Unsheltered: Visions of Future Scarcity in the Past. Pablo Berger's Blancanieves and Jesús Carrasco's Intemperie

This article connects the dehistoricized pasts in Pablo Berger's film Blancanieves (2014) and Jesús Carrasco's novel Intemperie (2013) to the present economic, cultural and ecological crises occurring within Spain and at a worldwide level. Both film and novel can be linked to contemporary anxieties: Blancanievesto an image-obsessed society of consumer abundance facing a present and future of increasing scarcity; Intemperie to the threat of environmental collapse. Their invoking of the past suggests that economic and ecological strife bring back the specter of past violence and misery, unleashing the negative affects that pervade an individualist society based on competition and inequality. The aesthetics of verbal silence in both texts encourage a raw affective engagement and are analyzed here as a critical response to the individualist culture at the root of current crises, proposing alternative ethics of empathy and intersubjectivity. The social-political projects underlying these texts can thus be related to the 15M movement in Spain. They construct similar landscapes of anguish and hope, and they confront the same destructive ethos of fear, envy and domination that operate simultaneously on a societal level and within the self.

Intersectional AI Is Essential

Artificial intelligence is quietly shaping social structures and private lives. Although it promises parity and efficiency, its computational processes mirror biases of existing power even as often-proprietary data practices and cultural perceptions of computational magic obscure those influences. However, intersectionality—which foregrounds an analysis of institutional power and incorporates queer, feminist, and critical race theories—can help to rethink artificial intelligence. An intersectional framework can be used to analyze the biases and problems built into existing artificial intelligence, as well as to uncover alternative ethics from its counter-histories. This paper calls for the application of intersectional strategies to artificial intelligence at every level, from data to design to implementation, from technologist to user. Drawing on intersectional theories, the research argues these strategies are polyvocal, multimodal, and experimental—suggesting that community-focused and artistic practices can help imagine AI’s intersectional possibilities and help begin to address its biases.

Caring through art: Reimagining value as political practice

Recent feminist critiques of neo-liberalism have argued for care as an alternative structuring principle for political systems in crisis and have proposed that the transformation of the existing capitalist order demands the abolition of the (gendered) hierarchy between ‘care’ ‐ the activities of social reproduction that nurture individuals and sustain social bonds ‐ and economic production. Key to answering what it might mean for care to become the central concern or core process of politics is imagining alternatives outside deeply ingrained and guarded conventions. It is in this imagining that artists have much to contribute, more so still because for many artists, maintaining a practice in neo-liberal contexts demands nurturing collectivities, sensitivities and resourcefulness ‐ essential aspects of care. By focusing on recent Australian examples, this article examines what role artists can play in engaging with, interpreting or enacting care in practices ‐ such as works of self-care, care for country and the environment, care for material culture and heritage, care for institutions and processes, and care for others ‐ which might help forge an alternative ethics in the age of neo-liberalism. This exploration is driven by the need for a contemporary values revolution as we ‐ as a species, as a planet ‐ face existential threats including climate emergency and terminal inequality. Can art be a generative site to work towards alternative ethics that privilege trans-subjective relations predicated on attentiveness and tending, on spending time, on holding space?

Asian Religions as Resources for Changing Mindsets

This paper argues that Asian religious traditions provide us with resources for alternative ethics and methodologies of resisting capitalist excesses and social-cultural intolerances towards more convivial and viable human futures. It draws inspiration from two major developments. First, the works of Prasenjit Duara (2015) and Joel S. Kahn (2015) that posit Asian religious traditions as resources for generating alternative ethics as well as contemplative and embodied ways of knowing that direct self and collective capacities to overcome environmental sustainability and social-cultural incompatibilities. Second, everyday politics of resisting religious bigotries in contemporary Malaysia that turn to spiritual traditions for mindful ways of minimizing, bridging or transcending irreducible ethno-religious differences.

Future Anthropology Ethics and Datafication: Temporality and Responsibility in Research

In this article, we argue for an ethics of big data that is embedded in the emergent processes through which data are made, interpreted, and mobilized in mundane everyday contexts and examine how this could potentially be played out in research practice. We situate this as a response to a current crisis in accountability that has arisen in the context of the use of digital data to inform societal interventions, which we propose calls for a future-oriented anthropological ethics situated in the ongoingness of life. Such a standpoint offers a revised approach to temporality and attends to the ethics of intervening and engaging with the uncertainty of what is as yet unknown rather than simply with an ethics of the past. It offers us an opportunity to think differently about big data and ethics and to create an alternative ethics for big data and their analysis.

Back for good: melodrama and the returning soldier in post-war Italian cinema

Italian neorealism is conventionally read as the authoritative cinematic chronicle of Italy’s experience of the Second World War and the Resistance. However, this article argues that viewing this period of Italian cinema solely through the lens of neorealism has obscured the importance of the affective charge of melodrama in constituting an alternative ethics of representation in the late 1940s and early 1950s in Italy, one that worked via an appeal to the emotions. It posits that the traumas of Fascism, war, occupation, and Resistance were worked through by Italian cinema after the war in a range of genres and modes, principally melodrama.By focusing on the figure of the returning soldier orreduce, and the films’ representation of a return to domestic disruption, the article examines how this domestic or romantic disruption stands in for what cannot be narrated, which is the ideological chaos of the Fascist and post-Fascist period. The article argues that the disturbance caused by thereduceto familial relations speaks to the Italian struggle to come to terms with aspects of its repressed war experience, particularly that of the Italian soldiers imprisoned abroad.