Leave the Fields without Leaving the Countryside: Modernity and Mobility in Rural,Ethnic China

Studies of internal migration in contemporary China frequently focus on the movement of rural people to urban centers, while studies of Chinese tourism concentrate on the mobility of urban travelers. These approaches to mobility coincide neatly with established understandings of modernity, despite the fact that the Chinese government has tried to promote certain forms of rural modernization without mobilization–hence the national slogan “leave the fields without leaving the countryside.” This article complicates the relationship between modernity and mobility in China by examining mobility from the perspective of returned migrants in rural, ethnic minority tourism villages. Through the analysis of five migrants' stories of travel, I explore the ordering of mobility, or how differing types of mobility come to be re-signified in times of immense social change and the consequences of these symbolic shifts on local understandings of ethnic identity and rural livelihoods. My argument builds on analytical frameworks of mobility in post-reform China by examining how mobility itself has been ordered in ways that reveal particular desire, inequalities, and power relations. By exploring how mobility both orders social relationships and how different forms of mobility, such as tourism or migration, come to be ordered in relation to each other, I draw attention to how mobility, and by extension immobility, generates the conditions of possibility for tourism village residents to make sense of the potential and paradoxes of rural, ethnic tourism development in contemporary China.     

Photography,cinema and medium as social practice

One of the more interesting aspects of the dialogue between the mediums of the still and moving image that has taken place over recent years has been a concern within fine-art photography for the cinematic. Photographers have turned to the style and iconography of the established genres of cinema as a means of reinventing the pictorial form of the tableau and thereby to explore the possibilities of narrativity within the static image. However, beyond any aesthetic interest the contemporary genre of the ‘cinematic photograph’ may hold, it is argued here that it may be indicative of an important shift in the social, economic and technological bases of fine-art photography. This essay suggests that the significance of the ‘cinematic photograph’ lies in its complex forms of technical production, the mobilisation of skilled labour and professional expertise, and the deployment of substantial economic resources, which are to be found in the film industry. Through an analysis of the work of the American photographer Gregory Crewdson, the authors demonstrate how the formal and iconographic properties of his images are inseparable from his adoption of the cinema's specific modes of production and that the latter is central to a reading of Crewdson's photographs. The consequences this holds for our understanding of the medium of photography are developed with reference to Raymond Williams's concept of ‘medium as social practice’. The authors conclude that the ‘cinematic photograph’ might be regarded as symptomatic of a trend within contemporary art practices to model themselves on cinema as the emblematic form of cultural production of ‘late capitalism’, a trend that has significant implications for the dominant conceptions concerning the nature of the work of art and the role of the artist.     

Films and videos (evening screenings)

Photography and science have a symbiotic relationship; they always have. It was in the context of science that photography was first announced to the public by François Arago in 1839. And it was the rhetoric of observation and objectivity that was so beloved of scientists in the mid-nineteenth century that photography very soon acquired. It was, in fact, photography's close ties to science that hindered its bid to claim fine-art status. It is photography's close and continued ties to science that have also been utilised by artists through the decades, artists who played with the concepts of objectivity, truth, documentary and surveying. The author discusses the unique place that photography has taken up in the art of science and the science of art, dwelling on moments when the two appear to be one and the same, and moments where they appear to diverge. Rather than writing a sort of survey, the paper will dip in at various points in history, looking at the debates from various historical perspectives so as to consider the paradigm ‘art science’ as it has variously been applied to photography. The paper will take up the conflicting rhetorics of passivity and control, mechanical and creative, showing how each is used in its place, but always emphasising the back-and-forth, the give-and-take between science and art. It will be argued that photography's dual nature is exactly what makes it interesting to artists, and what makes it valuable to the sciences.     

Art Criticism and its Power Over Women Artists - An Inquiry into the Sources of Gender Discrimination in Jewish Palestine/Israel, 1920-1960

Discrimination against women in the Western field of Visual Arts persists, even today. In this article I reflect upon the formative years of the field of Visual Arts in Jewish Palestine/Israel. I examine what role art critics took in the emergence of the systematic forms of artistic malestream domination. I also analyze which strategies allowed art critics to develop their position as the "knowers" of high art. While artistic malestream practices have not only held back female artists in the past, they also still affect women's artistic careers. Thus, the exposure of these concealed mechanisms can inform both academic scholarship and the artistic discourse.     

WILLIAM WELLS BROWN

Travel and travel writing imply freedom of mobility and agency. That a fugitive slave like William Wells Brown could become a tourist is significant because it destabilizes our understanding of tourism. In The American Fugitive in Europe: Sketches of Places and People Abroad (New York: Jewett, Proctor & Worthington, 1855), Brown grounds his critique of his tour in the experiences of his early life as a slave and in his insistence on ethical responsibility. He interrogates the inequities of American society by revisiting European history from the perspective of the oppressed. Brown moves beyond touristic hedonism to anchor the tourist subject onto the larger canvas of historical and socio-political reality. This paper explores Brown's shifting identity through Urry (The Tourist Gaze: Leisure and Travel in Contemporary Societies, London, Sage, 1990) and MacCannell's (‘Tourist Agency’, Tourism Studies, vol. 1, pp. 23–38, 2001) reading of the tourist gaze.     

The Relevance of Modernity to Contemporary East Asia: An Outline

This article offers a framework for exploring the relevance of modernity to contemporary East Asia. I first examine different conceptualizations of modernity, paying special attention to Eisenstadt's influential concept of multiple modernities. Second, I point out the limitations and flaws of Eisenstadt's theory by drawing on nationalist politics in East Asia as an illustrative case. In particular, I examine the so-called “history perception problem,” which has been created by war and shaped by the legacies of war, to demonstrate the peculiar features of modernity in East Asia. Third, I use the works by three scholars as examples to show how intellectuals in China, South Korea, and Taiwan respond to the tensions between universalism and particularism, which, as a whole, reflect what can be called “East Asian modernity.” And finally, I try to respond to the controversial but fashionable question that is peculiar to East Asia: can modernity be overcome? It is argued that East Asia can be understood through the lens of modernity, and vice versa. Nowadays, modernity has become a global condition in both geographical and topological senses. It is not something to be overcome, but a condition that we all live in and should learn to live with, here and now.     

Using photography and art in concept mapping research with adults with dyslexia

Reflexive photography for individual interviews and the use of art with focus groups provides a valuable method for exploring the psychosocial issues encountered by adults with dyslexia. Reflexive photography and art is particularly appropriate when interviewing adults with dyslexia who may have difficulty expressing and focusing on what they want to say. This article explores the potential of reflexive photography and art as an innovative method to generate statements by participants in concept mapping.     

The body as experienced: an embodied approach to the packaging of the Dai river bathing custom in Xishuang Banna,China

This article looks at the filming of the Dai river bathing custom by the media professionals for tourism promotion in Xishuang Banna, China. It speaks to the previous scholarships that have studied the Otherness of ethnic minorities in China's mainstream and popular representations. Yet this case contextualizes this issue in the era of China's domestic tourism, when ethnic cultures and bodies are increasingly put on display, experienced, and (re-)produced through individualized, immediate, embodied encounters in tourist zones. By taking embodied experiences to the center, this article studies the touristic representation of ethnic minorities as China's national Others from an angle of embodiment. It inquires how the embodied experiences of both media professionals and Dai bathers at the filming constitute the very process during which Otherness, difference, and selfness are perceived, actualized, and (re-)produced in localized reality and at the grassroots level.     

A painful labour: responsibility and photography

This paper considers the tension between photography and responsibility despite the avalanche of objections regarding documentary's false promise to awaken social conscience. By examining the encounter with images of suffering through a psychoanalytic register, the paper tries to articulate what Barthes describes as the ‘painful labour’ of responding to the photographic other – an encounter that illuminates the limit of the spectator's ability to respond. Photographs provide an occasion to register this limit, which, I argue, opens up the spectator's traditional notions of responsibility from a set of moral duties towards a questioning of the ethical relation.     

Starting somewhere different: methodological cosmopolitanism and the study of world politics

In this article, I contribute to the debate on Ulrich Beck's idea of ‘methodological cosmopolitanism’ from a political science perspective. How fruitful is Beck's idea for the study of world politics? How can a political science perspective turn ‘methodological cosmopolitanism’ into a more transdisciplinary subject of debate? Guided by these questions, I speak to two audiences. First, I offer political scientists a distinct strategy for empirical ‘cosmopolitan political science’ research. At the heart of this strategy is a novel object of research, the ‘cosmopolitan outlook’, understood as a discourse that breaks with the ‘national outlook’ to open possibilities for a world beyond ‘reflexive modernization’. With that, I shift the perspective from structure to discourse and broaden the normative grounds on which to assess cosmopolitan reality. Rather than just considering the emergence of normative cosmopolitan ideals, I build into cosmopolitan research the normative, empirical question of whether we see an emergence of a world beyond reflexive modernization. Second, I address scholars outside the field of political science who are interested in methodological cosmopolitanism by offering the ‘cosmopolitan outlook’ as a novel object of study that could also be explored from other disciplinary perspectives and by proposing they put the question of the purpose of methodological cosmopolitanism centre stage. This question can, I argue, constitute grounds for substantial debates on methodological cosmopolitanism not already precluded through disciplinary premises and concerns. Contributing to such a transdisciplinary debate, I distinguish between the long‐term and immediate purpose of methodological cosmopolitanism, the former being about the development of a cosmopolitan language and grammar and the latter about empirical explorations of the reality of the ‘cosmopolitan outlook’, eventually and in a collective and transdisciplinary endeavour building up to contribute to the former.     

Constructing a Sociology for an Icon of Aesthetic Modernity: Olympia Revisited

I address the problem of constructing a sociology of the artwork through analyzing one particular painting—Manet's Olympia . The painting is an acknowledged icon of modernist art and has been variously located in discourses concerning modernity, gender, and sexuality in the modern world. My purpose is to locate this painting and modernist painting generally in the social formation. While the interpretation of a particular work of art plays a central part, here the ground of that interpretation lies in social theory. Modernist art, and Manet's work in particular, is seen as a response to the growing disjunction between "instrumental" and "solidary" social relations—a disjunction fully acknowledged in the development of classical social theory. This changing relationship is reflected in the construction of discourses centered on value and motive . It is argued that Manet's modernism instantiates a spiritual resistance to the corruption of value by motive inherent in modernity and marked by a whole range of sociological discourses—commodification, alienation, rationality, disenchantment, and so forth. I identify a specific cultural configuration at the heart of bourgeois ideology involving gender and social class, and seek to show how Manet's painting subverts and deconstructs this configuration as a discourse of social formation. The semiotic possibilities made available by a modernist "presentational code"—the cultivation of flatness, the suppression of modelling and interaction, the use of dense allusive cultural reference, and the adaption of foreign and exotic pictorial techniques, etc.—are all seen as key to the deconstructive work that the painting accomplishes.     

‘Orphans and Rich People’: A Discourse Analysis of the ‘Children's Lives’ Exhibition in Birmingham,UK

In 2012, an art gallery in Birmingham, England presented an exhibition of ‘Children's Lives’. Through its curation of photography, fine art, objects, video and text, ‘Children's Lives’ claimed to ‘let childhood through the ages speak for itself’ and to contribute ‘to a debate over what it means to be a child’. In this article, we offer a critical analysis of the exhibition, examining the relationship between the exhibition as discourse and the ‘external’ discourses around childhood that are reinforced, negotiated and in some cases challenged by the assemblage of image, text and the spatial ‘narrative’ of the gallery.     

Things Temporal Exposé, Passages from Benjamin

Nineteenth-century Paris was for Walter Benjamin the site of a singular historical event, the ur-form of bourgeois modernity. It was a “hellish” time disastrously bent on repeating itself and yet a threshold of great promise and possibility. By focusing on Benjamin's 1935 and 1939 Exposés for The Arcades Project, my paper develops the keywords of the Exposés (Arcades, Fashion, etc.), and elaborates ways in which these objects articulate such different temporal possibilities. For example, “fashion” enacts an eternally recurrent and capital time, whereas “arcades” represent wish images of the past that might be actualized into utopian promises of the future. My argument develops Benjamin's “objective” framing of temporality. In the Exposés specific and phenomenal things communicate temporalities specific to modernity. Objects not only communicate time but also enable the temporal experience of the modern subject. This reading challenges idealist interpretations of temporality grounded within an interiorizing subject. I do not argue that Benjamin privileges an objective temporal horizon “over” the subject but rather that he resituates dialectical possibilities of temporality in the engagement between subjects and commonplace objects.     

POSTCOLONIALISM AND GLOBALIZATION: TOWARDS A HISTORICIZATION OF THEIR INTER-RELATION

This article distinguishes between critical and reconciliatory postcolonialisms, arguing that the former seeks radical alternatives to modernity based on non-Western traditions and lifeways, while the latter works to reconcile colonized peoples to colonialism. It argues further that the category of globalization has, for the most part, superceded that of 'postcolonialism' and that critical postcolonialism needs to be seen not simply as globalization's enemy but (in part) as its effect. That is, globalization and critical postcolonialism have a weakly dialectical relation, a case made by examining the recent Maori renaissance in New Zealand. What are the implications of this way of thinking for history? By examining two late eighteenth century texts, Ossian's poems and Sir William Chambers' 'A Dissertation on Oriental Gardening', the article suggests that the histories of globalization and postcolonialism have always been intertwined.     

Purpose and pleasure in late life: Conceptualising older women's participation in art and craft activities

The fourth age, as the last stage of life, represents a final challenge to find personal meaning in the face of changing capacities, illness and disability. Participation in valued activities is important for sustaining interest in life and has been associated with enhanced health and well-being. Art and craft activities are a popular form of participation amongst women in late life with growing international interest in the potential for these types of activities to maintain health and well-being and address problems of social isolation. Drawing on open text comments from 114 women enrolled in the Australian Longitudinal Study on Women's Health and in-depth interviews with 23 women all aged in their eighties, this paper explores the nature of older women's participation in art and craft activities and conceptualises links between participation in these activities and health and well-being in late life. Participation in art and craft activities is complex and dynamic, comprising cognitive and physical processes infused with emotion and occurs in the context of social relationships, physical spaces, physical ailments and beliefs about the value of the activities. By participating in art and craft activities, older women find purpose in their lives, contributing to their subjective well-being whilst helping and being appreciated by others. They develop a self view as enabled and as such take on new art and craft challenges, continue to learn and develop as art and craft makers and remain open to new possibilities.     

English and discourses of commodification among tourism workers in the Himalayas

In this article, I investigate commodification discourses and ideologies of English from the perspective of Nepali tourism workers. Drawing data from interviews with porters and trekking guides in Nepal, I argue that English is not seen as merely a transactional means to convey meaning; it works in combination with the traditional form of labor and care in the local economy, establishing itself as a powerful tool to establish closer interpersonal relationships, enhance such interpersonal relationships for economic gains and commodify local identities and cultures in the tourism market. The interview and ethnographic details show that language learners are agentive and capable of making sense of their actions by positioning themselves variously in terms of ethnicity, economic class and job category. These workers think that tourists' linguistic and financial resources are the empowering tools that enable them to travel to locations that they want. They also want to empower themselves with English skills and translocal imaginaries to travel and see the world beyond their immediate reach. Repertoires in English are considered as instruments to mediate their imaginaries and the foreign worlds they want to be part of.     

Selling art to the world in Chelsea

This paper explores the dynamic interaction that occurs between large-scale social processes, urban development and the production of artistic expression and meaning through an analysis of art and urban change in the West Chelsea district of New York City. I begin my analysis with a discussion of specific works of art and expand to the local and global context to which these works respond and help to construct. Both urban space and artistic production, consumption and the social meaning attached to art by artists, critics, audiences and other art world actors have felt the impact of the turn to free market policies and ideology that have attended global economic restructuring and the rapid pace of globalisation. At the same time, art's new role as an engine of urban commerce and the accompanying expansion of the art market have helped to shape city districts like West Chelsea and have left their mark on the work that is exhibited and sold there. My analysis integrates a close study of two works of art exhibited in West Chelsea, interviews and other ethnographic data and recent literature on the arts and urban restructuring and the perspective of critical theory. I also provide photographic documentation of social interaction and the built environment of West Chelsea as it evolved in response to the expansion of the art worlds there. A secondary aim of this research is to contribute to a larger discussion about the social role and critical capacities of art in today's social, economic and political climate.     

Debating Eco/Feminist Natures

This article discusses the experiences in municipal politics of indigenous women in Oaxaca, Mexico. The data base includes in-depth interviews with the eighteen women who have been elected mayor since 1995, when the Government of Oaxaca legally recognized indigenous self-government. By looking at the women as in/outsiders of their own culture, the article examines the ways in which they question various components of the indigenous autonomous project as well as the performance of western political institutions such as political parties and the educational system. Women's views go beyond the tradition/modernity dichotomy, where tradition is associated with backward, patriarchal institutions and modernity with progress and gender equality. Both tradition and modernity are redefined in order to identify the elements that may contribute to gender equality in the indigenous self-government project of Mexico.     

Participatory art within,against and beyond financialization: benign pessimism,tactical parasitics and the encrypted common

This essay examines three critical artists who orchestrate participatory spectacles and experiences as a means of challenging neoliberal financialization, an overarching paradigm and process that is reshaping economics, politics, society and culture. Critical art, I argue, can offer us a particularly insightful vantage point on these transformations. This is not, as it is usually supposed, because art has some lofty transcendental perspective above society; rather, it is precisely because art is already so deeply integrated into finance and financialization. Not coincidentally, “participation” appears as a keyword for the restructuring of both art and finance today, which I argue is key to understanding the challenges, limits and potentials of even avowedly critical participatory art, with lessons for cultural production more broadly. In order to analyse and draw broader lessons from the three artworks in question, I identify each with a strategic paradigm: benign pessimism, tactical parasitism and the encrypted common. These strategies, I argue, emerge within, against and beyond financialization and can help complicate our approach to its complex cultural politics.