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).     

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

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

Mother Died Today or Maybe Yesterday: Reflections of L'etranger on Team‐Based Forms of Work Organization

One of the most enduring images of late twentieth‐century popular culture was the individualist and iconoclastic portrayal of the ‘grumpy old man’ Victor Meldrew in the BBC television series One Foot in the Grave. Richard Wilson's portrayal of the recently retired security worker is the antithesis of everything that contemporary organizations require from the idealized vision of employee as ‘team‐player’. As one who revels in the way that the epitaph ‘Victor’ is thrown at me at regular intervals both by my partner and children, at times when I think I am behaving normally, I thought it would be interesting for me to reflect, in public, on my relationship to contemporary workplace relations. It is my contention that Meldrew's characterization is not wholly based around the age dimension but is equally based upon his portrayal as an individual ill at ease with the mores of gregariousness. The essay therefore is a self‐reflective piece in which the author places himself in a particular milieu—that of L'etranger and uses this ‘placing’ in order to discuss the relationship between what he defines as ‘the outsider’ and the issue of age discrimination in contemporary blue‐collar environments. It is suggested that whilst the outsider or L'etranger is accepted under certain conditions within the managerial labour process this same level of organizational tolerance is not afforded to older workers within blue‐collar areas. It moves from a reflective, even autodidactic exploration of the relationship between the author and cultural articulations of L'etranger and uses this to inform an analysis of the acceptance of L'etranger within some aspects of the managerial labour within team based manufacturing units. In exploring these issues the essay then attempts to develop a third narrative in terms of now L'etranger, approaching the age of retirement fits in to the new academic labour process.     

Women's Work,Dirty Work: The Gynaecology Nurse as ‘Other’

This article seeks to explore the world of the gynaecology nurse. This world defines the gendered experience of nursing; that is, women in a women's job carrying out ‘women's work’. It is also a world that receives scant public recognition due to its association with the private domain of women's reproductive health. Many issues dealt with on a daily basis by gynaecology nurses are socially ‘difficult’: cancer, infertility, miscarriage and foetal abnormalities; or socially ‘distasteful’: termination of pregnancy, urinary incontinence, menstruation and sexually transmitted disease. The ‘tainted’ nature of gynaecology nursing gives it the social distinction of ‘dirty work’ but does not deter the gynaecology nurse from declaring her work as ‘special’, requiring distinctive knowledge and skills. Qualitative data collected from a group of gynaecology nurses in a North West National Health Service hospital displays how they actively celebrate their status as women carrying out ‘dirty work’. Through the use of ceremonial work that continually re‐affirms their ‘womanly’ qualities the gynaecology nurses establish themselves as ‘different’, as ‘special’, as the ‘other’.     

PUBLIC ART/PRIVATE LIVES

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

Social acceleration and the network effect: a defence of social ‘science fiction’ and network determinism

This essay is a response to Judy Wajcman's essay ‘Life in the fast lane? Towards a sociology of technology and time’ (2008: 59–77). In that article Wajcman argued that recent developments in the sociology of temporal change had been marked by a tendency in social theory towards a form of ‘science fiction’– a sociological theorizing, she maintains, that bears no real relation to actual, empirically provable developments in the field and should therefore be viewed as not contributing to ‘a richer analysis of the relationship between technology and time’ (2008: 61). This reply argues that as Wajcman suggests in her essay, there is indeed an ‘urgent need for increased dialogue to connect social theory with detailed empirical studies’ (2008: 59) but that the most fruitful way to proceed would not be through a constraining of ‘science fiction’ social theorizing but, rather, through its expansion – and more, that ‘science fiction’ should take the lead in the process. This essay suggests that the connection between social theory and empirical studies would be strengthened by a wider understanding of the function of knowledge and research in the context of what is termed ‘true originality’ and ‘routine originality’. The former is the domain of social theory and the latter resides within traditional sociological disciplines. It is argued that both need each other to advance our understanding of society, especially in the context of the fast‐changing processes of technological development. The example of ‘technological determinism’ is discussed as illustrative of how ‘routine originality’ can harden into dogma without the application of ‘true originality’ to continually question (sometimes through ideas that may appear to border on ‘science fiction’) comfortable assumptions that may have become ‘routine’ and shorn of their initial ‘originality’.     

‘Water divide’ in the global risk society

In contemporary society, which is also defined as global risk society, the water crisis plays a controversial but decisive role in comparison with other kinds of risk (health care, environmental, financial, warlike). However, the sociological debate does not confer to the world water crisis the right significance: the essay precisely highlights this lack and focuses on the hypothesis that it could be also connected to the lack of interest that mass media agenda-setting shows to this issue. The result is that, in most cases, industrialized countries show an irresponsible approach towards a resource which is so precious for the simple fact that it is exhaustible. Furthermore, the advantages of both development and globalization are not equally distributed from a geographic point of view, and the gap between the ‘rich’ and the ‘poor’ is getting deeper and deeper also within this phenomenon. According to the author's perspective, it would be reasonable to talk about a water divide and assume a sustainable development capable of dealing with the overall problem of drinking water availability, its quality, its public access, with a view to democratic management and the sharing of this resource.     

Rule of law: Sharia panic and the US Constitution in the House of Representatives

In spring of 2011, Peter King (R-NY) convened a hearing titled ‘The Extent of Radicalization among American Muslims’ in the US House of Representatives. Democratic participants critiqued the hearings and contextualized the proceedings within the long history of institutionalized racism in the USA. They argued that the hearings were a threat to the Constitution itself, a violation of the Fourteenth Amendment's equal protection clause and the First Amendment's guarantee of freedom of religion. Republican participants shared concerns about threats to the Constitution but suggested that the hearings were part of a strategy to combat this threat. Numerous Republican participants identified forms of Islamic law, or sharia law, as the primary threat to the integrity of the rule of law (ROL). Despite opposing positions, all actors agreed that the ‘ROL’ is that which will save the nation from threats posed from both outside and inside the nation and, as such, it is the ROL itself that must be protected. In this sense, the ‘ROL’ ensured by the Constitution inadvertently became the primary object of the hearings. In this essay, we bring analytical approaches from performance studies and anthropology to argue that the hearings impel a re-examination of the concept of ‘ROL’ itself. Rather than simply addressing the legislative effects of the hearings, we are interested in what they reveal about the performative and cultural dimensions of the law and the lawmaking process. While critics of the hearings derisively referred to them as ‘political theater’, we suggest that it is the nature of the King Hearings as staged public spectacle that imbue them with a politically performative power. We also identify the specific effects of sharia panic in contemporary US American political and legal discourse.     

DEEWAANA (the mad one): the lover of music

The notion of deewaanapan or madness (as in being crazy about something) is deployed in this essay to make sense of musicophiliac behaviour in twentieth century Mumbai. I argue that new insights into the formation of ‘publics’ in the non-western metropolis can be gained through a focus on phenomena that embody ‘social subjectivity’. A major phenomenon of this kind is the devotion to Hindustani or North Indian classical music which spread through Mumbai starting from the late nineteenth century. The affective response of musicophiliacs is forged not in solitude but in a space of sociality. This idea also encompasses the actual performance of the khayal genre which became prominent in the twentieth century. The khayal represented a sense of intimacy and interiority which also needs to be understood as ‘social’ and ‘public’.     

JOHANNESBURG INTERIORS

Almost two decades into the post-apartheid era, inner-city Johannesburg – like much of South Africa – remains structured by deeply ingrained forms of physical and imaginative segregation. Building on architect Sarah Calburn's suggestion that one way to address these divisions would be to make the city's external or outside spaces feel more like domestic interiors as well as on the calls of writer Njabulo Ndebele for new forms of public intimacy, this article explores three distinct artistic projects that each attempt to push beyond segregation by opening up private homes for public perusal and/or making public space more intimate and home-like: Kgebetli Moele's novel Room 207, Christoph Gurk's performance art collection X Homes Johannesburg and Terry Kurgan's public photography/digital media experiment Hotel Yeoville. Working with concepts of home, hotels and hospitality, it theorizes the modes of ‘intimate exposure’ these projects enact as forms of hospitality or Derridean ‘hos(ti)pitality’ potentially capable of welcoming diverse groups into a shared public space while at the same time foregrounding inequalities in need of redress. While the role of artistic projects in shaping culture should not be overemphasized, the article also underscores how such works have emerged in contemporary South Africa as vibrant ways of thinking in public and thinking the public.     

Media Representations of Sexual Abuse Risks

What are the risks associated with child sexual abuse? Who is at risk? From whom? For professionals working in the field of child abuse, the main answers to such questions are straightforward. There is a broad consensus that children are at risk from adults (and young people), often from men (and sometimes women) that they know. Fathers, step-fathers, uncles and brothers are often implicated. This is not, however, the focus of news coverage. Abductions, paedophile rings and abuse in children's homes attract intermittent but occasionally intense media attention. In contrast, sexual abuse of children within their own families is rarely front page news—except, that is, where the accusations are contested. Almost as soon as the existence of widespread abuse within ‘ordinary’ homes became public knowledge, this was over-shadowed by a series of high-profiled ‘scandals’, such as Cleveland, Rochdale and Orkney. The focus turned to questions of misdiagnosis, inappropriate intervention and the supposed coaching of children to make false accusations. More recently ‘false memory syndrome’ has hit the headlines suggesting that some adults' accounts of abuse can also be discredited. The news coverage often gives the impression that the main risks are not tochildren, but to parents, particularly fathers. How has this come to be the focus of public debate? Why is it that these risks have proved so much more ‘newsworthy’? This paper examines the media profile of the risks associated with sexual abuse and draws on interviews with journalists to seek to explain the shape of the coverage.     

POPULISM AND SPECTACLE

In On Populist Reason Ernesto Laclau proposes that the reputedly ‘empty’ rhetorical excess of populism constitutes the ontological and aesthetic ground on which the existence of an entity called ‘the people’ depends. This essay considers the tensions and affinities between the particular set of aesthetic relations that Laclau attributes to populist rhetoric, on the one hand, and the set of apparently techno-economic relations that Guy Debord describes as the logic of spectacle in The Society of the Spectacle, on the other, arguing that Laclau's conception of populism compels us to recast the ontological problem of the relation that Debord describes between the social and the spectacular in expressly aesthetic terms. Beginning from this premise, the essay contends that the ‘empty’ aesthetic conventions likewise associated with spectacular entertainment – and in particular, the staging of the relation between audience and onstage spectacle that defines the variety showcase aesthetic in this account – enact a set of tropic relations that constitutes the audience as a generalized figure of ‘the people’ in much the same terms as Laclau's rhetoric. Tracing this aesthetic logic through an especially charged performance from the history of blackface minstrelsy, the essay concludes by considering how such a staging of the relation between populism and spectacle might challenge the dominant models for understanding what constitutes ‘popular’ aesthetic form within Cultural Studies, and in the process, afford new critical insights into the formal dimension of Laclau's political logic.     

“I too might once have been a prisoner”: oppressor’s paranoia in J.M. Coetzee,Nadine Gordimer and Breyten Breytenbach

The oppressors and men complicit with oppression in J.M. Coetzee’s Dusklands, Nadine Gordimer’s The Conservationist and Breyten Breytenbach’s The True Confessions of an Albino Terrorist have markedly different personalities, occupy diverse social settings and become alive to the reader through different literary techniques, but they strikingly resemble each other, because they are paranoid, delusional and plagued by repressed feelings of guilt. The article identifies this approach to the oppressor’s mind as one that is typical of white writers writing against apartheid, and analyses the representations and functions of paranoia in Coetzee’s, Gordimer’s and Breytenbach’s texts as well as possible reasons for the strikingly similar portrayal of the oppressor’s mind.     

Playing with materiality: an agential-realist reading of SethBling's Super Mario World code-injection

ABSTRACT

This article takes inspiration from Youtuber and software developer ‘SethBling’ and his 2016 ‘code-injection’ (Bling, 2016), in which, using only a standard Super Nintendo Entertainment System controller and in-depth knowledge of the console, he ‘injected’ and executed the code of popular mobile game Flappy Bird (Nguyen, 2013) into a running instance of Super Mario World (Miyamoto, 1990), effectively transforming one game into another through play. Drawing from this I propose a performative understanding of videogames (and software in general) to reinvigorate discussions of software's materiality. Though it is possible to contrast Wendy Chun's (2008a) suggestion that one can view software as ‘vaporous’ against Friedrich Kittler's (1995) assertion that ‘there is no software’, I propose a more holistic approach. Academics and users alike should attempt to see software as living a double-life: as simultaneously solid as it is (metaphorically) gaseous. It then becomes possible to embrace software(s) as performative examples of the entangled ‘phenomena’, suggested by Barad (2007), that produce everyday reality through quantum activity. I explore SethBling's code-injection suggesting that actions clearly reveal software's double existence as both tangible ‘thing’, locatable on magnetic memory, and as a vaporous non-entity. Accepting these propositions together, software can be understood as continuously re-emerging through shared activities. Following Barad, I conclude that this quality is not unique to software, but software – and videogames above all – are a useful tool for understanding a vision of reality that favours activity over materiality as the basis of our existence.     

Mindscapes,ontology and global culture transition – 2: Morphogenesis as ‘personal ontology’

Abstract

<![CDATA[Clay Shirky's focus in his book, Here Comes Every-body, is on ‘the power of organizing without organizations’. The challenges from the book's focus and the title of his essay, ‘Ontology is overrated’, come at a time of crisis when practically all the institutions are now under critical public review and Lakoff's ‘new reality’ is reevaluating the roles of language, philosophy, logic and mathematics. Consequently, if Mindscape is considered, institutional ontology and personal ontology are divided into six categories, all antagonistic due to irreconcilable differences regarding priorities. Worst, people experience and define ‘reality’ differently under different circumstances and mindscape modes, depending on the state of their mindscape modes. The result is a multiverse, a global constellation of virtual realities. From some perspectives it would be reasonable to conclude, that the genome strategy presented here together with its implied paradigm merely compete with a host of other myths and metaphors for the imagination.]]>

<![CDATA[True, small world networks are organizing personal ontology in a multiverse of virtual individual realities. Even so, virtual realities do not imply arbitrary realities. All life as we know it is included in the genome's cluster gestalt strategy. Mapping of the human genome marks a turning point because a wrong choice is not an option. Morphogenesis as ontology suggests that the genome and ecology remain in sync by genome corrections that are often experienced as natural catastrophes. Ostensibly, the genome's cluster gestalt strategy consists of producing individual variants of the genome. Only those individuals that survive the dynamics of Earth's ecology and reproduce to continue to contribute code to the gene pool. There are species that reproduce by cloning, others by sexual reproduction. Humans and dogs are just two of countless species that cling desperately to an eventually to be incinerated rock in space.]]>     

Mastering authority: J.M. Coetzee’s Diary of a Bad Year

J.M. Coetzee’s fiction has, from its inception, parodied language which claims to speak as the public use of reason. Diary of a Bad Year departs from this position to some degree by offering a series of public reflections on the times; however, these reflections are embedded within a narrative structure which disallows us from taking them at face value. Such narrative framing raises the question of authority: not only the authority of the reflections themselves, but the authority of the voice and the voice in the text. The relationship between fiction and the public sphere is such that fiction foregrounds the problem of authority in public discourse and seeks to capture the position of authority through heightened forms of mimesis and self‐consciousness.     

Feminist Readings on Abu Ghraib: Introduction

This article examines feminist responses to mainstream media coverage of female terrorists in West Germany during 1977. Women in left-wing terrorist groups like the Red Army Faction (RAF) and ‘Movement 2. June’ (‘Bewegung 2. Juni’) inspired a gendered discourse reflecting a cultural unease about women participating in political violence, in which the media propagated notions that posited female terrorists as ‘unnatural’ women. This analysis demonstrates how different ‘Alltagstheorien’ (everyday or common sense theories) on female terrorists we find in West German media publications in the 1970s and 1980s served as a springboard for West German feminist activists to examine arguments about violence as legitimate means in their own political communities. This essay begins by briefly outlining key feminist positions on political violence that have made invisible the complex debates taking place in the 1970s. The second part of the essay uses images of female terrorists circulated by the West German media, such as the newsmagazine Der Spiegel (The Mirror), to contextualize the ‘Alltagstheorien’ the magazine propagated in an article covering RAF actions in 1977. The third and main part of the essay then examines the responses this and other articles elicited from contemporaneous feminist movement publications.     

Rethinking everyday life: And then nothing turns itself inside out

The contingencies and permeabilities and rhythms of everyday life make it notoriously difficult to pin down in any determinant way. Hence, everyday life places unique demands upon critical practice and conceptualization. In following one potential angle of approach, this essay looks at the influence that philosopher Gottfried Leibniz played in the thinking of sociologist and everyday life philosopher Henri Lefebvre. Lefebvre’s theory of moments and his conceptions of ‘the everyday’ draw upon often overlooked (and controversial) elements from Leibniz’s monadology and other later writings. This essay concludes by considering how substituting ‘everyday life’ for the ‘culture’ of cultural studies requires, among other things, a closer consideration of the immanently biopolitical implications that Lefebvre teased out of Leibniz. As the introductory essay for this special issue of Cultural Studies, we also set up, in the final section here, an overview of our contributors’ own unique angles of approach to the study of everyday life at the dawn of the 21st century.