Visual studies of rural life

In the last 20 years the notion that images overpower words, and the belief that a decreasing lexical literacy among the young has been offset by an increasing visual literacy, has been repeated often enough to become accepted wisdom. Yet the precise nature of visual literacy among the young and the relationship between visual competencies and the notion of media literacy have not been fully explored or adequately specified. Concepts of visual literacy and media literacy are unproductively conflated, and visual competencies are too often assumed on the part of those that exhibit familiarity with media culture. This essay compares and analyses notions of visual competence and media literacy and argues that: (1) a cultivated awareness of the production of visual forms and characteristics, and their implications, is necessary for what has been described in the literature as ‘media literacy’; and (2) the acquisition of visual analysis skills pre‐requires a broader operational context of media literacy. Through an examination of images from religious painting to news coverage the article argues that visual competencies and media literacy skills may, indeed, be mutually dependent.     

Living history,undoing linearity: memory‐work as a research method in the social sciences

If we accept that social research is not simply a matter of representation, but involves actively intervening in and constructing our current social and political conditions, we are then presented with a set of problems about representation and intervention. The methodology, memory‐work, is introduced here as one specifically developed for the purposes of undertaking politically engaged social research. In this paper, I describe the rationale and method of memory‐work, emphasizing the ways in which it involves undoing the subject of linear, causal, biographical narratives and a notion of the subject as collectively constituted. I elucidate the method by drawing on an example from research about HIV subjectification in which the notion of individual responsibility arose as a problem for memory‐workers—it simultaneously enables and constrains actively working on oneself and one's world. Discussing this research leads to a consideration of the ways in which the methodology needs to be adapted to reflect the specific concerns of one's time and place. I conclude with a discussion of the important but limited notion of history entailed in the original conception of memory‐work.     

‘Cinema,Glamour, Atrocity’: Narratives of Trauma

Abstract

Cinematic treatments of trauma have to confront the challenge that every aesthetic choice is also an ethical one. This challenge poses special problems for questions of truth and the representation of victims and perpetrators. Three documentaries made by Mark Kaplan (1996–2004) explore the history of South African student activist Siphiwo Mtimkulu, tortured and murdered by security policemen in the early 1980s, and the subsequent interaction between Gideon Nieuwoudt, one of the perpetrators, and the Mtimkulu family during the Truth and Reconciliation Commission Hearings. Ian Gabriel's fiction film, Forgiveness (2004), uses key aspects of this history in his treatment of a repentant perpetrator seeking forgiveness from his victim's family. In my analysis, I argue that respect for a realist aesthetic – the notion that the camera can and does reveal the world to us – may be combined with self-reflexivity, narrative layering and generic innovation to produce a complex representation of truth, victim and perpetrator. I suggest, further, that the initial choice of subject will determine to some extent the degree of complexity with which issues of truth, on the one hand, and the nature of the victim and the perpetrator, on the other, will be developed.     

The Disappeared: images of the environment at Freetown's urban margins

‘The Disappeared’ is a small collection of images documenting the deforestation of the mountain range outside Freetown, the capital of Sierra Leone. Aesthetically these images are inspired by West African photographic practices and represent an alternative ethnography of the recent war's impact on this region. The article outlines the dynamics of deforestation in the region but argues that the traditional realist aesthetic of documentary photography is no longer a compelling way to represent this issue. Beginning with a West African (particularly Yoruba) notion of the ‘truth’ of the photographic image, ‘The Disappeared’ charts a different path for engaged visual ethnography and for intervening in the politics of visual representation.     

A withdrawn vision: art,realism and the scene of incest

Via a reading of incest survivor art, this essay explores the possibility of a political aesthetic based on the unrepresentability of trauma. Key to this essay is the idea that trauma cannot be redeemed by art and it is therefore necessary to develop a reading of art that does not seek to resolve the horror of incest. Drawing inspiration from Hal Foster’s influential notion of traumatic realism, the aim of this essay is to develop a critical language that pushes the question of representing childhood trauma beyond the models of repression and realism but doing so without collapsing the argument into an anti‐realist position. Of critical importance to this analysis is a post‐repression model of trauma that puts into jeopardy the idea that history can achieve symbolic recognition. Underpinning this essay is a conceptual move from the “return of the repressed” to the “return of the real” and in so doing I aim to demonstrate the political importance of this shift in thinking about the reality and representation of trauma.     

Shifting Boundaries and Splintering Movements: Abortion Rights in the Feminist and New Right Movements

Social movement boundaries are fundamentally about deciding who “we” are by defining who we are not. However, newly salient issues in a movement community can shift these boundaries by changing the membership criteria for both insiders and outsiders. Through a comparative case study of two relatively conservative feminist organizations, Women's Equity Action League (WEAL) and Feminists for Life (FFL), I examine how shifting boundaries around abortion rights in the feminist movement led to movement splintering, as organizations struggled and sometimes failed to maintain their relationships in a movement that increasingly defined them as outsiders. This analysis reveals how abortion rights' growing importance to both the feminist movement and the New Right resulted in the realignment of FFL with the feminist countermovement. This process had important consequences for both the organization and the countermovement with which it was realigned. This article contributes to our understanding of how shifting boundaries affect individual organizations, the movements in which they participate, and the relationships between countermovements.     

Lights of disenchantment: a study of Max Weber’s thesis on the ‘disenchantment of the world’ from the perspective of visual studies

At the end of 1917, during a conference at Munich University, the German sociologist Max Weber (1864–1920) made a bold announcement: ‘The fate of our times is characterized by rationalization and intellectualization and, above all, by the “disenchantment of the world”.’ In this article, I provide an interpretation of the notion of ‘disenchantment of the world.’ Subsequently, I present visual material that might further illuminate Weber’s idea. In the third part, I strictly concentrate my attention on one argument suggested by Weber: in ‘disenchanted’ societies ‘mysterious incalculable forces do not come into play anymore.’ Through two exemplary sculptures by the Danish artist Bertel Thorvaldsen (1770–1884), I continue my visual excursus on the ‘disenchantment’ thesis by connecting Weber’s account on the intellectualisation of religious world-views with the autonomisation of the aesthetic sphere. The overall ambition of this article lies in providing an introductory account to an important intellectual problem and historical process through visual and textual analysis.     

Under Erasure: William Kentridge,Derrida, and Post-Apartheid South Africa

This article aims to read the work of South African artist William Kentridge through the prism of Jacques Derrida’s notion of trace. Kentridge utilizes a unique style of filmic animation: charcoal pictures drawn on a single piece of paper, where the animation is achieved by erasing and re-drawing parts of the picture, and then filming the image again. I will argue that this technique, as well as Kentridge’s focus on deferral, memory, and identity, share an affinity with the philosophical, aesthetic, ethical, and political aspects of Derrida’s trace. Drawing attention to the trace—a paradox of presence, where motion is achieved precisely by the deferred nonpresence in each drawing—Kentridge acknowledges, in a similar way to Derrida, the impossibility of ontological thought and knowing. In post-apartheid South Africa, this is not only an aesthetic statement but a political one as well. By maintaining the traces, Kentridge concedes that knowing should be deferred, acknowledging that what we know about the other is limited, if not impossible, and that the apartheid regime’s attempt to master the other was violent and erroneous.     

Needed Changes in the Course in World History

Using Lani Guinier's notion of “racial literacy” and the findings from a study that analyzed how recent K-12 social studies textbooks portray racial violence against African Americans, I argue in this article that students come to teacher education programs possessing a limited understanding of racism as a historically situated, institutionalized practice. I consider the implications this gap has on preservice teacher education and offer suggestions on how social education might assist K-12 students and later preservice teacher candidates develop critical racial literacy.     

The media of sociology: tight or loose translations?

Sociologists have increasingly come to recognize that the discipline has unduly privileged textual representations, but efforts to incorporate visual and other media are still only in their beginning. This paper develops an analysis of the ways objects of knowledge are translated into other media, in order to understand the visual practices of sociology and to point out unused possibilities. I argue that the discourse on visual sociology, by assuming that photographs are less objective than text, is based on an asymmetric media‐determinism and on a misleading notion of objectivity. Instead, I suggest to analyse media with the concept of translations. I introduce several kinds of translations, most centrally the distinction between tight and loose ones. I show that many sciences, such as biology, focus on tight translations, using a variety of media and manipulating both research objects and representations. Sociology, in contrast, uses both tight and loose translations, but uses the latter only for texts. For visuals, sociology restricts itself to what I call ‘the documentary’: focusing on mechanical recording technologies without manipulating either the object of research or the representation. I conclude by discussing three rare examples of what is largely excluded in sociology: visual loose translations, visual tight translations based on non‐mechanical recording technologies, and visual tight translations based on mechanical recording technologies that include the manipulation of both object and representation.     

Fame,Social Media Use,and Ethics

This essay addresses two journalists' very public criticism of a blog that chronicles a woman's fight with cancer. I examine the role of fame in this controversy. Are the expectations for maintaining “privacy” actually stricter for people who are not famous? How do shifting boundaries between private and public (exacerbated by social media, which allow anybody to have a “public” persona) and shifting understandings of what constitutes “fame” affect the traditional understandings of what is appropriate to share?     

Tattoo Narratives: The intersection of the body,self‐identity and society

Drawing upon Frank's (1995) discussion of the personal and social aspects of embodied storytelling, this paper considers the tattoo as a form of visual communication created within a multiplicity of contexts. Based on in‐depth interviews with eight tattooed men and women, the focus of this article is the stories that these individuals tell about their tattoos. I argue that the tattooed body is a distinctively communicative body. It has a great deal to say, not only about the identity of the wearer, but also about the culture in which she lives. I conclude with some reflections on examining the tattoo as a conceptual latchkey—a tool that may enable researchers to begin to unlock the complicated relationship between the body, self‐identity and society.     

Diverse students and literacy in social work education: pedagogies for a new tertiary landscape

In the Western policy landscape, students from diverse cultural, linguistic, economic and other backgrounds are increasingly represented in an expanded tertiary education system. Structural and technological changes have challenged traditional pedagogies designed for more elite cohorts, and shifted the boundaries of textual practices in both universities and professional worlds. In spite of these momentous trends, university literacies often remain tacit and inaccessible to those new to them, and pedagogies rarely explicitly engage with the complexities of these shifting boundaries. University students unfamiliar with these tacit literacies can become marginalised and ultimately struggle with the literacy demands of their academic and professional worlds. This is problematic in social work education, as professional practice demands complex written and oral communication, with potentially significant social and legal repercussions. This paper reports on pedagogies initiated by action research in a Bachelor of Social Work programme in an Australian University. Pedagogies were introduced to make elite codes explicit, use students’ literacies as assets for learning and encourage ‘code switching’ between literacy practices to resist colonising into more powerful literacies. Students’ capacities in academic and professional literacies were significantly enhanced by these practices, and their cultural inheritances valorised, encouraging their contribution to the social work discipline.     

Youth research on video self‐productions reflections on a social‐aesthetic approach

This article advances my thoughts on a social‐aesthetic approach within the field of youth and social research. These reflections are not primarily grounded in traditional approaches of visual sociology and anthropology but emerged from the context of media‐educational youth research in Germany. The main assumption of this article is that qualitative youth and social research in particular, which has audio‐visual self‐productions as the object, should—in view of the increasing influence media has on our perception and the way how the reality is experienced—be open to concepts of subject‐related self‐presentations. First I make an attempt to formulate a social‐aesthetic theory which focuses on the media‐ethnographical exploration of symbolic milieus. Next, I introduce projects run by media‐educational youth researchers in Germany, emphasizing the question of conceptions and methods when working with adolescent video self‐productions. The final section reflects upon the quality, the validity and the hermeneutics of self‐produced videos.     

Varela and Contemporary Psychoanalysis,an Epistemological Gesture: From Representations to Co-emergence

This paper intends to articulate common epistemological elements between Francisco Varela’s and Contemporary psychoanalytic relational-intersubjective theories. These shared elements could be described as a common epistemological gesture, the overcome of a reductionist and dualist paradigm, instead giving away to a paradigm of complexity. In both perspectives, a phenomenological and close to experience philosophical reflection is incorporated, which can account the human experience as an irreducible and valid source of knowledge. In Varela’s theory, the notion of embodiment permit to conceive the mind as natural endowment of the body. In Contemporary psychoanalytic theories, nature of human experience is conceive as intrisically social, proposing a “two person” psychology and the intersubjective model. Finally, in line with both currents and in a preliminary way, I propose the notion of co-emergency, seeking to overcome different forms of dualisms like internal/external, subject/world, I/Other, etc. From a clinical perspective, co-emergency can be conceived a s the coupling of two subjectivities, as a particular experiential mode of being with others, intending to overcome dualism regarding transference and represented mental states.     

LOST AND FOUND

This article examines Dovid Bergelson’s modernist writing in relationship to the shifting geography of Yiddish culture after World War I. During the 1920s, a series of debates raged in the Yiddish press about the true centre of Yiddish literature. These discussions about Yiddish literary centres, including Bergelson’s own polemic, “Dray tsentern” (Three centres), were also aesthetic debates regarding the future direction of Yiddish literature in the absence of a national home. In “Three centres” Bergelson envisions the new Jewish writer emerging from the agricultural colonies of the Crimean steppes. Though a surprising vision from a Jewish emigrant writer in Berlin, Bergelson turns to the steppes as a way to break free from Yiddish literature’s attachment to the shtetl. However, a close reading of his interwar fiction illuminates how his modernist aesthetic derives from the irresolvable conflict between the old Jewish landscape of the shtetl and the new spaces of Jewish life in the post‐World War I period.     

Exploring the ‘craftedness’ of multimedia narratives: from creation to interpretation

This paper emerges from a comparative study of two community-based multimedia storytelling projects in Toronto and Montreal, and the multimedia narratives participants produced in those projects. Following current scholarship in visual methods that acknowledges the significance for research of the medium’s formal qualities, the authors offer the concept of ‘craftedness’ as one which might help researchers grapple with the significance of the processes of both creating and interpreting visual data. Through a study of the visual data produced in these two projects, they examine three qualities of this aesthetic experience captured in the notion of craftedness, which seem to both complicate and enable processes of self-representation and interpretation: aesthetic distance, visual excess and the visualisation of the unrepresentable. Taking seriously the craftedness of multimedia works highlights the complexities of interpreting visual data and the dilemmas of representing ourselves and others.     

Exploring Social Aesthetics: Aesthetic Appreciation as a Method for Qualitative Sociology and Social Research

Social aesthetics can be regarded as an important addition to sociology and the social sciences. This article introduces the notion of aesthetic-experiential knowledge into qualitative sociology and social research. It also directs attention to the qualities of social life in their own right, paving the way for approaching the question of a good society in the aesthetic sense. In this article I make a brief exposition of social aesthetics as it has been developed in contemporary Japan. I begin with a discussion of contemporary aesthetics and its implications for social study by focusing on Yuriko Saito's everyday aesthetics. Then I offer reflections on aesthetic appreciation as an act of ajiwau (to taste, experience and appreciate). I show that the incorporation of the methodical act of ajiwau enriches our aesthetic appreciation as a qualitative method for knowing the world in general. Next I move on to the possibility of aesthetically appreciating the social world and offer a definition of social aesthetics as social inquiry through aesthetic appreciation. Based on the act of ajiwau the social, I present an aesthetic-experiential study of a micro-society as a field of human interactions. Finally, I examine the possibilities for promising dialogues between social aesthetics, on the one hand, and qualitative sociology and social research, on the other.     

By all appearances: thoughts on colonialism,visuality and racial neoliberalism

ABSTRACT

In a Montreal neighbourhood in the fall of 2013, a community mural celebrating ‘diversity, adversity and solidarity’ was vandalized: the image of a Black woman was spray-painted white. In this paper, I take the events and discourses surrounding this incident and my personal responses to them as a starting point for examining the racialized politics of visual representation. Using critical race-class analysis informed by contemporary theories of Black visuality, I consider dynamics of Black invisibility and visibility in Canada and consider the role visual texts play in reinforcing, reproducing, and resisting racialized social relations. I argue for caution regarding politics of representation, and consider Black and Indigenous art practices for the creative forms of resistance to colonial-capitalist ideology and visual logics they offer.     

Reclaiming the aesthetic of women: de-colonizing land ownership

ABSTRACT

This paper engages with the study of the aesthetic as an embodied form and offers a critique of the study of value and commodification that emerges in the global spatial imagination. I explore the neglected interrelationship between cultural-spatial reconstruction and land ownership as a sign of livelihood by way of a critique of development and through an investigation of the multiple traces of colonialism in Indonesia in contemporary times, after the massacres. First, land is taken from communities to be used for state and corporate industrialization, and then aesthetic acts of resistance and remembrance by members of these communities, via artistic productions and protest, are commoditized as touristic attractions by the state as a form of nationalism and fetishism of the indigenous, and by corporations as a form of corporate cultural responsibility. This new method of capitalist inclusion of the survivor in a globalized project of aestheticizing space is a neoliberal tactic in which the commoditized reappearance of the aesthetic creations of the marginalized is not, in fact, a sign of inclusion but rather of further displacement. My study follows the focus of this special issue to analyse cultural production within the complexity of multiple and converging colonial forms in historical and contemporary contexts considering the relationality, contradictions and incommensurabilities generated within converging structures of colonial and racialized violence. I locate the ways in which artistic projects within this schema may be used as acts of resistance but also possibly co-optation/ domination. Aesthetic creations intended as means of archiving may also bring insurrections into the paradigm of globalization and to its attention. This paper is an attempt to look at how the creative urge negates and also creates the possibility of resistance, inviting us to urgently rethink aesthetic projects and their representation through a genealogy of global participation.