 Vanity Fair cover shoot. I then consider these in the light of Garfinkel, H. [1967. Studies in Ethnomethodology. Englewood Cliffs, NJ: Prentice-Hall] concept of ‘passing’ in his celebrated case story of Agnes and argue that ‘passing’ is often conflated with ‘being out’. I argue that the two are significantly different and claim that the former is implicitly based on a public lie. I use several auto-ethnographic narratives to illustrate the argument.     

VIRALITY 2.0

Media virality is a current fetish object in a number of overlapping contexts including marketing, IT design and academia. The desirability of media ‘going viral’ is confirmed by efforts now undertaken to categorize viral success through a range of typologies and metrics, conceived in order to predict and achieve virality. A recent online ad campaign, staged as a ‘how to make a viral video’, signals the complexity of the concept of manufactured virality. This article takes as a point of departure a moment of conceptual slippage in the commercial to argue that the current discourse of media virality has paradoxically expelled its own progenitor, the virus. Contrary to Henry Jenkins's claim that the discourse of virality is ‘a kind of smallpox-soaked blanket theory of media circulation’, I argue that as transmission has been rebranded as ‘sharing’, questions of personal and moral responsibility attendant to transmission and infection have been erased in favour of a bland ideology of interactivity. The concept of ‘virality 2.0’ is proposed to account for this double movement: that the discourse of digital virality has relegated viruses to the past, while structurally exploiting their dynamic of circulation. Moreover, virality 2.0 reinscribes viral subject positions with normative values drawn from this same cultural past. The argument is supported by three main claims. First, behaviour deemed risky and marginal within a heteronormative discourse of promiscuity has been reappropriated as ‘sharing’ and ‘leadership’. Second, practices of digital media transmission may be as much about systemic functionality as active and engaged participation. And third, post-viral media virality works to stabilise and fetishise the active ‘sharing subject’ in neoliberal and heteronormative terms, at the expense of other practices and pleasures.     

Contact,the feature pool and the speech community: The emergence of Multicultural London English

In the multilingual centres of Northern Europe's major cities, new varieties of the host languages are emerging. While some analyse these ‘multiethnolects’ as youth styles, we take a variationist approach to an emerging ‘Multicultural London English’ (MLE), asking: (1) what features characterise MLE; (2) at what age(s) are they acquired; (3) is MLE vernacularised; and (4) when did MLE emerge, and what factors enabled this? We argue that innovations in the diphthongs and the quotative system are generated from the specific sociolinguistics of inner‐city London, where at least half the population is undergoing group second‐language acquisition and where high linguistic diversity leads to a heterogeneous feature pool to select from. We look for incrementation ( Labov 2001 ) in the acquisition of the features, but find this only for two ‘global’ changes, BE LIKE and goose ‐fronting, for which adolescents show the highest usage. Community‐internal factors explain the age‐related variation in the remaining features.     

The voice of lived experience: mobile video narratives in the courtroom

Video is overtaking other modes of communication in new media. Whether from a smartphone, a wearable device or surveillance camera, video is being made, stored and shared in unprecedented ways. Once the exclusive territory of institutions becomes large enough to finance video production and its storytelling power, technology’s contemporary democratization is changing the landscape of visual narrative. This project explores the discursive nature of video based on a case study of a courtroom trial that was both about the legality of filming crime scenes and the evidentiary use of videos from crime scenes. This unique intersection of surveillance, counter-surveillance, word and image, body and text allows for deeper understanding of how video serves human purposes. Based on ethnographic fieldwork and textual analysis, we build upon Walter Fisher’s narrative paradigm by identifying significant attributes of unedited, evidentiary video that distinguish it from other forms of visual documentation. Raw video’s hard-edged timeline presents narrative coherence in a way that resists discursive contextualization. This has important implications for public policy and citizen-generated video evidence.     

Google Street View: navigating the operative image

Via a close navigation of a Google Street View (GSV) scene in Oslo, this article investigates the role the photographic image plays in what has come to be known as ‘locative media’ – an entire range of image software that runs on mobile devices using GPS signals to locate the user, and that emerged after the United States government decided to end the intentional degradation of the public GPS signal in 2001, fostering the development of navigable photo-maps such as GSV, photo-synths and other location-based image applications such as Augmented Reality. The authors first address the temporal discontinuities and gaps of the GSV database, which the user navigates as a spatially continuous image. Second, they show that the city is experienced as one and the same data space, simultaneously traversed both on-site and on-screen. Third, they critically interrogate the navigability of the GSV image afforded by real-time data processing based on mutual data exchanges between user location, hardware, software, network and database. They argue that the GSV image is what Harun Farocki, in an article on cybernetic warfare, has called an ‘operative image’, an image that no longer represents an object but is part of an operation. In fact, the users’ trajectories feeding back into the database initiate a reverse operativity, which proves to be the more problematic side of ubiquitous locative media applications such as GSV.