Virtual Reality and Immersive Representation in Recent Refugee Narratives

Virtual reality (VR) offers an exciting new way to represent crises of forced migration. Like many new technologies, though, VR risks exacerbating the challenges that exist in more traditional modes of representation, particularly that of documentary film. This essay examines two VR projects that depict migrants attempting to cross borders: Carne y Arena (Virtually Present, Physically Invisible) by Alejandro González Iñárritu and We Wait, co-produced by Aardman Studios and the BBC. The two projects differ in technique but share many characteristics as they attempt to encourage empathy in the viewer through the use of immersive technology.

Refugees and Migrants in Contemporary Film, Art and Media

Migration in the 21st century is one of the pre-eminent issues of our present historical moment, a phenomenon that has acquired new urgency with accelerating climate change, civil wars, and growing economic scarcities. Refugees and Migrants in Film, Art and Media consists of eleven essays that explore how artists have imaginatively engaged with this monumental human drama, examining a range of alternative modes of representation that provide striking new takes on the experiences of these precarious populations. Covering prominent art works by Ai Weiwei and Richard Mosse, and extending the spectrum of representation to refugee film workshops on the island of Lesvos as well as virtual reality installations of Alejandro G. Iñárritu and others, the chapters included here focus on the power of aesthetic engagement to illuminate the stories of refugees and migrants in ways that overturn journalistic clichés.

Where is the Queer? A case study of LGBTQ representation in Aotearoa New Zealand exhibitions

<p>Modern museums and galleries are cultural spaces that often participate in human rights advocacy and social activism. Exhibitions within these spaces are the physical manifestations of these ideologies, the way that institutions connect with their audiences and with the communities they purport to represent. ‘Where is the Queer?’ explores the ways that museums and galleries in Aotearoa represent queerness within their exhibitions, in various stages of the development process. This dissertation addresses a key gap in the literature by critically re-engaging with queerness, exploring the intersections between queer theory and museum theory in an area under-examined in New Zealand practice. This research was exploratory in nature, utilizing a credible multi-method case study approach to retrieve data from an ephemeral process, exhibition production. Archival documentary research provided the necessary background to the exhibitions’ development, as well as supporting evidence for various curatorial choices. Interviews with curators then established key areas of interest, including curatorial strategies, conceptual goals, tailored public programming, and their perspectives on issues with LGBTQ representation. The findings of this research show that exhibiting queerness is difficult terrain to negotiate, although museums and galleries generally aim to present and include a diversity of perspectives in a balanced way. However, the ways that queerness is represented also tend to rely on now outdated ideologies, such as an emphasis on gay men’s perspectives, reductive ‘coming-out’ narratives, and a neutral stance on the messages the exhibitions put forward. The comparative analysis of the cases points to the need for museums and galleries to engage more critically with queer history, theory and the community more broadly. In practice, this means greater levels of collaboration with the communities they hope to serve, taking a more activist approach that gives authority to queer voices throughout development. This is significant as queer communities become increasingly visible and celebrated in New Zealand society; representing these communities in public spaces needs to be a process in line with current ideas and not rely on defunct, overly simple, or potentially damaging modes of representation. This research therefore has applicability for both museum curatorial practice and a broader human rights movement, by challenging the sector within New Zealand and internationally to engage effectively with queer content.</p>

Where is the Queer? A case study of LGBTQ representation in Aotearoa New Zealand exhibitions

<p>Modern museums and galleries are cultural spaces that often participate in human rights advocacy and social activism. Exhibitions within these spaces are the physical manifestations of these ideologies, the way that institutions connect with their audiences and with the communities they purport to represent. ‘Where is the Queer?’ explores the ways that museums and galleries in Aotearoa represent queerness within their exhibitions, in various stages of the development process. This dissertation addresses a key gap in the literature by critically re-engaging with queerness, exploring the intersections between queer theory and museum theory in an area under-examined in New Zealand practice. This research was exploratory in nature, utilizing a credible multi-method case study approach to retrieve data from an ephemeral process, exhibition production. Archival documentary research provided the necessary background to the exhibitions’ development, as well as supporting evidence for various curatorial choices. Interviews with curators then established key areas of interest, including curatorial strategies, conceptual goals, tailored public programming, and their perspectives on issues with LGBTQ representation. The findings of this research show that exhibiting queerness is difficult terrain to negotiate, although museums and galleries generally aim to present and include a diversity of perspectives in a balanced way. However, the ways that queerness is represented also tend to rely on now outdated ideologies, such as an emphasis on gay men’s perspectives, reductive ‘coming-out’ narratives, and a neutral stance on the messages the exhibitions put forward. The comparative analysis of the cases points to the need for museums and galleries to engage more critically with queer history, theory and the community more broadly. In practice, this means greater levels of collaboration with the communities they hope to serve, taking a more activist approach that gives authority to queer voices throughout development. This is significant as queer communities become increasingly visible and celebrated in New Zealand society; representing these communities in public spaces needs to be a process in line with current ideas and not rely on defunct, overly simple, or potentially damaging modes of representation. This research therefore has applicability for both museum curatorial practice and a broader human rights movement, by challenging the sector within New Zealand and internationally to engage effectively with queer content.</p>

First-Person Shooters, Tunnel Warfare, and the Racial Infrastructures of the US–Mexico Bordere

Digital networked media actively participate in the nation-state’s and tech entrepreneurs’ efforts to imagine and manage the borderlands. These media facilitate virtual forms of thinking about the border both by offering popular reference points for the new technology being developed (e.g. Google Maps, Pokémon Go, Call of Duty) and by providing the actual tools through which these ideas can become actionable. This article analyzes one such reference point within the first-person shooter (FPS) console game Call of Juarez: The Cartel (Ubisoft, 2011). Like other border-themed video games, The Cartel borrows on colonial tropes and ideologies by creating playable narratives that invoke the untamable frontier and position racialized subjects as Other. Through its virtual modes of representation and interaction, the game encodes the racialization processes that continue to shape popular imaginings of the border. While its digital aesthetics animate a dynamic space of possibility, the logic of the first-person shooter reins in the expansiveness of animated space by restricting it to an interactive experience of tunnel warfare, an ideological orientation to the border underground that channels the players’ purposive motion into a space of direct confrontation and racial violence. Analyzing the narrative and procedural work of this ostensibly reactionary video game demonstrates how border infrastructures structure and shape specific forms of racial and colonial violence.

Shana Redmond. Everything Man: The Form and Function of Paul Robeson.

Shana Redmond tracks the ways Paul Robeson’s presence has travelled via recordings and other forms of capture. The author builds on Robeson’s diverse output to construct an interdisciplinary method, enabling a formal analysis of a range of materials and underscoring the interplay between modes of representation and Black life.

The Autobiographical Hinge: Revealing the self in architectural drawing

Some argue that the tendency to ignore the self as an aspect of the relationship between architects and their drawings is a consequence of the hegemony of digital modes of representation, others that it is inherent to traditional perspectival and projective techniques. It is in this repressive context that architects struggle to consider their subjectivity in relation to the drawings they produce. This article aims to divert this subjective distance by proposing a method for revealing the unconscious forces that abide between architects and architectural drawings. Through a comparative analysis of this intermediate space with the psychoanalyst Donald Winnicott’s theory of the Transitional Object, the author considers his own relationship to perspective drawing and materializes this through the production of a drawing apparatus titled: the autobiographical hinge. Bilaterally, the conception of this drawing apparatus is founded on examples of visual art practice that challenge the repressive qualities of linear perspective, this includes the work of Penelope Haralambidou (2003); Lawrence Gowing (1965) and Marion Milner (1950). In a time of dissolved agency for the architect, this article presents a method through which to mine one’s own relationship to architectural drawing, through which a disturbance to those codified regimes occurs as a consequence of one’s own subjectivity being recognized.

Epistemic Responsibility and the Literary Journalist

<p>The primary purpose of this thesis is to examine the role of epistemic responsibility in the practice of book-length literary journalism. Literary journalism offers a powerful alternative to mainstream journalism. Its narrative mode and storytelling techniques open possibilities of representation often closed by traditional reporting practices. Subsequently, literary journalists have attracted criticism for unorthodox modes of representation and attendant “truth claims” in many texts. In this thesis I draw on the work of epistemologist Lorraine Code to highlight the tension between the branches of ethics and epistemology, and argue that holding them apart for the purposes of explication yields important insights into the practice of literary journalism. I argue that criticism of literary journalism has at times conflated ethical and epistemic concerns, resulting in censure of the practitioner on primarily moral grounds. While such a critique is often valid, I propose that it can mislabel problematic cognitive processes as moral deficiencies. A re-examination of significant controversies raised by literary journalism shows disputed areas stemming from epistemic “blind spots”. These “blind spots” are often characterised as ethical lapses, but I argue that framing criticism in this way inhibits progress in sound practice. Recurring controversies over works by practitioners such as Janet Malcolm and Australia’s Helen Garner bear this out. I also offer close readings of three works of contemporary US literary journalism through their paratextual frames. The limits of transparency are demonstrated here, including the fact that disclosure can hide more than it illuminates. Code’s “epistemic responsibilist” approach is subsequently presented as an important addition to literary journalism scholarship, as it offers a sound foundation for reflexive practice—for both writers and critics. Using this approach, I offer critical readings of the “truth claims” in three contemporary US texts: Adrian Nicole LeBlanc’s Random Family (2003), Dave Cullen’s Columbine (2009) and Rebecca Skloot’s The Immortal Life of Henrietta Lacks (2010). A secondary aim of this thesis is to characterise contemporary Australian book-length literary journalism. Using Code’s concept of an “epistemic community”, I propose that the nature of national discourse influences the voice of the Australian literary journalist, as revealed by anxiety over representation in the texts under analysis. These texts highlight the pressures of subjectivity on truth, which results in a destabilisation of “truth claims”. In comparison with the US practitioners analysed, their three Australian counterparts analysed place less emphasis on disclosure transparency, and rely more heavily upon self-presentation as seekers, rather than discoverers, of knowledge and truth. I further maintain that these three texts represent a dominant national function of book-length literary journalism. Issues of national identity are bound up in the relationship between the land and its people, and are evident in the work of Margaret Simons, Chloe Hooper and Anna Krien, three of Australia’s most notable literary journalists. Through the lens of a civic dispute, each of these practitioners join one of the most pressing cultural issues in contemporary national discourse, that is, to explore what it means to be “Australian”.</p>

Epistemic Responsibility and the Literary Journalist

<p>The primary purpose of this thesis is to examine the role of epistemic responsibility in the practice of book-length literary journalism. Literary journalism offers a powerful alternative to mainstream journalism. Its narrative mode and storytelling techniques open possibilities of representation often closed by traditional reporting practices. Subsequently, literary journalists have attracted criticism for unorthodox modes of representation and attendant “truth claims” in many texts. In this thesis I draw on the work of epistemologist Lorraine Code to highlight the tension between the branches of ethics and epistemology, and argue that holding them apart for the purposes of explication yields important insights into the practice of literary journalism. I argue that criticism of literary journalism has at times conflated ethical and epistemic concerns, resulting in censure of the practitioner on primarily moral grounds. While such a critique is often valid, I propose that it can mislabel problematic cognitive processes as moral deficiencies. A re-examination of significant controversies raised by literary journalism shows disputed areas stemming from epistemic “blind spots”. These “blind spots” are often characterised as ethical lapses, but I argue that framing criticism in this way inhibits progress in sound practice. Recurring controversies over works by practitioners such as Janet Malcolm and Australia’s Helen Garner bear this out. I also offer close readings of three works of contemporary US literary journalism through their paratextual frames. The limits of transparency are demonstrated here, including the fact that disclosure can hide more than it illuminates. Code’s “epistemic responsibilist” approach is subsequently presented as an important addition to literary journalism scholarship, as it offers a sound foundation for reflexive practice—for both writers and critics. Using this approach, I offer critical readings of the “truth claims” in three contemporary US texts: Adrian Nicole LeBlanc’s Random Family (2003), Dave Cullen’s Columbine (2009) and Rebecca Skloot’s The Immortal Life of Henrietta Lacks (2010). A secondary aim of this thesis is to characterise contemporary Australian book-length literary journalism. Using Code’s concept of an “epistemic community”, I propose that the nature of national discourse influences the voice of the Australian literary journalist, as revealed by anxiety over representation in the texts under analysis. These texts highlight the pressures of subjectivity on truth, which results in a destabilisation of “truth claims”. In comparison with the US practitioners analysed, their three Australian counterparts analysed place less emphasis on disclosure transparency, and rely more heavily upon self-presentation as seekers, rather than discoverers, of knowledge and truth. I further maintain that these three texts represent a dominant national function of book-length literary journalism. Issues of national identity are bound up in the relationship between the land and its people, and are evident in the work of Margaret Simons, Chloe Hooper and Anna Krien, three of Australia’s most notable literary journalists. Through the lens of a civic dispute, each of these practitioners join one of the most pressing cultural issues in contemporary national discourse, that is, to explore what it means to be “Australian”.</p>

Materiality, mediation and affective encounters: ‘Rising Phoenix’ and the cultural representation of disability

Paralympic and Para sport representation has provided an important cultural site from which to explore the role of popular disability media in shaping everyday disability knowledge(s) through relations of power, ideology and meaning. Yet limited attention has been afforded to the affective dimensions of Para sport media that may help extend our understanding of its performative power on audiences. In critique of the recent Netflix Paralympic documentary film, ‘Rising Phoenix’, this article affords particular attention to the production of disability affects through the cinematic entanglement of things, bodies and language that work to involve audiences on an affective, emotional and sensorial level. Drawing on Sara Ahmed's (2004) cultural politics of emotion, it is argued that the film produces an economy of disability affects that contribute to the qualitative affective qualities of the film yet operate to (re-)configure sites of disabled normativity, gendered disability relations and nourish ‘supercrip’ and ‘medico-tragedy’ disability narratives. Attention is paid to the implications of this and the role of sport documentary film more widely in generating affective modes of representation for marginalised sporting groups.