Visual Art, Ethical Witnessing, and Resistance

2020 ◽  
pp. 117-140
Author(s):  
William A. Callahan

The chapter engages with another popular approach to visual international politics: visuals as a site of resistance to power, both through producing critical artwork and by ethically witnessing international crises. To trace these issues, the chapter analyzes the work of Ai Weiwei, a world-famous artist-activist whose ethical witnessing creatively resists China’s authoritarian party-state. It shows how Ai’s art presents ideological resistance to state power, in both the traditional sense of liberal resistance to authoritarian state oppression and the hermeneutical sense, in which it is necessary to decode his work for its “meaning” as the social construction of the visual. The chapter then considers how Ai’s documentary film Human Flow (2017) provokes transnational resistance through its “visual construction of the social”—and of the global. It thus examines how visual art can serve as an ethical witness to resist reigning political regimes, and how it also can excite affective communities of sense to creatively resist reigning political aesthetics. Chapter 6 thus highlights the need to appreciate the dynamic tension that entangles cultural governance and resistance.

2021 ◽  
Author(s):  
Caroline Carter

This paper is a qualitative content analysis of public tweets made during the Indigenous social movement, Idle No More, containing the #upsettler and #upsettlers hashtags. Using settler colonial theory coupled with previous literature on Twitter during social movements as a guiding framework, this study identifies how settler colonial relations were being constructed on Twitter and how functions of the social networking tool such as the hashtag impacted this process. By examining and analyzing the content of 278 tweets, this study illustrates that Twitter is a site where conversations about race relations in Canada are taking place and that the use of the hashtag function plays a vital role in expanding the reach of this online discussion and creating a sense of solidarity or community among users.


2021 ◽  
Vol 6 (1) ◽  
pp. 1
Author(s):  
I Gde Suryawan ◽  
Ida Bagus Komang Sindu Putra ◽  
I Putu Suyasa Ari Putra

<p align="center"><strong>Abstract</strong></p><p> </p><p><em>Murals are one of the alternative media for street visual art / street visual art that functions as a forum for people's aspirations through paintings. The attractiveness of art gives a strong impression, in line with visual communication theory which assumes that the use of art in educational media is very important. One of these forms of art is a mural. The purpose and function of the mural itself is still developing today. The making of murals in early childhood schools is basically a form of utilizing empty space by incorporating educational missions, such as: as a medium for recognizing local cultural values (folklore). Because through folklore, it indirectly represents the social reality that is around us. Thus basically the implicit function of making murals in empty spaces in early childhood schools is to train students' sensitivity.</em></p><p><em>The environment is a factor that can affect a child's imagination. By placing murals on the walls of early childhood schools, apart from functioning as decoration, indirectly has the function of stimulating children's sensitivity to visuals. This visual sensitivity indirectly develops children's imagination. Thus, murals can stimulate the imaginary environment or imaginary world of children that penetrate the developer of their imagination. Art will always develop, which will be the source of ideas in the process of its creation. Like children who are inspired by murals in creating their works. Seeing this, students will be more open and sensitive to the environment around us so that new ideas will emerge fresh and close to us as a source of ideas for creating works.</em></p><p><em> </em></p>


SAGE Open ◽  
2017 ◽  
Vol 7 (1) ◽  
pp. 215824401769043
Author(s):  
Lori Duin Kelly

This article uses a methodology from the social sciences known as institutional ethnography to analyze the office setting in Herman Melville’s short story “Bartleby the Scrivener” as a site of social organization. This approach contributes to an understanding of how that office came to adopt specific structures as crucial to its functioning and how, as a consequence of those structures, individuals’ roles within the organization’s hierarchies became constituted. As fieldwork occurs inside of organizations, institutional ethnography also provides a tool for identifying and evaluating linguistic markers for an individual’s placement within a larger organizational structure. This approach to the story seems particularly useful for understanding the interpersonal dynamics at the heart of “Bartleby.” At the same time, it provides a method for identifying the larger institutional process at work in Melville’s story, one that contributes to the reproduction of a system of social relations in the workplace that requires subordination and compliance to insure its success.


2018 ◽  
Vol 62 (2) ◽  
pp. 228-242 ◽  
Author(s):  
Tatiana Tiaynen-Qadir ◽  
Ali Qadir ◽  
Pertti Alasuutari

This article explores how international references in parliaments build a synchronized world polity, even in countries that are often portrayed as being at odds with the rest of the world. The article asks whether and how Russian parliamentarians refer to the international community, and how such references compare with parliamentary debates in other countries. The “mesophenomenological” argument developed here connects World Society Theory, which demonstrates global isomorphism, with national studies of Russia, which argue for important national particularities. The empirical analysis draws on a stratified random sample of debates on draft laws in the Russian Duma from 1994 to 2013, comparable to similar samples from six other countries. The results show that: (1) Russian parliamentarians refer to the international community in the same level and the same forms as in other countries; (2) Russian policy-makers rely on the same imageries of the social world to convince their audiences as do other parliamentarians; and (3) this similarity in form remains consistent throughout the period, despite radical changes in national politics. These findings attest to the Russian Duma as a site of world culture, and to the mesophenomenological view that the world polity is highly synchronized through discourses of cross-national comparisons.


2021 ◽  
Author(s):  
◽  
James E Taylor

<p>In the early 1890s Harry Atkinson, the subject of this thesis, travelled to England and spent a year as foundation secretary of the Manchester and Salford Labour Church. In Manchester Atkinson worked closely with the Churchʼs founder John Trevor, took part in Labour Church services and worked with a variety of British socialist intellectuals and activists including Ben Tillett, Edward Carpenter and Robert Blatchford. Atkinson returned to New Zealand in late 1893 and three years later founded the Socialist Church in Christchurch. This was not a Church in the traditional sense—rather, it was a site for the debate, discussion and dissemination of radical and socialist literature and ideas, and a platform for political agitation and social reform. Its creed was to ‘promot[e] a fellowship amongst those working for the organisation of Society on a basis of Brotherhood and Equality’. Members of the Church included Jack McCullough, James and Elizabeth McCombs and Jim Thorn. The critical, yet downplayed, role that Atkinson played working behind the scenes as an important mentor and conduit in the emergent socialist subculture in Christchurch from 1896 to 1905 has been for the most part unexplored in New Zealand labour historiography. This thesis addresses this imbalance and examines the intellectual and associational activity of Harry Atkinson during the period 1890 to 1905 and reconsiders the work and key concerns of the Christchurch Socialist Church. It argues that the form of ethical socialism Atkinson experienced in Manchester, and later promulgated through the Socialist Church, has been mischaraterised as vague or, inaccurately, Christian Socialist. By situating Atkinson’s beliefs and activities within a wider transnational context of 1890s ‘New Life’ socialism, we can see his ideas and work as part of a broader ‘world of labour’, shaped by multi-directional flows and contacts. The varied networks through which Atkinson was exposed to books and ideas are illustrated and the thesis attempts to trace the diversity of his, and others, associational activity. It suggests that the colonial New Zealand socialism of the 1890s was not ‘without doctrine’, and that individuals engaged in richer intellectual and associational lives than is often acknowledged. However, it is shown that Atkinson and members of the Church, though inspired by foreign or overseas experiences, ideas and literature, focused primarily on local issues. These are also surveyed and include agitation for municipal government, female equality and the radical reform of democratic institutions. It is argued that a reconsideration of the lived experience of Atkinson and his wider circle provides a lens to investigate some important aspects of colonial New Zealand radicalism and socialism, outside the usual foci of trade unions, the workplace and formal labour politics.</p>


2012 ◽  
Vol 12 (4) ◽  
pp. 433-458 ◽  
Author(s):  
Adam Edwards ◽  
Gordon Hughes

Implicit in the concept of negotiated orders is an understanding of the social productivity of political power; the power to accomplish governing programmes for citizens as much as the power over citizens for the purposes of social control. This distinction is especially pertinent for the role of political analysis in critical criminological thought, where criticism of the authoritarian state has vied with studies of governmentality and governance to explain the exercise of political power beyond the State and with the distinction between politics and administration found in liberal criminology. Outside of criminology, political economists interested in the ‘power to’ govern suggest its analysis in terms of ‘regimes’ of advocacy coalitions that struggle for the capacity to govern complex problems and populations in specific social contexts. Regime formation or failure can differ in character, and in outcomes, as much within nation states as between them and in relation to different kinds of governing problems. The article considers the applicability of regime theory to the negotiation of ‘public safety’, a governing problem which is a particular focus for political analysis within criminology.


2017 ◽  
Vol 61 (1) ◽  
pp. 71-99
Author(s):  
Marek Krajewski ◽  
Filip Schmidt

Who is an artist? Questions over how to define this role divided the makers of the project The Invisible Visual: Visual Art in Poland—Its State, Role, and Significance. The authors’ sources of data were the results of a nationwide survey, a survey of graduates of the Polish Academy of Fine Arts in the years 1975–2011, and in-depth interviews with seventy individuals in the field of visual arts. The authors were able to establish, first, that persons working in the art field give different definitions from those beyond its bounds; second, that artists, decision-makers, curators, and critics try to defend the sense and autonomy of their activities against ways of thinking and acting that are typical of other areas of the social world (while they are themselves engaged in disputes over who has a right to call him- or herself an artist and what is and isn’t good art); and third, being an artist is marked by a difficult-to-cross boundary, as is shown by the common necessity of supplementing artistic work by other sources of income and the high risk of failure in an artistic career.


2021 ◽  
Vol 14 (2 (40)) ◽  
pp. 70-90
Author(s):  
Elena NOVĂCESCU

Because nowadays’ world is visually saturated, many social re- searchers are using visual methods to understand how images contribute to the shaping and perpetuation of social constructs, norms, and behaviors. Gender is such a construct, and the beliefs and principles that contributed to the social and visual construction of gender have been broadly argued in the last decades. However, in today’s digitalized world, there is a space poorly explored by gender and visual researchers, namely how the army as a media actor contributes to the construction of masculinity through the images it promotes online. Thus, with the purpose to explore this gap, the present paper examines how the Romanian armed forces visually construct the militarized masculinity on their official Facebook pages, highlighting how those images contribute to the consolidation of the existing gendered stereotypes. Through the photos it disseminates, the Romanian Army le- gitimizes the main role of men in defending the country by revealing de- sirable male characteristics and the high degree of connectivity with the military theatre.


Book 2 0 ◽  
2021 ◽  
Vol 11 (1) ◽  
pp. 107-123 ◽  
Author(s):  
Michael Wilson

Since the early 2000s social media has transformed the internet into a site for the exchange of stories through the mass democratization of publishing. And yet, new forms of digital and online storytelling have at the same time compromised one of the core functions of storytelling, namely its social aspect, the ability to build community when two or more people share stories in the same space, at the same time, breathing the same air. Somewhat ironically the advent of social media may have broadened the audience for any one person’s storytelling, whilst diminishing the social intimacy of the storytelling experience. As part of its research work into storytelling as a means of engaging people in the public debate around environment, the Storytelling Academy at Loughborough University has been developing new forms and processes of digital storytelling to promote wider engagement and dissemination of environmentally driven personal stories. ‘The Reasons’, first staged in Cambridgeshire in 2016, was an attempt to create a live, community social event that provided a public forum for storytelling as a way of debating issues around drought and water governance in the Fens. Inspired by a re-staging of La Rasgioni in Sardinia in 2015, a traditional form of conflict resolution, whereby a ‘mock’ court provides the means for the community to publicly tell its stories to each other, ‘The Reasons’ was co-designed for the Fenland context and was performed twice in 2016. It was then further adapted for use in the Korogocho slum in Nairobi for an event to discuss the issue of waste management with members of the local community, as part of an initiative with UN Live. ‘The Reasons’ is an attempt to bring together the advantages of digital storytelling as a reflective process with the social intimacy of the live storytelling event. The result is a new form of hybrid storytelling that seeks to build community and establish co-thinking processes to build resilience to environmental change. This article reflects critically upon the development and evolution of this work over the past five years.


Author(s):  
Ulrike Strasser

This chapter discusses the transoceanic voyage as a rite de passage into missionary manhood. Jesuits defined their brand of masculinity in the social microcosm of the ship, carrying out pastoral work in confinement and danger. If Ignatius was the Society’s inventor and Ur-father, Francis Xavier was its patron of mobility and a model for conduct for generations of missionaries, including many Germans. Hagiographical accounts and paintings of Xavier’s dramatic sea voyages emphasize his exemplary self-governance and ability to convert sinful fears into correct fear of God. The transoceanic ship was a site of embodied conditioning for those who followed in Xavier’s footsteps. When the missionaries reached foreign shores, they felt more ready than ever to convert and regulate indigenous others.


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