Virus interruptus: An Arendtian exploration of political world‐building in pandemic times

Building upon a series of blog posts and conversations, two feminist scholars explore how political community, trust, responsibility and solidarity are affected by the COVID‐19 pandemic. We explore the ways in which we can engage in political world‐building during pandemic times through the work of Hannah Arendt. Following Arendt’s notion of the world as the space for human togetherness, we ask: how can we respond to COVID‐19’s interruptions to the familiarity of daily life and our relationship to public space? By extending relational accounts of public health and organizational ethics, we critique a narrow view of solidarity that focuses on individual compliance with public health directives. Instead, we argue that solidarity involves addressing structural inequities, both within public health and our wider community. Finally, we suggest possibilities for political world‐building by considering how new forms of human togetherness might emerge as we forge a collective ‘new normal’.     

Visual accountability

In this article, we draw attention to the way in which accountability relations are manifested in and through the use of visual evidence. Through their status as representations of what is the case, evidentiary visual images frequently provide a basis for giving accounts and for raising questions regarding distributions of accountability. At the same time, and in a similar manner to numbers (Munro, 2001), such images become part of organized relations of accountability that can be noted as having ‘hailing’ effects: they call for and prefigure a certain kind of response and dispersing of responsibility. Here we examine how the use of visual evidence is embedded in discursive and material practices that variously create or inhibit possibilities for questioning, or interrogating, this evidence. Drawing on elements of ethnomethodology and actor‐network theory, we use ‘interrogation’ as the basis for depicting a three‐part analytical schema focused on opening up, closing down and temporality to explore how visual accountability is worked out in surveillance, traffic management and breast screening images.     

Horrific Blindness: Images of Death in Contemporary Media

Taking its cue from an exhibition of lynching photographs produced in 19th and 20th century America, this article explores the issue of how death is imaged in contemporary media accounts of atrocity. Drawing on examples from Israel‐Palestine, Sierra Leone, South Africa and the Sudan, this article highlights the importance of social context in the construction of pictorial meaning. It argues against conventional views that see the media as replete with images of death and thereby contributing to a diminution in the power of photography to provoke. Instead, this article maintains that the intersection of three economies (the economy of indifference to others, the economy of “taste and decency” whereby the media itself regulates the representation of death and atrocity, and the economy of display governing the details of an image’s production) means we have witnessed a disappearance of the dead in contemporary coverage which restricts the possibility for an ethical politics exercising responsibility in the face of crimes against humanity.     

One hundred years of suffering? “Humanitarian crisis photography” and self-representation in the Democratic Republic of the Congo

Humanitarian images streaming from the ongoing conflict in the eastern Democratic Republic of the Congo (DRC) are not “new”. In fact, contemporary aid and journalistic images strikingly mimic photographs created a century earlier during the Congo Reform Association’s humanitarian attack on Leopold II’s actions in the Congo Free State. This article explores the consistency of these photographic forms and their surrounding text, showing how the images of suffering are not simple reproductions of observed reality but carry personal, local and political meaning. By analysing image content as well as the subject and photographer’s experiences of image creation, this article expands beyond realist objectivity to encompass the subjects’ visual embodiment of subjective desires and expectations. Specifically, I examine how the photographic space composed of the photographer, camera and subject, becomes an intersection replete with competing expectations, hopes and tensions. To situate these images and their subjective, political and humanitarian weight within the DRC itself, I conclude with analysis of how the Congolese choose to present themselves to a different audience: themselves.     

Mining photographs: David Goldblatt’s On the Mines

David Goldblatt’s photographs in On the Mines create a narrative of the mining industry. They can be read individually as fragmented emblems of the ways that mining has shaped both the city of Johannesburg and its people, and they can also be read in relation to our present perspective as testaments of history. Even in the most seemingly straightforward photographic image, photographs can offer vital metaphors that enhance our understanding of a place. As in the case of Goldblatt’s photographs, these pictures show Johannesburg’s mining-town beginnings, which transcend the specifics of the moment they were taken. They depict the economy and process of extracting gold from the earth, and likewise utilise an exacting economy of vision. His photographs include only essentials, but these photographs go beyond abstract economics to show the humanitarianism of the photographer too. Many of David Goldblatt’s photographs focus on the built environment, the structures of mining, housing and religious buildings. However, Goldblatt is not an architectural photographer. As such, we may speak, as Philip Ursprung evocatively put it, of both “pictures of architecture and the architecture of pictures.” Viewed from the perspective of “the architecture of the picture,” his images speak about Johannesburg’s social, economic and political context. Taken almost 50?years ago, these images have endured because they go beyond documentation. Goldblatt’s incisive vision is mute testimony to the deep critical thinking that he brings to bear in the making of images. As the citation for the 2006 Hasselblad Foundation Award asserts, “almost all of Goldblatt’s photographs have different layers of interpretation through which viewers, according to their experience and previous knowledge, unravel a tale.” This paper will begin by examining the tradition of documenting architectural structures, situating Goldblatt’s work in relation to the techniques and approaches adopted by photographers of architecture in the twentieth century and the meanings that their images convey. Thereafter, a discussion of the layers of interpretation that some of Goldblatt’s images yield will follow.     

Thinking technicity

Abstract

The evermore explicit technicization of the world, together with the immeasurable nature of the political and ethical questions that it poses, explicitly defy the syntheses of human imagination and invention. In response to this challenge, how can philosophy, in its relation of nonrelation with politics, help in orienting present and future negotiation with the processes of complexification that this technicization implies? The article argues that one important way to do this is to think and develop our understanding of technicity from out of metaphysics, its destructions and deconstructions. The argument proceeds from the aporia of knowledge in Plato's Meno, situates continental philosophical thought's various articulations of the ‘other’ of metaphysics in relation to the problematic of this aporia and claims that certain understandings of this alterity can be further articulated in terms of technical supplementarity. Working between the concept of ‘arche‐writing’ in the thought of Jacques Derrida and that of ‘epiphylogenesis’ in that of Bernard Stiegler, the article then develops this supplementarity in terms of a play between originary technicity and its historical differentiations, one that both holds to the articulation of alterity in recent continental philosophy and develops it further in terms of its relation to historical determination. This relation, posited through a thinking of technicity, permits, finally, the ‘development’ of an ethics of giving time with which negotiation with processes of complexification can be undertaken in the name of justice. An ethical relation to these processes thereby emerges through the very excess of the human.     

Howard Caygill on resistance: ecce homo

Howard Caygill’s On Resistance (2013) is changing the landscape of how the concept of resistance is understood. In his book, he theorises a concept of resistance rooted in the Kantian aporia of judgement, in the Hegelian notion of Force, in Clausewitz’s idea of resistance as a capacity and in the Nietzschean notion of affirmation. He employs these against philosophies of dialectic and resolution. I trace these themes back through some of his earlier work, to reveal the tensions that persist in his own thinking, and which underpin the puzzles, the aporias, that are central to his notion of resistance. I argue that in his earlier work a notion of (Hegelian) philosophical education receives more generous treatment. By retrieving this notion of learning and locating it within On Resistance, we can get closer not only to the relationship between actuality, possibility and necessity, that are so important to Caygill’s notion of resistance, but also to the philosophical character of the man Caygill: ecce homo.     

A trembling voice in the desert: Jean‐Luc Nancy's rethinking of the space of the political

Abstract

This essay explores Jean‐Luc Nancy's rethinking of political space in terms of an ontological ‘being‐with’. It elucidates how Nancy's thinking of community emerges out of the French philosopher's reworking of Heidegger's crucial notion of Mitsein. For Nancy, although Heidegger argues that Dasein is always already also Mitsein, Mitsein is nonetheless also occluded by the priority accorded to Dasein. The consequences for the way in which community or the space of the political is configured are profound since traditional conceptions of the subject of community thus remain unreconstructed. Nancy however does reconstruct community by emphasising that the primal ontological conditions of community are not conceived as the One, the Other or the We, but as the ‘with’, ‘relationality’, and the ‘between’. The question of being (Seinsfrage) thereby becomes the question of being‐with (Mitseinsfrage).     

The underridization of Nancy: tracing the transformations in Nancy’s idea of community

My aim in this paper is to expose a misrepresentation of Jean-Luc Nancy’s ideas on community in the secondary literature. I argue that discussions of Nancy’s work have failed to recognize a transformation that has occurred in his later thought, which distances him from Jacques Derrida. I propose that Nancy’s later work points the way beyond the “persistence of unhappy consciousness” in deconstruction through allowing for the possibility of the creation of a world alternative to globalization. Recognition of this transformation is suggestive for how Nancy’s theoretical framework might be employed in analyses of recent resistance movements.     

Possessed by Poe: Reading Poe in an age of intellectual guilt

Abstract

This essay enters the debate over the French appropriation of Poe not by seeking redress for the supposed political misdeeds of either Poe or the French, but rather, by addressing itself to the American response to the French reception of Poe. While American cultural studies critics in particular have sought to hold the French accountable for ignoring Poe's troubling biography — one in which the question of Poe's relationship to, and possible support of, antebellum slavery remains unanswered to this day — I argue that the important question of how we as critics situate ourselves in relation to material history is too often buried under a moralizing rhetoric of accountability. Following from, and extending, Jacques Derrida's notion of ‘speciality,’ I maintain that material history is itself a kind of conjuration that belies any strict distinction between the material and the immaterial. Against the demand for accountability, the notion of history‐as‐conjuration allows us to address questions of historical responsibility in a manner that circumvents the impulse to hold Poe accountable for his crimes’.     

Bringing their worlds back: using photographs to spur conversations on everyday place

This article poses a methodological argument for the use of expressive photographs in fostering more mindful discussions of the experience of everyday places. The article builds on the author’s ‘guided tours’ methodology of walk/make/talk, which involves asking inhabitants to take the researcher on tours of their everyday places, the researcher making creative visual representations of those places and then, bringing those images back to residents to talk about how the photographs are similar, or in contrast, to lived experience. The article uses examples from research in Brooklyn, NY, and Oakland, CA, to specifically explore the ‘making’ and ‘talking’ part of the process, and to argue for the critical distance gained when a participant has the opportunity to see their most commonplace and often unremarked worlds brought back to them through another pair of eyes. The paper considers distinctions with other photo-elicitation methods and discusses how this model of bringing people’s worlds back to them often allowed the jolt of a new perspective to suspend the taken-for-grantedness of the world, creating a time and opportunity to consider the everyday in more depth. It further discusses how the method enabled people to clarify three aspects of everydayness that are hard to pin down: the feel of place, emotional responses, and seeing past time. The paper challenges conceptions of photographs as ‘data’, champions expressive work in research, and proposes that photographs made by a range of authors can enable new ways of seeing, challenging and discussing the everyday urban environment.     

Bearing Witness to the Infinite: Nancy and Levinas

This article compares Nancy and Levinas’s rethinkings of fraternity, one in terms of a “deconstruction of Christianity”, the other in terms of Talmudic Judaism. Through a reading of Nancy’s work the article questions the compatibility of his non‐incarnational understanding of fraternity with his commitment to revolutionary politics.     

Photographic portraits of migrants in South Africa: framed between identity photographs and (self-)presentation

This essay explores how migration within the African continent is framed visually by passport photos as well as artistic documentary projects based in Johannesburg, South Africa. It offers examples of what type of photographic (self-)portraits are constructed, which photographs circulate and how African migrants’ self-images as well as South African society’s perception of them are affected by certain photographic images. The method employed is a close reading of some paradigmatic photographs. In addition, I will discuss different – and often gendered – ways in which African migrant subjects may become visible. In short, this essay asks, what photographic portraits construct the hegemonic view of the African migrant subject in the public sphere? Accordingly, the tension between visibility and invisibility of African migrants’ lives emerges in the interstices of the inquiry. The paper first looks at the taking of identity photographs, since the passport photo exemplifies how the individual is made visible by the nation state. It can simultaneously serve as a poignant reminder of the ambivalent qualities of photography: on the one hand, documenting and codifying, and on the other hand, creatively representing. In this context, the essay explores the possibility of remaining invisible or “opaque,” but also the conceivably more empowering representational aspect of photography such as we see in participatory (art) projects, which may be connected to the visual politics of self-expression and reflection.     

New soldiers and empty boys: imaging traumatic memory

This essay reconstructs one important context for images published by the Vietnam Veterans Against the War (VVAW): the testimonial practices of anti-war veterans. First in small rap sessions, and then in unofficial public hearings, anti-war veterans recollected their war experiences in an effort to inform civilians about the US war in Vietnam, and mobilise them to oppose it. Photographs of introspective veterans – lost in memory – provide a visual idiom for the experience of ‘flashing back’ that was the basis for veterans’ testimony. If these photographs signify the central role of self-reflection in veterans’ anti-war organising, they also imply a distrust of graphic war photography – both images disseminated by the mainstream media and atrocity photographs taken by soldiers themselves. Anti-war veterans worried that war photographs catered to a consumerist appetite for intense, vicarious experience and provoked only a fleeting sense of revulsion. Compounding this distrust of graphic imagery was the circulation of war souvenirs, atrocity photographs taken by soldiers of their dead and wounded victims. Exploring portraiture as an alternative to photojournalism, this essay situates images of introspective veterans in relation to the pioneering activism of the VVAW and allies them with images produced by other activists working in the visual field, focusing on Martha Rosler’s ‘Empty Boys’.     

Breasted experiences in pregnancy: an examination through photographs

Drawing on qualitative data from a sample of pregnant women in Hobart, Australia this article uses ‘feminist’ ‘memory work’ and the ‘photovoice’ method as frames for discussing the ways in which interviews and participant-produced photographs may be used to trace and understand pregnant embodiment. I argue that digital photographs taken by women during pregnancy can reveal important information about how they negotiate their own experiences of breastedness and wearing maternity underwear over time. Here, the concept of ‘breastedness’ itself is expanded as women’s individual embodied experiences of pregnancy are reflected in the production and viewing of their own photographic images.     

Recycling the orphan photograph: the new life of Jewish objects

The aim of this article is to explore the new lives of prewar photographs of European Jewry. In particular, I employ the concept of ‘orphan photograph’ which describes any work whose owners, producers, and the subjects featured in them are no longer available. Working from the premise that a photograph is not only a two-dimensional representation but also a three-dimensional object, I show how family images are consumed, distributed, discarded, salvaged and brought back to life. As I argue in this article, with the annihilation of their owners the once-important personal meanings of the pictures become obscured and obliterated. Subsequently, in post-Holocaust culture orphan photographs become invested with collective values. In the process of being recycled, these private family photographs are transformed into public spaces through which new visions of the past are projected and group interests promoted. Drawing on two case studies from Poland, I look at the ways in which these orphaned images are used by writers and NGOs, and examine how the various agents affect the subsequent readings of these artefacts. The article shows that once allowed to ‘speak for themselves’ these images reveal an immense capacity to challenge our pre-set notions of the past and escape the ‘backshadowing’ narrative of the Shoah.     

Refugees as icons: Culture and iconic representation

The September 2015 photograph of Alan Kurdi, a 3‐year‐old Syrian boy, lying facedown and dead on a Turkish beach, quickly became an iconic representation of Europe's “refugee crisis.” Even though images of distant suffering of refugees have become ubiquitous, only a few become iconic. It is this cultural process of iconization that often bedevils sociologists interested in visuality. How does an image gain the necessary currency to sway public opinion or even policy making? Why do some photographs elicit profound compassion that transcends the borders of its particular context? In this review, we explore how various authors have addressed these questions, focusing on the iconic images of Alan Kurdi. The “iconic turn” in cultural sociology and in the social sciences more broadly speaking offers theoretical and methodological insights for the analysis of images such as those depicting refugees and asylum seekers. For this reason, we situate the current work in the field of refugee photography within the framework of cultural sociology, even if many of the scholars discussed are from other disciplines.     

Going out of business in Highland Park

The practice of collecting photographs of refugees in ‘coffee‐table books’ is a practice of framing and thus inflecting the meanings of those images. The ‘refugee coffee‐table books’ discussed here each approach their topic with a particular style and emphasis. Nonetheless, while some individual images offer productive readings which challenge stereotypes of refugees, the format of the collections and the accompanying written text work to produce spectacle rather than empathy in that they implicitly propagate a world view divided along imperialist lines, in which the audience is expected to occupy the position of privileged viewing agent while refugees are positioned as viewed objects.     

The interplay between post-crisis response strategy and pre-crisis corporate associations in the context of CSR crises

How should a company respond to a crisis that is related to its social responsibility by capitalizing on consumers’ existing corporate associations? To answer this question, the present study focuses on two primary types of corporate associations, corporate ability (CA) associations and corporate social responsibility (CSR) associations, and proposes two different types of response strategies that are association-based: CA strategy and CSR strategy. Drawing on the framework of CA-CSR, Expectancy Violation Theory, and information processing literature, this study examines whether and how these crisis response strategies interact with consumers’ pre-crisis associations and collectively influence consumer reactions in times of CSR crises. Results of two experiments render support for the predicted interaction effect. Furthermore, the results show that crisis response diagnosticity and novelty, as perceived by consumers with varied pre-crisis associations, serve as the underlying process explanations that drive the observed interaction effect. Theoretical contributions and practical implications of these results to crisis communication are also discussed.