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and cultural context. Architects are meant to focus on the unique appropriateness of a single design, carefully tailored to a situation. Architects are meant to consider the ‘softer’ side of shelter, looking at the quality of the space and the sensitivity of the aesthetics. Architects are trained to think about homes as deeply contextual, rooted in iterative processes of design. The result may indeed by utopian and unworkable, but it is very different from the work of innovators and
, film, graphic materials, and museums. Harnessing diverse methodological approaches to the variety of those visual formats ( de Laat and Gorin, 2016 ; Kurasawa, 2015 ; Lenette, 2016 ), each of the contributions asks how the specific logics, demands, languages, and aesthetics of those media framed historical ways of presenting, seeing, and engaging with suffering. One important finding emerging from those inquiries is that each of those visual media – including the individuals behind them – shaped
pictures to produce an immersive spectacle, relying on the cinematic realism of non-fiction movies to increase the ‘perceptual experience’ and the ‘aesthetics of astonishment’ of the viewers ( Crawford-Holland, 2018 ). Back in the 1920s, ‘cinema … “virtually” extended human perceptions to events and locations beyond their physical and temporal bounds’ ( Uricchio, 1997 : 119). Humanitarian cinema thus participated in transnational campaigns aiming to mobilize and sensitize national audiences. More specifically, these movies also advocated on behalf of distant
the World , for instance, promised ‘photographs of the family and its home’ that provided an ‘objective look into each family’s environment. There are no concessions to aesthetics or technique there. The photographs reveal the hard facts of life, and, in doing so, help us grasp the increasing depth of the chasm separating peoples and nations’ ( Tremblay, 1988 : preface). The authors of the psychopedagogical guide warned that the exposure of children to images of the Global South was to be done in a relation of trust. The pupils’ sense of honesty and fairness
: Oxford University Press, 1985. 43 Chris Darke, ‘Desert of the Disappeared’. 44 Martin-Jones, ‘Archival Landscapes and a Non-Anthropocentric “Universe Memory”’, 707. 45 For a summary of this context, see Kaitlin M. Murphy, ‘Remembering in Ruins: Touching, Seeing and Feeling the Past in Nostalgia De La Luz/Nostalgia for the Light ([2010] 2011).’ Studies in Spanish & Latin American Cinemas 13, no. 3 (2016): 265–81. 46 Jacques Rancière, The Politics of Aesthetics: The Distribution of the Sensible. Translated by Gabriel Rockhill. London: Continuum, 2004: 63. 47 Ruiz
degree of protection. The city is a fluid entity, often viewed through the lens of networks that go some way into ordering life.3 Beyond this, the aesthetics of a city can be used to develop a national identity, which also brings about exclusion. Decisions over infrastructural and development projects are taken for political reasons, driven by domestic and regional concerns, yet impacting on the lives 126 126 Houses built on sand of citizens and non-citizens within states and across space. This chapter explores the role of urban environments as sites of sovereign
This book focuses on the paradoxical character of law and specifically concerns the structural violence of law as the political imposition of normative order onto a "lawless" condition. The paradox of law which grounds and motivates Christoph Menke's intervention is that law is both the opposite of violence and, at the same time, a form of violence. The book develops its engagement with the paradox of law in two stages. The first shows why, and in what precise sense, the law is irreducibly characterized by structural violence. The second explores the possibility of law becoming self-reflectively aware of its own violence and, hence, of the form of a self-critique of law in view of its own violence. The Book's philosophical claims are developed through analyses of works of drama: two classical tragedies in the first part and two modern dramas in the second part. It attempts to illuminate the paradoxical nature of law by way of a philosophical interpretation of literature. There are at least two normative orders within the European ethical horizon that should be called "legal orders" even though they forego the use of coercion and are thus potentially nonviolent. These are international law and Jewish law. Understanding the relationship between law and violence is one of the most urgent challenges a postmodern critical legal theory faces today. Self-reflection, the philosophical concept that plays a key role in the essay, stands opposed to all forms of spontaneity.
This book examines the relationship between environmental justice and citizen science, focusing on enduring issues and new challenges in a post-truth age. Debates over science, facts, and values have always been pivotal within environmental justice struggles. For decades, environmental justice activists have campaigned against the misuses of science, while at the same time engaging in community-led citizen science. However, post-truth politics has threatened science itself. This book makes the case for the importance of science, knowledge, and data that are produced by and for ordinary people living with environmental risks and hazards. The international, interdisciplinary contributions range from grassroots environmental justice struggles in American hog country and contaminated indigenous communities, to local environmental controversies in Spain and China, to questions about “knowledge justice,” citizenship, participation, and data in citizen science surrounding toxicity. The book features inspiring studies of community-based participatory environmental health and justice research; different ways of sensing, witnessing, and interpreting environmental injustice; political strategies for seeking environmental justice; and ways of expanding the concepts and forms of engagement of citizen science around the world. While the book will be of critical interest to specialists in social and environmental sciences, it will also be accessible to graduate and postgraduate audiences. More broadly, the book will appeal to members of the public interested in social justice issues, as well as community members who are thinking about participating in citizen science and activism. Toxic Truths includes distinguished contributing authors in the field of environmental justice, alongside cutting-edge research from emerging scholars and community activists.
capitalist ones. Aesthetic critique adds to this the idea that progressive reinscriptions also have consequences that extend beyond practical alterations to the performance of the technology, to change the values operative in technology design and thereby alter the meaning of technology as a social institution. Feenberg argues that there is an inherent affinity between progressive technical politics and the aesthetics of naturalistic modernism, and that design changes inspired by this association will bring about the kind of profound cultural transformation necessary to
let me return to this later. First, I want to make more explicit something that I hope my readers already appreciate: I know that Cavell is not d’Alembert. In putting one in the place of another, I do not mean to imply that their theories overlap in every detail. While d’Alembert was a sophisticated man, his aesthetics would be hard to defend today. He did indeed seem to possess