Pragmatics for the Production of Subjectivity: Time for Probe‐Heads

This article attends to the collaborative project of Gilles Deleuze and Felix Guattari, and specifically to their concept of “probe‐head” as mapped out in A Thousand Plateaus. Probe‐head names the rupturing of, and production of alternative modes of organisation to, the mixed semiotic of faciality that determines much of our lived life, in fact that constitutes us as “human”. In exploring this alternative “production of subjectivity” the essay attends also to Deleuze and Guattari’s notion of “several regimes of signs”, and to the idea of an experimental “pragmatics” of living. The essay goes on to map out what might be called two operating terrains of probe‐heads, in fact two different “times” of the contemporary – the past and the future – and looks at how these might be deployed against the impasses of the present. As far as the latter goes the essay looks at case studies of myth/modern paganism and contemporary art production.     

Fragmented to Death: The Study of Violence and the Utility of Criminology

This essay examines the current state of the field of criminology and argues that by under‐representing corporate violence, over‐representing street crime, and not often addressing political crime, criminology as a field is doing a disservice to our students. Further, the study of group violence and “new wars” could be enriched by the viewpoint of sociologists and criminologists.     

Afterwardsness in film

The spectatorial paradigm proposed here develops directly from the Freudian concept of Nachträglichkeit, which developed out of Freud’s work on traumatic neuroses and the abandoned seduction theory. Afterwardsness, Laplanche’s reworking of Freud’s concept, and the cinema both share a concern with temporality. They also share a common interest in memory and are both bound to a particularly Laplanchean notion of translation. Film has always been thoroughly intertextual and has always sought to remake or (re)translate itself for differing generations and different nations. What I am suggesting in this essay is that spectators also remake films as part of the very process of spectatorship and that beyond the actual cinematic experience they carry a remade and remembered “film” with them. This view of spectatorship therefore takes afterwardsness as its motivating force. The experience of watching a film coincides also with the temporal directionalities described by Laplanche in relation to afterwardsness. Not only is the spectator left with memories from, and of, the film after it has ended, but any number of (frequently traumatic) enigmatic signifiers or messages may have been unconsciously recorded, requiring subsequent de‐ and re‐translation. Following a Laplanchian model, one might surmise that the cinematic spectator develops a cinematic unconscious on the basis of the “repression” of the messages received via the screen. This “repression” occurs as a result of the sheer volume and traumatic intensity of the visual and aural stimuli, which cannot be immediately ordered, understood, de‐ and re‐translated. These enigmatic messages, structured by the temporality of afterwardsness, provoke the spectator into a process of reconstruction, re‐translation. At the same time the visual and aural stimuli of the cinematic experience may also have an immediate effect on conscious perception or trigger the traumatic recollection of a previously unconscious trauma. Subjectivity in this context would thus be, as Laplanche asserts, a process of “auto‐translation”, provoked by the message of the other (see Laplanche 1992a). This other may well be partially or totally inflected by the hegemony of Hollywood; however, the de‐ and re‐translation that is part of the process of auto‐translation might enable an active “cinematographic performance” that may ultimately open up a critical space beyond the dominant discourses. (This notion of “cinematographic performance” is discussed in Guattari (1977).) These (traumatic) memories, enigmatic signifiers, the de‐translated remnants of one’s cinema history are re‐translated and remade, engendering a remaking of oneself around these fragments in a process of “auto‐translation”, what might also be thought of as a kind of re‐narration. There is an active, almost performative, dimension to this process of repetition in translation, in difference; an emphasis on re‐narration as part of a process of translation or re‐writing, a process of transformation. Thus it has been argued that:

Forward movement in life is achieved through a backward movement in memory, but one that is more than a simple regression. In place of the blocked nostalgia or nausea of the perpetual return, the past is transformed in such processes as “working through” and “deferred action”. This is […] performance that is iterative and interrogative—a repetition that is initiatory, instating a differential history that will not return to the power of the Same. (Burgin , p. 273)

The idea of a Nachträglichkeit spectatorship is to express the very dynamism of the spectatorial experience, to speak of the reconstructive and creative aspect of spectatorship. This process of spectatorship recreates the films it “remembers” and articulates a certain kind of love at first sight (always already at second sight) of the cinema, the expression of a kind of après‐coup of the coup de foudre.     

Trauma and ineloquence

The article is an attempt to interrogate the idea of anti‐capitalist politics in the light Rosa Luxemberg's notion of radical autonomism. My argument is that Luxemberg's hesitation before the Leninist demand for the strategic appropriation of political difference, gestures towards an idea of “the untimely” which is revived in the work of Naomi Klein and Michael Hardt and Antonio Negri. The essence of this idea is that the media‐techno‐scientific organization of capitalism has given rise to unexpected forms of resistance and communication, and that these provide the basis of a new anti‐capitalist politics. In the concluding section of the paper I will present the difference between Klein and Hardt and Negri's versions of anti‐capitalism through a reading of Derrida's Spectres of Marx. I will suggest that if we take the “untimeliness of the untimely” seriously, then it is Klein's gesture of welcome to the different forms of political activism that arise from the global organization of capital, which is closer to the spirit of Luxemberg's anti‐Leninism.     

Site-Writing: She is Walking about in a Town Which She does not Know

ABSTRACT

Recently my writing has explored the position of the author, not only in relation to theoretical ideas, art objects, and architectural spaces but also to the site of writing itself. This interest has evolved into a project of “site-writing” that aims to spatialize criticism. “Site-writing” occurs when discussions concerning site specificity extend to involve art criticism, and the spatial qualities of writing and reading become as important in conveying meaning as the content of the criticism. This article suggests that this kind of criticism or critical spatial writing, in operating as mode of a practice in its own right, questions the terms of reference that relate the critic to the work positioned “under” critique. This is an active writing that constructs as well as traces the sites of relation between critic and work. Outlining the conceptual concerns that frame my project of “site-writing” with particular reference to current debates in art criticism, this article then draws on psychoanalytic theory to think through relationships between the spatial politics of internal psychical figures and external cultural geographies, drawing in particular on the work of psychoanalytic practitioners and theorists Jessica Benjamin and Jean Laplanche. Then, in “She is Walking about in a Town Which She Does Not Know,” this article demonstrates the practice of “site-writing” through an essay located on threshold spaces both real and fictional, exterior and interior which link and separate the critic from the work of the eight women artists included in Elles sont passées par ici, Loguivy de la Mer, Brittany, France, 2005.     

Where are we when we litigiously judge? Politics and aesthetics in Hannah Arendt and Jacques Rancière

ABSTRACT

In contrast to the scenario depicted by Carl Schmitt, contemporary theory has contradicted the “thesis of differentiation” between aesthetics and “the political.” Critical theorists claimed aesthetic analysis’ relevance for grasping aspects of the political realm. And political thought took an “aesthetic turn.” Hannah Arendt and Jacques Rancière have been influential figures in this turn. Their thought offers a clear response to the challenges to the aesthetico-political Schmitt poses. To approach Arendt and Rancière’s responses, this essay proceeds in three parts. The first section analyses Arendt’s reading of the connection between aesthetics and politics. Focusing on a major shift in her perspective on judgement, I argue that her account is influenced by the ungrounded character of politics. The second section thematises the role that the relationship of aesthetics and politics has in Rancière’s work. I claim that his writings might be read as a challenge to Arendt’s attempt to “stabilise” politics by distinguishing it from the social question. Finally, the third section explicitly contrasts Arendt and Rancière’s accounts of the aesthetic-political. I conclude by arguing that their projects are crucial resources for formulating a critical theory that should resist the exceptionalist temptation to conceive “the political” as an incontestable nature.     

Beyond Repair: Interpretation,Reparation, and Melanie Klein’s Clinical Play-Technique

This article puts clinical child psychoanalysis into conversation with recent debates about critical method in order to question the turn toward so-called “reparative reading” in feminist and queer theory. While Eve Kosofsky Sedgwick’s original call for a new kind of reparative method culled its key terms (“reparative” and “paranoid”) from child psychoanalyst Melanie Klein, the scholars who have adopted reparativity in critical theory pay little attention to Klein’s work. In this article, I take up Klein’s theory of the depressive position and reparativity as she elaborated them in her clinical work with children, particularly her wartime analysis of “Richard” in 1941. Klein interpreted Richard’s play—his clinical “war games”—through her idiomatic vocabulary of “attack” and “repair.” By situating this case and Klein’s larger theory of psychic reparations in the political climate of wartime Europe, I argue that Klein’s writings point to the ethico-political dangers inherent in reparative endeavors, which name the object and narrate its injury and repair according only to the perimeters of one’s own self. From this reading, I propose that there might be a benefit to foregoing the injury/repair framework implicit in reparative agendas—both critical and clinical alike. By returning reparativity to Klein, I therefore aim not to offer a corrective to Sedgwick or to the scholars following her, but rather to interrogate the ethical stakes of all reparative endeavors, be they political, intellectual, or clinical. At the most basic level, then, this article argues that the space of the clinic is an important (and often undervalued) object for the consideration of critical method.     

Economic Dependency,Repression, and Deforestation: A Quantitative,Cross‐National Analysis*

This research builds upon previous cross‐national studies of deforestation. In doing so, I examine how various world‐systems indicators interact with political conditions within a nation. I test the hypothesis that repressive nations create a “good business climate” for multinational capital, which, in turn, affects deforestation. This “good business climate” consists of economic incentives (e.g., tax holidays), regulatory concessions (e.g., environmental law exemptions), and imposed political stability (e.g., outlawing strikes, protests, and unions). The results indicate that export partner concentration, commodity concentration, multinational corporate penetration, and International Monetary Fund conditionality increase deforestation more at higher rather than at lower levels of repression. I also confirm previous findings that gross domestic product per capita decreases deforestation, indicating that richer nations are able to externalize their environmental costs onto poorer nations. I conclude with the theoretical implications of this research, policy implications, and possible directions for future research.     

Returnees' Perspectives on Their Re‐migration Processes

The return of refugees and migrants back to their country of origin is an important topic on the agenda of Western European governments, as return is considered as the most “durable solution” for the “refugee problem”, and as an instrument with which to tackle “illegal” migration. However, these migration policies generally lack a clear evidence base, as little studies have focused on returnees' current living situations and on their perspectives on the re‐migration process. In this paper we therefore try to listen to returnees' voices, through in‐depth interviews with four Nepalese migrants both before (in Belgium) and after (in Nepal) their return, and with 16 returnees after their return to Nepal. The interviews show how most returnees start with a disadvantageous “point of departure” to realize a “successful” return: mostly, they do not really depart “voluntarily”, and they only have limited possibilities for preparing their return and setting realistic expectations. But also, back in the “home country”, most returnees judge their current economic, social and political living situation as bad, meeting little of the expectations that they set before they returned. The participants consider the support they received through the NGOs' return programmes as minimal, because they are mostly limited to a small amount of financial support, and thus of little significance in these returnees' efforts to rebuild their lives in their “home” country. If return programmes want to make a difference in returnees' lives, they should have two extensive components in the “home” and the “host” country, incorporating in both components an integral approach, including economic, political, social and psychological aspects. Viewing these findings, it is not surprising that most interviewees eventually evaluate their return as unsuccessful, and many returnees consider re‐emigration, all of which clearly questions the current basis of worldwide migration policies.     

The Political Influence of Return: From Diaspora to Libyan Transit Returnees

In December 2016, Gambian dictator Jammeh was surprisingly ousted through the ballot box by a democratically motivated opposition. With this remarkable change, tables also turned for Gambian migrants. Gambians abroad were called upon to return and help rebuild the nation, while political interests in host states increased to return “irregular” migrants. In what ways can migrant return be politically influential, especially after a critical juncture as in the Gambia? Current studies fail to consider different types of returnees, including those perceived as highly skilled compared to those seen as low‐skilled. We found that in post‐dictatorial Gambia, both types of returnees have political influence on the new regime. Highly skilled diaspora returnees were explicitly invited as contributors to political developments in the country and thus have a direct political influence. In contrast, low‐skilled returned migrants from Libya are considered as receivers of public goods; yet through claims to political representation they managed to carve out political influence, albeit indirectly.     

Fabricating Japaneseness? The Identity Politics of Young Designers and Artists in Global Cities

The present study explores the identity politics of young Japanese designers and artists working across national boundaries today. It addresses the following research questions: (i) Do young designers and artists aim to produce works with “universal” appeal or strategically make use of “Japaneseness”? (ii) Do they develop new transnational identities or regard themselves as “Japanese”? and (iii) Who do they think has the power to label their works as “Japanese” in the art worlds? For this purpose, I conducted in‐depth interviews with professional designers and artists who have migrated from Japan to London, New York, or Paris. The results show that most designers and artists who were interviewed indeed aim to produce works with “universal” appeal, while only a few respondents attempt to strategically express “Japaneseness” in their works. However, regardless of whether they make use of “Japaneseness” or not, all respondents regard themselves as “Japanese” without developing new transnational identities. Even so, they do not search for or hold onto Japaneseness; but rather the media, as well as a certain part of the art world, persistently attempt to emphasize “Japaneseness,” due to the structure of the art world, where whiteness continues to be the “norm.” While designers and artists are increasingly oriented toward creating works with new forms and values through the transnational production system, gatekeepers and legitimators of the art world continue to fabricate “the nation” and reinforce boundaries of national culture.     

Max Weber's Science of Composition

Starting from the recently translated biography of Max Weber by Joachim Radkau, this essay re‐evaluates Weber's “science of reality” in relation to his personality, the cultural context of the early twentieth century, and the position of Weber's thought in the sociological canon. The argument progresses through sequentially enlarged analyses, which propose that Weber's general style of thinking is a type of dissonant composition that places emphasis on the many relationships between cultural reality and the concepts derived from it, and not as much on its content. The logic of such a compositional approach to reality is based on similar principles found in sound and music, which Weber in fact uses in a more latent as well as more active form, to pursue his aim of a style of thinking as “aesthetics of dissonance”. The latter is a sort of “methodological wedge” that pries open the many layers of reality. As such, Weber's “science of reality” is an early “classical” example of a recent and much needed call for a social science as the “art of listening”.     

The Political and Economic Consequences of Defining Sustainable Agriculture in the US

Despite the increasing popularity of sustainably produced foods, a concrete definition of sustainable agriculture has been elusive. Even the US Department of Agriculture’s (USDA) article, “What is Sustainable Agriculture?” starts with the idea that “Some terms defy definition. ‘Sustainable agriculture’ has become one of them” (Gold 2011). This essay explores (1) the history of sustainable agriculture as a concept in the United States, (2) the political and economic forces that have impacted and stifled the process of defining sustainable agriculture, and (3) the implications for social justice that come with creating a specific definition of sustainable agriculture. Recognizing that the ability to define a varied set of agricultural practices as “sustainable” (or not) is an important source of political, economic, or social power, this essay explains how such processes might impact the future of food systems in the United States.     

DOING THERAPY: A POST-STRUCTURAL RE-VISION*

The purpose of this essay is to develop a way to look at doing therapy based on (a) Wittgenstein's concept of “language game”; (b) the relationship between Wittgenstein's “private language” argument, language games, and constructivism; and (c) post-structural thinking about language, how therapy works within language, and how language works within therapy. Case material is used to illustrate the usefulness of this approach.     

The Remains of the Say: Zero,Double‐crossing and the Landscaping of Language

This essay argues for a “landscaping” understanding of language, contrasting this with the more contemporary tradition of deconstruction, through Saussure, on difference. The paper opens with an evocation of the method of “double crossing” in Heidegger's () deconstruction of Western ontology, before drawing extensively on Heidegger's later discussion of the “bridge” to illustrate his landscaping argument over language. By crossing and criss‐crossing this reading of Heidegger with a critique of the same essay by Hillis Miller, a strong similarity in deconstructive technique is elicited despite an apparent clash in their views about language.     

“Above the below”: body trauma as spectacle in social/media space

The exposure and, more particularly, self‐exposure of psychological and bodily trauma has become the central feature of our “postdocumentary” culture. TV talk shows, observational documentary, life‐style programming and reality television all facilitate the exhibition and consumption of personal pain and suffering (as well as joy and individual success). Generally speaking, this showcasing of personal trauma is a gendered one; with many of the established and newer formats dismissed as feminised media culture; with few, if any, intellectual pretensions. This is partly the case because the domain of emotional suffering, at least, has been conventionally designated a “feminine” one, with women especially, licensed to speak about bodily or psychological insecurity, vulnerability or damage. When “masculine” damage or trauma is at stake, its presentation and articulation in media culture takes on quite different forms and meanings. Bearing in mind this context, this essay examines an example of the new hybrid of reality TV and performance piece: the David Blaine event entitled “Above the Below”. It does so in order to explore the meanings, symbolics and ethics of the current specularisation of bodily trauma in social and media space; revealing the multiple ways in which an ethics of the self and of becoming is articulated in a popular form. Ultimately, the aim is to make more complex our understanding of “the apparently oxymoronic ‘popularity’ of trauma” as cultural text (Radstone , p. 189).

This dissolution of the boundary between inside and outside gives rise to a fourth aspect of the felt experience of physical pain, an almost obscene conflation of private and public. It brings with it all the solitude of absolute privacy with none of its safety, all the self‐exposure of the utterly public with none of its possibility for camaraderie or shared experience. Artistic objectifications of pain often concentrate on this combination of isolation and exposure. (Scarry , p. 53)     

Critical perspectives on brand culture in the era of participatory and algorithmic media

Brands have become a ubiquitous feature of life in market‐based consumer societies. While marketers aim to establish brands as efficient devices for guiding purchase decisions, critical scholarship investigates how branding functions as a mode of exercising power by shaping consumers' identities and consumer culture more broadly. Beginning in the 1950s as a predominantly semiotic critique of advertising, critical research into branding has over the decades developed a more complex conceptualisation of brands and their interrelationship with “active” audiences and the cultural environment in which they operate. The first part of this essay summarises this conceptual evolution. It provides the necessary background for interrogating how brands engage with, shape, and capitalise on “algorithmic culture”. Recent dramatic changes in the data‐processing power of the developing algorithmic, platform‐dominated media environment is significantly altering the way brands operate and capitalise on consumer participation and popular culture. The present moment is therefore a crucial one to survey and evaluate emerging critical perspectives on brands and branding. By engaging with the current scholarship on social media, algorithms, and platforms, the second part of this essay outlines a number of novel and distinctive critiques emerging from this literature, which can help inform further research.     

Painting in a Different Kind of Void

The reception of Forrest Bess's work has primarily portrayed the artist as a “visionary” without external influence. By doing this, critics have downplayed the historical and cultural moment of Bess's productions and, subsequently, the well-developed interpretive models available from the history of art. This essay positions Bess and his work within the New York School of painting and its critical discourses of gendered metaphors and heteronormative formal evaluation. Recognizing how the artist participated in the conventions of vanguard painting of this time period offers new insights into Bess's singular style. Bess's works reveal the blind spots created by the visual grammar of Abstract Expressionism in his attempts to figure his repressed same-sex desires.     

Political Position and Social Knowledge1

The nature of social cognition—how we “know about” the social world—is one of the most deceptively obvious problems for sociology. Because we know what we know, we often think that we know how or why we know it. Here, we investigate one particular aspect of social cognition, namely, what we will call “political ideology”—that is, people’s self‐placement on a dimension on which persons can be arrayed from left to right. We focus on that understanding that is in some ways the “ur‐form” of social cognition—our sense of how we stand by others in an implicit social formation whose meaning is totally relational. At the same time, these self‐conceptions seem to be of the greatest importance for the development of the polity and of civil society itself. Our question is, when citizens develop such a “political ideology,” what does this mean, and what do they do with it? We examine what citizens gain from their subjective placement on the dimension from liberalism to conservatism by using the results of a survey experiment that alters aspects of a hypothetical policy.