The essence of life in an oligarchy like George Orwell presents in '1984' is that freedom of choice is virtually non-existent. But what happens when so many trivial and meaningless choices inundate a culture such as our own and freedom itself becomes devalued? In 'A Do-It-Yourself Dystopia', through a variety of essays, Steven Carter addresses this and other issues in a wide-ranging search for hidden oligarchies of the American self.

Situationist critique has transformed art into a practice of the everyday. Punks have added themselves to that massing of self-organised groups committed to subverting the means of mass communication. In underground circles, video art and sound systems have done the rest. The internet has been able to extend counter-culture across the world. On 18th June 1999 several financial centres, most notably London, were attacked by the multi-coloured masks of Reclaim the Streets and other disparate groups who have multiplied their (...) joyful activities for a couple of years. net.art relays these carnivals through the self-expression of these insurgent multitudes. (shrink)

The emergence of Do-It-Yourself science movements is becoming a topic widely discussed in academia and policy, as well as by the general public and the media. While DIY approaches enjoy increasing diffusion even in official research, different social actors frequently talk about them in different ways and circumstances. Interaction and negotiation processes amongst actors define the premises upon which different conceptualisations of DIY science are deployed.

In contemporary social epistemology, the claim has been made that there is a traditional “neglect of testimonial knowledge,” and that in the history of epistemology, first-hand self-knowledge was invariably prioritised over secondary knowledge. While this paper acknowledges some truth in these statements, it challenges the given explanations: the mentioned neglect of testimonial knowledge is based not so much on a primacy of self-knowledge, but that of self-agency. This article retraces some crucial chapters of this ‘do-it-yourself’ paradigm: it considers the (...) imperative of autopsia in early Greek epistemology, history and medicine, and the early modern refashioning of the privilege of self-generated and self-taught (autodidactic) knowledge. A new picture emerges of how the emphasis on (self-)agency progressively shifted towards a focus on the self as the source of ultimate knowledge. (shrink)

One of the virtues of Fred Dretske's recent work has been the salutary openness with which he has described the motivations he discovers controlling his thought, and this candor has brought a submerged confusion close to the surface. Since this confusion is widely shared by philosophers and others working on the problem of content ascription, an analysis of its influence on Dretske will at the same time illuminate the difficulties it is creating for other writers.

The encounter of amateur science with synthetic biology has led to the formation of several amateur/do‐it‐yourself biology (DIYBio) groups worldwide. Although media outlets covered DIYBio events, most seemed only to highlight the hope, hype, and horror of what DIYBio would do in the future. Here, we analyze the European amateur biology movement to find out who they are, what they aim for and how they differ from US groups. We found that all groups are driven by a core leadership (...) of (semi‐)professional people who struggle with finding lab space and equipment. Regulations on genetic modification limit what groups can do. Differences between Europe and the US are found in the distinct regulatory environments and the European emphasis on bio‐art. We conclude that DIYBio Europe has so far been a responsible and transparent citizen science movement with a solid user base that will continue to grow irrespective of media attention. (shrink)

Many social media platforms enable (nearly) anyone to post (nearly) anything. One clear downside of this permissiveness is that many people appear bad at determining who to trust online. Hacks, quacks, climate change deniers, vaccine skeptics, and election deniers have all gained massive followings in these free markets of ideas, and many of their followers seem to genuinely trust them. At the same time, there are many cases in which people seem to reliably determine who to trust online. Consider, for (...) example, Do It Yourself (DIY) content about how to play guitar, bake, fix one’s plumbing, or repair one’s car. For these topics, those who have the largest accounts and the most popular content typically possess significant expertise. That is, social media users seem to reliably pick out DIY experts. We thus have a puzzle: why are social media users seemingly competent at identifying DIY experts, but not climate science or vaccine experts? In what follows, we solve this puzzle. We begin by identifying a novel wisdom of the crowds phenomenon: specifically we argue that the crowd (in combination with social media search and recommendation algorithms) reliably picks out DIY experts and serves as a credentialing institution for DIY content. Next, we argue that (a) there are five epistemic factors that determine whether the crowd can succeed at recognizing experts on social media platforms, and (b) while many of those factors are satisfied to a sufficiently high degree by DIY content, they are mostly lacking for content about climate change or vaccines. (shrink)

ABSTRACT Drawing on limited ethnographic fieldwork conducted in 2009 and 2010, this article analyzes how the idioms of “craft” and “handmaking” are being evoked and imagined in Detroit. Because of a recent flurry of journalistic accounts of artists, makers, and entrepreneurs flocking to the city’s industrial ruins, Detroit has reemerged in the public imaginary as a utopic “blank canvas”: an empty space waiting to be inscribed and transformed by the arrival of a new creative class. In this narrative of transforming (...) the “Motor City” into “Maker City,” the future of the not-quite-postindustrial city rests in the hands of those willing and able to do-it-themselves. While urban farming, artist collectives, hackerspaces, and business start-ups are all part of this narrative, here I focus primarily on the gendered domestic arts, craft fairs, and in particular the work of an all-female grassroots collective of makers called Handmade Detroit. Interrogating the intersections between postfeminist and post-Fordist subjectivities that emerge in and through the narratives, spaces, and practices of the “indie” crafting community in Detroit, I argue that pleasure and self-fulfillment are often exchanged for what might otherwise be felt to be unstable, precarious, and even exploitive work. Finally, this article explores how the transformative rhetoric of DIY often espouses values of pleasure, autonomy, and choice, reproducing neoliberalist rationalities and limiting the political potential of craft and community activism in Detroit. (shrink)

This article draws on Claude Lévi-Strauss and Michel de Certeau’s theorizations of bricolage in order to explore Bernard Stiegler’s philosophical practice. Taking as its point of departure the elements of intellectual biography provided by Stiegler in Acting Out (2009), it explores his (re)deployment of existing philosophical concepts and the sedimentary nature of his own thought. The article then moves to consider the presence of concepts and practices of mystagogy in Taking Care of Youth and the Generations (2010), arguing that these (...) are a restaging of the dynamics of Acting Out on a collective, rather than an individual scale. Ultimately, the article turns to Stiegler’s late aesthetic writing to explore how his theorization of the roles of amateur and artist might point us towards the lineaments of his unfinished “mystagogy.”. (shrink)

Wearable sensors are an integral part of the new telemedicine concept supporting the idea that Information Technologies will improve the quality and efficiency of healthcare. The use of sensors in diagnosis, treatment and monitoring of patients not only potentially changes medical practice but also one’s relationship with one’s body and mind, as well as the role and responsibilities of patients and healthcare professionals. In this paper, we focus on knowledge assessment of the online communities of Fitbit and the Quantified Self (...) movement. Through their online forums, we investigate how users’ knowledge claims, shared experiences and imaginations about wearable sensors interrogate or confirm the narratives through which they are introduced to the publics. Citizen initiatives like the Quantified Self movement claim the right to ‘own’ the sensor generated data. But how these data can be used through traditional healthcare systems is an open question. More importantly, wearable sensors trigger a social function that is transformative of the current idea of care and healthcare, focused on sharing, socialising and collectively reflecting about individual problems. Whether this is aligned with current policy making about healthcare, whose central narrative is focused on efficiency and productivity, is to be seen. (shrink)

This essay develops its idiosyncrasy by concentrating primarily on the trend of body hacking. The practitioners, self-defined as body hackers, self-made cyborgs or grinders, work in different ways to develop functional and physiological modifications through the contributions of technology. Their goal is to develop by themselves an empirically man-technique fusion. These dynamic “scientific” subcultures are producing astonishing innovations. From pocket-sized kits that sample human DNA, microchip implants that keep tabs on our internal organs, blood sugar levels or moods, and even (...) 3D printers that produce tailored hip replacements, the technical innovations of the body hacking trend are beginning to filter into mainstream use, and the repertoire increases every day. These physical transformations with intersecting techniques actively challenge long-held normative beliefs about what bodies do, what they should look like and how they should behave. They provide an alternative discourse on man’s correlation with the world and its biocenosis. Sculpting oneself has become an existential data. Medical technoscience crystallizes the effectiveness of new powers over the organism. Scientific temptation to recreate and enhance the human according to its normative principles has brought up experimental practices that have become the edge of a radical activism operating in the core of western societies, which will be the theme of this paper. (shrink)

Do-It-Yourself biology or DIYbio aims to open the field of molecular biology to all who are interested by showing that it can be done within one’s own garage or by opening community labs. In this sense it can be considered as one of the contemporary shapes of citizen or ‘amateur’ science. A great part of the existing literature focuses on how these cases can be seen as the sign of a democratization of science. However, within these studies it is (...) often forgotten that many of the members of the movements such as DIYbio are well-trained scientists with PhDs and other official credentials. Not only can this fact problematize the claims made by these studies, but it is also something that they cannot explain. Why do certified rocket scientists feel the need to design rockets outside of the official institutions? Why do biologists with a PhD stop their training and start tinkering in their basements? Beyond a general introduction to DIYbio, this paper aims to do three things. First of all it aims to analyze the phenomenon at the level of discourse, mainly focusing on the anti-institutional element of DIYbio. Rather than seeing this citizen science as merely a form of the democratization of the sciences, its origins lay within a deep-rooted critique on existing institutions such as the universities and the biotech industry. Secondly, these discourses are contrasted conceptually with the possible historical origins of the movement, ranging from synthetic biology, hackerspaces to the biotech industry itself. The central question will be: even if at a discourse level they present themselves as the renaissance of biology, are there other tendencies, histories and origins present in their practices? Thirdly, an attempt will be made to sketch possible future scenarios of DIYbio, based on personal experiences of setting up and maintaining a DIYbio lab and community, insights as a member of the global DIYbio movement and experience in implementing professional services in the DIYbio and maker sphere. Three observations will be at the core of this discourse. Firstly, DIYbio today encompasses many different kinds of initiatives that practise biosciences in new ways, all as a mutation on its initial conception in 2008. Local groups that started out similarly, diversified over the years according the intentions of the local communities. Secondly, more and more attempts at professionalising are being made in older communities. An anti-institutional element is often kept and used as a competitive advantage against the establishment. Finally, DIYbio benefits from developments in the sharing economy and growing freelance culture. How do these factors work together and do they have the potential for systemic change? (shrink)

Background In the early 2010s, a phenomenon known as do-it-yourself (DIY) fecal microbiota transplant (FMT) emerged as lay individuals began self-administering FMTs at home. Although prior research indicates that many individuals who perform DIY FMT have sought advice from healthcare providers, to date there has been no investigation of physicians’ experiences with DIY FMT. The objective of this qualitative study was to examine the attitudes of physicians who offer FMT regarding the practice of DIY FMT and to assess how (...) they navigated the ethical challenges of patient requests for DIY FMT.Methods We recruited physicians listed on two patient-created online databases of FMT providers. All physicians who indicated having been approached for advice about DIY FMT were included in the study. Semi-structured interviews with physicians explored their attitudes toward and experiences with DIY FMT.Results Of 18 physicians interviewed, one reported having provided counsel in response to an initial patient inquiry about DIY FMT, 2 indicated they explicitly advised against DIY FMT and refused to provide advice, and 15 fell in a middle category of discouraging DIY FMT and discussing reasons why. Among the physicians in this third category, four reported that they had changed their approach to providing counsel in response to a patient telling them they were going to perform DIY FMT anyway.Conclusions Physicians in our study employed a wide range of strategies for promoting safety in the DIY FMT context, from explicitly advising against the procedure to the provision of guidance aimed at mitigating potential harms. While there has been increasing attention to the practices of DIY medicine, this study underscores the need for greater attention to the ethically complex situations that physicians face when patients request guidance for unapproved at-home treatments. (shrink)

The key expressionta hautou prattein, "to do one's own," has two opposite meanings in Plato's Republic: to perform for oneself all tasks required to meet one's own needs (2.370a); or to specialize exclusively in one task, leaving others to other specialists (4.433a and thenceforward). The former sense also appears in Charmides 161e-162a, with a list of tasks that closely matches that atHippias Minor 386b-c. Given these contexts, the inconsistency in Plato's usage in Republic suggests an answer to the teaching of (...) the sophist Hippias, that the goal of life is self-sufficiency though mastery of many specialized crafts. (shrink)

Transcranial direct current stimulation (tDCS), a simple means of brain stimulation, possesses a trifecta of appealing features: it is relatively safe, relatively inexpensive and relatively effective. It is also relatively easy to obtain a device and the do-it-yourself (DIY) community has become galvanised by reports that tDCS can be used as an all-purpose cognitive enhancer. We provide practical recommendations designed to guide balanced discourse, propagate norms of safe use and stimulate dialogue between the DIY community and regulatory authorities. We (...) call on all stakeholders—regulators, scientists and the DIY community—to share in crafting policy proposals that ensure public safety while supporting DIY innovation. (shrink)

Today, DIY -- do-it-yourself -- describes more than self-taught carpentry. Social media enables DIY citizens to organize and protest in new ways and to repurpose corporate content in order to offer political counternarratives. This book examines the usefulness and limits of DIY citizenship, exploring the diverse forms of political participation and "critical making" that have emerged in recent years. The authors and artists in this collection describe DIY citizens whose activities range from activist fan blogging and video production to (...) knitting and the creation of community gardens. Contributors examine DIY activism, describing new modes of civic engagement that include Harry Potter fan activism and the activities of the Yes Men. They consider DIY making in learning, culture, hacking, and the arts, including do-it-yourself media production and collaborative documentary making. They discuss DIY and design and how citizens can unlock the black box of technological infrastructures to engage and innovate open and participatory critical making. And they explore DIY and media, describing activists' efforts to remake and reimagine media and the public sphere. As these chapters make clear, DIY is characterized by its emphasis on "doing" and making rather than passive consumption. DIY citizens assume active roles as interventionists, makers, hackers, modders, and tinkerers, in pursuit of new forms of engaged and participatory democracy. _Contributors_Mike Ananny, Chris Atton, Alexandra Bal, Megan Boler, Catherine Burwell, Red Chidgey, Andrew Clement, Negin Dahya, Suzanne de Castell, Carl DiSalvo, Kevin Driscoll, Christina Dunbar-Hester, Joseph Ferenbok, Stephanie Fisher, Miki Foster, Stephen Gilbert, Henry Jenkins, Jennifer Jenson, Yasmin B. Kafai, Ann Light, Steve Mann, Joel McKim, Brenda McPhail, Owen McSwiney, Joshua McVeigh-Schultz, Graham Meikle, Emily Rose Michaud, Kate Milberry, Michael Murphy, Jason Nolan, Kate Orton-Johnson, Kylie A. Peppler, David J. Phillips, Karen Pollock, Matt Ratto, Ian Reilly, Rosa Reitsamer, Mandy Rose, Daniela K. Rosner, Yukari Seko, Karen Louise Smith, Lana Swartz, Alex Tichine, Jennette Weber, Elke Zobl. (shrink)

Devices that record from and stimulate the brain are currently available for consumer use. The increasing sophistication and resolution of these devices provide consumers with the opportunity to engage in do-it-yourself brain research and contribute to neuroscience knowledge. The rise of do-it-yourself (DIY) neuroscience may provide an enriched fund of neural data for researchers, but also raises difficult questions about data quality, standards, and the boundaries of scientific practice. We administered an online survey to brain–computer interface (BCI) researchers (...) to gather their perspectives on DIY brain research. While BCI researcher concerns about data quality and reproducibility were high, the possibility of expert validation of data generated by citizen neuroscientists mitigated concerns. We discuss survey results in the context of an established ethical framework for citizen science, and describe the potential of constructive collaboration between citizens and researchers to both increase data collection and advance understanding of how the brain operates outside the confines of the lab. (shrink)

This article offers a descriptive and analytic view of the different stages leading to the constitution of a corpus that is representative of the issues of climate and energy justice. Overall, the corpus contains over five million words and gathers reports, newsletters and web-pages dealing with the most equitable ways of moving to a low-carbon future in the aim of limiting climate change. It can be divided into six sub-corpora, according to types of discourse communities, and methods of constitution. We (...) begin by presenting the small Do It Yourself (DIY) corpora which were used as a starting point. Three discourse communities were selected to observe possible variation in their treatment of the issue: Non-Governmental Organisations (NGOs), United-Nation institutions, and the Renewable Energy Sector (RES). The sources are selected according to author, date, keywords in title. Using the concordance Antconc and WMatrix software we test the reliability of the corpora for their thematic content, terminology and lexical unit classification. Our first results enable us to confirm variation between the discourse communities. The discrepancy in sizes and the time-consuming nature of the initial DIY corpus constitution lead us to use BootCat to extend them, using keywords from the corpora as seeds to retrieve and download webpages. We thus contrast a more traditional approach to corpus building to web-as-corpus data gathering methods. We compare the results found in the BootCat corpora to test if they are as specific as those in the DIY corpora. This enables us to draw conclusions on the possible uses and advantages of relatively small corpora for the study of specialised discourse. (shrink)

How do we judge whether we should be willing to follow the views of experts or whether we ought to try to come to our own, independent views? This book seeks the answer in medieval philosophical thought. In this engaging study into the history of philosophy and epistemology, Peter Adamson provides an answer to a question as relevant today as it was in the medieval period: how and when should we turn to the authoritative expertise of other people in forming (...) our own beliefs? He challenges us to reconsider our approach to this question through a constructive recovery of the intellectual and cultural traditions of the Islamic world, the Byzantine Empire, and Latin Christendom. Adamson begins by foregrounding the distinction in Islamic philosophy between taqlid, or the uncritical acceptance of authority, and ijtihad, or judgment based on independent effort, the latter of which was particularly prized in Islamic law, theology, and philosophy during the medieval period. He then demonstrates how the Islamic tradition paves the way for the development of what he calls a "justified taqlid," according to which one develops the skills necessary to critically and selectively follow an authority based on their reliability. The book proceeds to reconfigure our understanding of the relation between authority and independent thought in the medieval world by illuminating how women found spaces to assert their own intellectual authority, how medieval writers evaluated the authoritative status of Plato and Aristotle, and how independent reasoning was deployed to defend one Abrahamic faith against the other. This clear and eloquently written book will interest scholars in and enthusiasts of medieval philosophy, Islamic studies, Byzantine studies, and the history of thought"-- Back cover. (shrink)

There was a time when we could debate the “usefulness” of the Humanities and praise the “practicality” of study in natural science or the social sciences. That day is gone forever, destroyed by the cultural revolution in American life that has raised every aspect of the humanities to a question of primary importance. When values and customs and styles of life were fixed and taken for granted, then exploring humanistic studies could be considered a luxury. Today, with every accepted value (...) in question and under challenge, to teach skill in the humanities becomes all important if life is to regain any stability. All of our inherited values and rituals have now been placed on a “do it yourself” basis. That is, if we do not learn how to create a civilization again, we will not have one. (shrink)

In visually cataloging the endearing and enigmatic ways in which the built environment takes shape, 'Best Practices' proposes a new way of thinking about neighbourhoods, housing developments, streetscapes, and storefronts, not so much as places defined by building codes, dimensions, or geographic features, but as assemblages of ad hoc interventions and incidental ephemera. Drawing on the history of architecture, media theory, cultural anthropology, and urban studies, 'Best Practices' pairs photographic documentation with extensive captions and citations to define a territory within (...) the margins between the sanctioned and unsanctioned, the regulated and unregulated, the tasteful and tacky, the novel and the nonsense. While not necessarily in opposition of those mechanisms, Best Practices asserts that interest, knowledge, and meaning are more often generated on the lines that divide such categories. This book advocates for a more thorough consideration of the unauthorised remodels, slap-dash handiwork, haphazard paint jobs, half-hearted do-it-yourself projects, cracked facades, contradictions, compromises, and coincidences. (shrink)

How social media and DIY communities have enabled new forms of political participation that emphasize doing and making rather than passive consumption. Today, DIY—do-it-yourself—describes more than self-taught carpentry. Social media enables DIY citizens to organize and protest in new ways and to repurpose corporate content in order to offer political counternarratives. This book examines the usefulness and limits of DIY citizenship, exploring the diverse forms of political participation and “critical making” that have emerged in recent years. The authors and (...) artists in this collection describe DIY citizens whose activities range from activist fan blogging and video production to knitting and the creation of community gardens. Contributors examine DIY activism, describing new modes of civic engagement that include Harry Potter fan activism and the activities of the Yes Men. They consider DIY making in learning, culture, hacking, and the arts, including do-it-yourself media production and collaborative documentary making. They discuss DIY and design and how citizens can unlock the black box of technological infrastructures to engage and innovate open and participatory critical making. And they explore DIY and media, describing activists' efforts to remake and reimagine media and the public sphere. As these chapters make clear, DIY is characterized by its emphasis on “doing” and making rather than passive consumption. DIY citizens assume active roles as interventionists, makers, hackers, modders, and tinkerers, in pursuit of new forms of engaged and participatory democracy. Contributors Mike Ananny, Chris Atton, Alexandra Bal, Megan Boler, Catherine Burwell, Red Chidgey, Andrew Clement, Negin Dahya, Suzanne de Castell, Carl DiSalvo, Kevin Driscoll, Christina Dunbar-Hester, Joseph Ferenbok, Stephanie Fisher, Miki Foster, Stephen Gilbert, Henry Jenkins, Jennifer Jenson, Yasmin B. Kafai, Ann Light, Steve Mann, Joel McKim, Brenda McPhail, Owen McSwiney, Joshua McVeigh-Schultz, Graham Meikle, Emily Rose Michaud, Kate Milberry, Michael Murphy, Jason Nolan, Kate Orton-Johnson, Kylie A. Peppler, David J. Phillips, Karen Pollock, Matt Ratto, Ian Reilly, Rosa Reitsamer, Mandy Rose, Daniela K. Rosner, Yukari Seko, Karen Louise Smith, Lana Swartz, Alex Tichine, Jennette Weber, Elke Zobl. (shrink)

This article examines two interrelated aspects of Mexican regional music response to the coronavirus crisis in the música huasteca community: the growth of interactive huapango livestreams as a preexisting but newly significant space for informal community gathering and cultural participation at the onset of the coronavirus pandemic, and the composition of original verses by son huasteco performers addressing the pandemic. Both the livestreams and the newly created coronavirus disease verses reflect critical improvisatory approaches to the pandemic in música huasteca. The (...) interactive livestreams signaled an ad hoc community infrastructure facilitated by social media and an emerging community space fostered by Do-It-Yourself activists. Improvised COVID-related verses presented resonant local and regional themes as a community response to a global crisis. Digital ethnography conducted since March 2020 revealed a regional burst of musical creativity coupled with DIY intentionality, a leveling of access to virtual community spaces, and enhanced digital intimacies established across a wide cultural diaspora in Mexico and the USA. These responses were musically, poetically, and organizationally improvisational, as was the overall outpouring of the son huasteco music inspired by the coronavirus outbreak. Son huasteco is a folk music tradition from the Huasteca, a geo-cultural region spanning the intersection of six states in central Mexico. This study examines a selection of musical responses by discussing improvisational examples in both Spanish and the indigenous language Nahuatl, and in the virtual musical communities of the Huasteca migrant diaspora in digital events such as “Encuentro Virtual de Tríos Huastecos,” the “Huapangos Sin Fronteras” festival and competition, and in the nightly gatherings on social media platforms developed during the pandemic to sustain the Huastecan cultural expression. These phenomena have served as vibrant points of transnational connection and identity in a time where physical gatherings were untenable. (shrink)

Hip hop artists are early adopters of digital media in the township areas of Grahamstown. This article describes the emergence of particular media ecologies that depend on a do-it-yourself ethic where young people are always ‘hustling’ to get hold of data bundles, software and computer parts, and assembling them in novel ways. This mobile-first generation are increasingly adopting desktop and laptop computers to supplement their media production, and could provide insights into the evolution of low-income digital media practices and (...) the transition from mobile-only to mobile-first (computer-second) practices, as well as how the computer’s increased affordances for production influence such digital media practices. Living in backyard shacks made from corrugated iron and mud, where there are makeshift electrical connections criss-crossing the roof and no flowing water inside, here there is indeed Internet connectivity, although exclusively through the mobile phone. These hip hop artists are supported by various digital service providers, such as WAP-site designers who hack together sites that function both to promote and distribute local media as well as pirated content, to backyard computer repairers who cannibalize parts from discarded old PCs to create workable township machines. This article will provide a digital ethnography of these young people and how they work collectively to record and mix music, design posters, album covers and avatars, and then distribute these through their phones via Bluetooth and online social media. The article will tie these digital practices to the identity formation of these young people, who resist ­succumbing to the despair of unemployment through embracing notions of themselves as artists, hustlers and ‘explorers of technology’, identities they attribute to the local culture of hip hop music production and its values of consciousness, creativity and resilience. (shrink)

Por meio dos fragmentos de narrativas da trajetória da musicista e ativista Kathleen Hanna, pioneira do movimento Riot Grrrl, remontamos, a partir do documentário The Punk Singer, a terceira onda do movimento feminista, evidenciando a interseccionalidade e protagonismo juvenil. Através de fanzines, arte, colagens, letras de música, performances e formação de bandas a partir de uma filosofia punk do it yourself (DIY), salientamos a ampla contribuição de Hanna para o feminismo contemporâneo ao desafiar um cenário opressor dentro do movimento (...) punk, estimulando o surgimento de outras iniciativas feministas, rebeldes e riot grrrls. Sua prática e performance artística são abordadas pelo viés das culturas DIY e remix, potencializando partilhas do sensível e politicidades no engajamento de subjetividades que superam a contenção dos imaginários vigentes.Palavras-chave: Feminismo. Riot Grrrl. Kathleen Hanna. Cultura remix. Imaginário político. AbstractThrough fragments of narratives gathered from the documentary The Punk Singer, based on the life and career of musician and activist Kathleen Hanna, pioneer of the Riot Grrrl movement, we refer to the third wave of the feminist movement, by demonstrating the dimensions of intersectionality and youth protagonism within her work. Ranging from fanzines, art, collages and lyric-making to performance and music groups based on a punk "do it yourself" (DIY) philosophy, we highlight Hanna's broad contribution to contemporary feminism by challenging an oppressive scenario within the punk movement, and by stimulating the emergence of other feminist, rebel and riot grrrls initiatives. Her artistic practice and performance are analyzed through the bias of DIY and remix cultures, thus potentializing distributions of the sensible and politicities in the engagement of subjectivities that surpass the containment of current imaginaries.Keywords: Feminism. Riot Grrrl. Kathleen Hanna. Remix culture. Political imaginary. (shrink)

Ayahuasca is a psychoactive beverage that is mostly used in ritualized settings (Santo Daime rituals, neo-shamanic rituals, and even do-it-yourself-rituals). It is a common practice in the investigated socio-cultural field to call these settings “healing rituals.” For this study, 15 people who underwent ayahuasca (self-)therapy for a particular disease like chronic pain, cancer, asthma, depression, alcohol abuse, or Hepatitis C were interviewed twice about their subjective concepts and beliefs on ayahuasca and healing. Qualitative data analysis revealed a variety of (...) motivational patterns, subjective effects, and user types. Most participants were convinced that ayahuasca had influenced their illness positively or improved their coping with their illness. More importantly, it had enhanced their well being in general. As a result, we concluded that the effects of ayahuasca should not be reduced to a pharmacological model. The substance should be conceptualized as a psychological catalyst that unfolds within different fields of sociocultural ideas. (shrink)

Recent years have seen the development of a new trend in gastronomic discourse toward acknowledging and even valorizing the role of animal slaughter in meat production. This development problematizes some of the ideas of influential theorists of meat such as Fiddes and Adams : namely, that the animal in modernity has been rendered invisible in the process of meat production and consumption , and that meat itself is a commodity with a declining reputation . This paper analyzes the role of (...) nostalgia in this trend toward do-it-yourself slaughter, and takes these developments in cultural tastes and feelings as a context within which to analyze the special significance of meat in Margaret Atwood's Oryx and Crake. In identifying this burgeoning nostalgia for meat and contextualizing it within a risk-reflexive, consumer-driven, dystopian near-future society of the author's own devising, Oryx and Crake foregrounds and illuminates these real-world developments in the meanings of meat. (shrink)

This article investigates the extent to which the emerging trend of do-it-yourself anti-ageing skin-whitening products represents a re-articulation of Western colonial concerns with environmental pollution and racial degeneracy into concern with gendered vulnerability. This emerging market is a multibillion dollar industry anchored in the USA, but expanding globally. Do-it-yourself anti-ageing skin-whitening products purport to address the needs of those looking to fight the visible signs of ageing, often promising to remove hyper-pigmented age spots from women’s skin, and replace (...) it with ageless skin, free from pigmentation. In order to contextualize the investigation of do-it-yourself anti-ageing skin-whitening practice and discourse, this article draws from the literature in colonial commodity culture, colonial tropical medicine, the contemporary anti-ageing discourse, and advertisements for anti-ageing skin-whitening products. First, it argues that the framing of the biomedicalization of ageing as a pigmentation problem caused by deteriorating environmental conditions and unhealthy lifestyle draws tacitly from European colonial concerns with the European body’s susceptibility to tropical diseases, pigmentation disorders, and racial degeneration. Second, the article argues that the rise of do-it-yourself anti-ageing skin-whitening commodities that promise to whiten, brighten, and purify the ageing skin of women and frames the visible signs of ageing in terms of pigmentation pathology. (shrink)

Although the following essay is literary-philosophical, it arose from a practical interest. I have been struck by how widespread today is the complaint about the ‘inadequate father’. Of course a father may be inadequate in diverse ways, either absconding, absent and weak, or overbearing, bullying, and tyrannical, or some combination of these. Further, I am not restricting the term ‘father’ to its narrow biological sense, but using it rather as a metaphor for any institution or structure which an individual or (...) a group feels should have been in place to guide, direct, and protect them in important situations, but did not do its job properly. Consequently they are willing to concede they are not all they could have been, but they insist it is not their fault, rather the fault of the ‘father’ who should have done his job better. This ties in with the fashionable appeal of ‘victimhood’. Everybody today seems to want to cast themselves as a ‘victim’, for reasons similar to those mentioned above. If you are a ‘victim’, then there must be an ‘oppressor’– and some ‘parent’ organization that should have guided, directed, and protected you against the oppressor, but again did not do its job adequately. It is striking how many individuals and groups around the world today choose to perceive themselves, and to present themselves to others, as ‘victims’; it has indeed become a preferred characterization of our age, for it carries with it a rhetorical advantage that trumps all others. If you are able to cast yourself as a ‘victim’, and have others accept this, you disarm and neutralize criticism, not only of what you are, but of what you are currently doing – because the latter can be presented as a just ‘compensation’ for what you have suffered. As with guilt, there is no built-in quota or statute of limitations. This rhetoric was not as common thirty or forty years ago.There is an added factor here in America and the New World generally where, according to a whispered criticism, as our ancestors crossed the ocean, they experienced a ‘drop in civilization’. Life here was initially without some of the structures and institutions which had evolved over thousands of years in the Old World, which could thus be presumed there but here were absent. As we won with difficulty our independence, we unconsciously repudiated much of the ‘higher culture’ of the colonial master, throwing out the baby with the bathwater. As the ‘economic bubble’ of having won the Second World War has gradually dissipated, we discover we are handicapped by an absence of the forms of maturation and self-realization that arise in and are necessary for dealing with prolonged peace. In our ‘ideology of liberty’, our adults become essentially grown children, unschooled in anything higher, and thus have particular difficulty assuming the responsibilities of parenthood. They are forced to fall back upon a military style of giving orders, because on this side of the water, ‘final causes’ in the form of commonly admired or agreed on goals for striving are not in place. In this sense there is an absence of the ‘adequate father’. Further, as ‘American Culture’ expands through publicity and the media, we spread the same disease.There is another relevant factor, the ‘celebrity-liberationist’ lifestyle that has been diffused into the general population since the 1960's and has become a default secular ethic of our time, replacing the traditional Judeo-Christian decalogue. The former is invoked as a justification for aggressively seeking fame and fortune, and making no attempt to conceal this; rather than worrying that such an attitude will cause offense, it is worn proudly and defiantly in the hope that others will identify with it, thereby branding the performer a cultural hero. This popular strategy towards fulfilment itself rests on a metaphysic of ‘expressive individualism’, a position that holds that the supreme ethical imperative to which other obligations must be subordinated is for each to bring forward their hidden noumenal core, the only source of value, into phenomenal appearances where it may be admired and benefit others and such that creation will for the first time be complete. This change in Western culture made possible by greater affluence and security represents a trickle-down phenomenon and democritization of the awe reserved for the artist revered as a genius during the nineteenth century, now spread to the entire population. Anything that constrains this expansion, which interrupts or limits this transfer, is to be rejected as parental abuse, psychological repression, or cultural imperialism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy, Psychiatry, & Psychology 10.1 (2003) 23-24 [Access article in PDF] Did You Hurt Yourself? Katherine Morris PEOPLE WITH BORDERLINE PERSONALITY DISORDER (BPD) frequently deliberately injure themselves, to the extent that "the diagnosis [BPD] rightly comes to mind whenever recurrent self-destructive behaviors are encountered" (Gunderson, 2001, 54) quoted by (Potter, 2003, 1). How are we to understand this puzzling and disturbing behavior?Situating her approach to this question within (...) a general framework that sees the body as a "text" that requires "interpretation," Potter deliberately avoids answering this question in the way we might expect. It is doubtful, she argues, that every act of self-injury has a meaning, and a fortiori doubtful that every such act has the same meaning. Her discussion includes a section, informed by medical anthropology, in which she attempts to distinguish pathological self-injury of the sort that occurs with BPD from such culturally acceptable (or at least culturally understood or tolerated) body modifications, such as tattooing, scarification, and body piercing. It also includes a section in which it is suggested that the meaning of some self-injurious behavior may indicate cultural rather than individual pathologies (e.g., the "commodification" and "objectification" of women's bodies in Western culture). The principal issue for her, however, is how a clinician is to work out the meaning of a particular individual's self-injuring behavior when it does indeed have an individual meaning, and the prerequisite for doing so, she argues, is the cultivation of a virtue she terms giving uptake.The general tenor of her argument seems to me to be admirable: the issues are dealt with subtly and with ethical, anthropological, and philosophical sensitivity. There are nonetheless a number of questions I want to raise. The Framework It is of course fashionable in certain quarters these days to speak of the body as a text. One might, however, wonder to what extent this metaphor is illuminating. After all, texts, one might think, are by definition linguistic; yet part of the point here is precisely to move away from the narrow "speech-act" focus of "traditional philosophical analyses of communication" (Potter 2003, 1-16).The point of the metaphor according to Potter is to "suggest that the body, like other mediums of communication, must be interpreted and that its meanings are not given or inevitable" (Potter 2003, 2). Again, however, this invokes a number of fashionable but questionable ideas: an easy reliance on the difficult idea that "how we experience the world is shaped by our conceptual scheme" (Potter 2003, 3), a structuralist account of signification (Potter 2003, 3), and the concomitant notion that all communication involves interpretation, indeed that the listener (or observer) "relies on linguistic and other conventions [End Page 23] to infer meaning" (Potter 2003, 4). As a general account of communication this seems to me to be wildly off the mark: we very seldom interpret others' words, we very seldom "infer their meaning." The supposition that we always do is the direct consequence of the externalizing of the relation between "signifier" and "signified" that constitutes the heart of structuralist linguistics. 1Now, it may well be that the sort of self-injuring behavior that is the focus of Potter's essay precisely does require interpretation. Insofar as it is expressive behavior (and again Potter is right to question whether it is necessarily always such), it seems to be importantly different, in just these respects, from many other forms of expressive behavior. In the first place, it is different (in just these respects) from the culturally tolerated forms of body modifications discussed in section 2; for members of the culture in which body piercing or tattooing is acceptable or tolerated, such behavior is understood without the need for interpretation. In the second place, it is different in just these respects from natural expressions (e.g., moaning as an expression of pain). And in the third, it is different in just these respects from the expression of thoughts in (at least nonmetaphorical) language (which, one might add, is all the more reason not to think of the body as a... (shrink)

It is proposed to examine the need for redefining self deception in an Indian socio-cultural context and also on the basis of different social roles that one plays in his/her life time. Self-deception can be defined as the process of acting or behaving against one’s true inner feelings to maintain one’s social status. The conceptconsists of two aspects: maintaining a belief and the behavioral expression of it. Most of the time, deception occurs in the latter part, because it helps the (...) deceiver to achieve a moral protection from the society and thereby, to get a mental pacification. In fact, in some situations, self deception helps to raise our self importance in the society. That is to say, if we express our inner truth, that which is unpleasant for the society, then it can lead to humiliation from the society. An individual adopts self deception as a method to evade dejection from the external world. Whenever I act against my inner feelings, it happens consciously or intentionally so I cannot feel both aspects, as a deceiver and the deceived, at the same time. Besides, I do respect the feelings of myself and in this sense one’s own self can never be deceived! Thus, self deception can be explained with relation to the expression of true beliefs in yourself. (shrink)

"Stop slacking off " Your parents may have said this to you when you were deep into a video-gaming marathon. Or maybe your roommate said it to you when you were lounging on the couch scrolling through Instagram. You may have even said it to yourself on days you did nothing. But what is so bad about slacking? Could it be that there's nothing bad about not making yourself useful? Against our hyper-productivity culture, Alison Suen critically interrogates (...) our disapproval of slackers--individuals who do the bare minimum just to get by. She offers a taxonomy of slackers, analyzes common objections to slacking, and argues that each of these objections either fails or carries problematic assumptions. But while this book defends slacking, it does not promote the slacker lifestyle as the key to something better, as some pro-leisure scholars have argued. In fact, Suen argues that slacking is unique precisely because it serves no noble cause. Slacking is neither a deliberate protest to social ills nor is it a path to autonomy. Slackers just slack. By examining the culture of hyper-productivity, Suen argues that it is in fact OK to be a slacker. Key Features Demonstrates the uniqueness of slacking, via a critical examination of six distinct "pro-leisure" philosophical accounts. Articulates a taxonomy of slackers, as well as in-depth examinations of Hollywood slackers and slackers in academia. Examines common objections to slacking, and offers a rebuttal to each of them. Offers an understanding of our productivity culture from an existential perspective. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Restless Affects and Democratic DoubtsA Response to Rachel Jones and Moira FradingerTina ChanterI would like to thank both Rachel Jones and Moira Fradinger for their generous, rigorous, careful, and typically thoughtful and thought-provoking responses to my work. Both are scholars for whom I have enormous respect.Jones follows a certain trajectory through my work, and I think she is absolutely right to articulate it as a dominant motif. Yet as (...) she also points out, in keeping with this very motif, to which I will return, in identifying this as a thematic strand she is at risk of suppressing other tracks that might have been mapped out. Let me begin, then, by taking up the invitation she thereby offers, by briefly indicating another path through my work as I see it, articulated less through theoretical inflection, less schematically, a path that maps itself by way of affective sites of investiture. So much of our theoretical enquiry is undergirded by affective attachments, created by the accidents of history—where, when, and in what circumstances we were born—through the contingent experiences we happen to have had and the pedagogical influences to which we happened to have been exposed, to the particular wounds life inflicts upon us, and to the particular happiness or solace it grants us, to our friendships, to those we have loved and to those we come to love.I embrace Fradinger’s suggestion that I am something of a radical democrat. So too the quasi-Levinasian sense of the necessity to be open to relationality and answerable to the interlocutor resonates with me, the difficult work of being called to account for what I would call the imaginary (rather than the representations) to which one finds oneself perhaps unconsciously beholden. [End Page 158] Indeed it is this difficult work to which Jones and Fradinger call me, with their challenging and apposite questions, not all of which admit of ready answers.My own affective genealogies are intimately bound up with the good old British class system as well as with the familial. No matter how adept I might be at deconstructing texts and ideas, no matter how well versed I might be in theory, when it comes to myself, so often, it seems, I find myself stuck, endlessly playing out the same story. I think this can be parsed out in terms of affective attachments; I do not think I am the only one to have discovered so many times that I have been profoundly wrong about profoundly important things.It is as if before we know it, we discover that we have played out a script—whether it is psychic, familial, or cultural—that has effectively locked us into a Hegelian master-slave narrative. Sometimes it is as if all any of us can ever do is robotically repeat such scenarios, as if we can never achieve anything beyond flipping the narrative, as if we cannot manage to intervene in the narrative itself, no matter how many theories we are armed with. It is as if, time and time again, we trundle along the same grooves that have been etched out for us by some narrative over which we cannot seem to achieve control. There is something automatic, perhaps unconscious, about these scripts to which we discover ourselves to have adhered, despite our best intentions, despite the fact that we know better, despite all our theoretical insights.It is as if your vision is habituated to a particular scenario, and no matter what you do, it simply keeps repeating itself, taking you by surprise each time. Then something happens, and the details start to compile themselves into another narrative, one that was there all the time, but that you didn’t, you couldn’t, wouldn’t allow yourself to see, to imagine. Only in retrospect do you begin to piece together the signs, to accord significance to the details you somehow managed to dismiss as insignificant, as failing to contribute any coherence or salience. You saw the individual details, but they didn’t add up to a compelling narrative. Or maybe you just didn’t want to be compelled by it... (shrink)

The greatest intensity of “live” life is captured from as close as possible in order to be borne as far as possible away. Jacques Derrida. Echographies of Television . Rainer Ganahl has made a study of studying. As part of his extensive autobiographical art practice, he documents and presents many of the ambitious educational activities he undertakes. For example, he has been videotaping hundreds of hours of solitary study that show him struggling to learn Chinese, Arabic and a host of (...) other languages. The stacked boxes of tapes are then presented like minimalist monoliths, dense archives of effort. About fifteen years ago, Ganahl began photographing the lectures that he attends. At the time, he hadn’t seen anyone else doing it, so besides his spare selection of images of the speaker and the audience, much of the time the lectures would just pass into memory, undocumented, or recorded in writing alone. Since then, he has felt the transition to digital cause a significant shift in his process. At the same time, he has seen the habit become ubiquitous as others photograph, record, and videotape the lectures all around him. In keeping with the theme of this inaugural issue of continent. , can we propose each small grouping of photographs that result an isthmus stretching between two disparate bodies of mind? The first being the body of the lecture as spelled out in the title of each work – the experience of the event in all its constituent parts. The second is the body of the recipient, the listener, in this case an artist, who plays a minimal role just beyond the prescripted behavior of sitting and listening. He uses a gesture of documentation to draw a line between himself and the event, creating an artwork. Františka + Tim Gilman: As we mentioned before, the theme of the magazine for this issue is "isthmus." It seems like a very good way into your work, and it leads us to ask what connection you see between your photographs of the lecture and the lecture itself? Rainer Ganahl: The relationship is of course a concrete, pictorial one, or if you want a mimetic one but also an abstract one because the photographs carry the title of the lecture, the names of the lecturers, the site, the institution and the time of the lecture. Photos are fixed moments of time and can reproduce images displayed and reproduce visuals presented at a moment but they don’t come with time based recordings that video or sound takes are offering. What remains of a lecture is usually just the memory, some notes and all the announcements of it. In my case I end up with a visual product I declare as my artwork. It might not differ from any snapshot taken by any other student or member of the audience but I do this in a semi-systematic way with certain rules and procedures I have set up. While I am at a lecture I am mainly focusing on the lecture itself. Last night I went to one of Slavoj Žižek which demanded quite some concentration. I even was asking him a question at the end. I took photos as well but still didn’t lose track of the lecture. I didn’t walk around, I was not preoccupied by where I was sitting and what light I was having like some of the other photographing and filming people in the room who came and left, moved around and tried to capture him from this and that angle, from close and far. I just sat there and concentrated on the lecture and yet managed to take about 30 or so images of him, the public around me and of the film clips he presented. Once the lecture is over the story changes: it all becomes a question of the images, their selection, their visual qualities, their labeling and archiving. The function of the images also change: not only do they stand for an intellectual event in a row of lectures that become part of my intellectual history within many possible such histories but they also have to function as art, something not everybody else with images of lecturers demands of their images. This is my specific claim as an artist to impose them as artworks. And as with all artistic propositions the offer can be accepted or rejected. I basically spend my life trying to do exactly that: making what I declare as art, offering something to anybody interested in it as my art, an offer that is not and will never be accepted as such by all people. F+T: What are your criteria for selection, i.e. how do you choose which lectures to photograph, by lecturer, by topic, or do you photograph any and every lecture you can? RG: As everything in my life, I go by my interest which is the result of many factors. If I am aware of a lecturer, read his books or appreciate his works my interest of attending his much higher than if I am not aware of it. I usually don’t go to lecturers simply based on their subjects—something that can happen of course, if the subject, the title of the lecture is promising or at the heart of my interest. Sometimes I also wait for years to get a change to photograph certain people but I do that in a very low-level “keep your ears up” mentality and not in a systematic scanning of all channels and possibilities. I do not go into philosophy departments and photograph everybody teaching there. I go with the flow—and unfortunately a great deal of great talks I also miss because I hear too late of them. Often, I also stumble into them by traveling, by getting emails from friends and by simply being in the right spot at the right time. Somehow you could look at my lecture par cours as some kind of loose intellectual flâneurism . If you know of interesting lectures and events, please, let me know. F+T: Is your selection of images more of a production or post-production method? That is, do you take a lot of photos and select only a few images from each lecture, or do you take them very selectively? Do you have a particular methodology for the selection of images? RG: This all changed a bit with the arrival of digital photography. In the beginning I had to pay a lot of money for film developing. Hence, I was taking either one role - 36 images - or half a role - 13 images - depending on who talked and whether they projected images. With the unlimited capacity of digital imaging I easily end up between 30 and 150 images of one event still depending of whether images are presented or not. In the first years of that project when I wasn’t fully aware yet of what I was doing, I printed at least 2 images of any lecture and sometimes three or even four, a choice that was also constrained by costs. But again, since I have a web site and since images can easily be selected and presented on my web site without generating remarkable costs I have now more and more pain to reduce them to less than ten or eight images for an event. Now, before I have them printed which really is expensive, I can present them already as artwork on my web site without any immediate costs. Thus the economic factor is at the end of the chain which enables me to be more ‘generous’ and include more images. Over the last years I have been mostly selecting at least four photographs for a lecture unit but recently also as many as ten. But so far only one set above four images has been actually printed and sold. What might sound even more shocking is the likely fact that if a curator or a collector demands me to reduce the number of images due to costs, I might compromise at this current stage if the images have not been yet printed or published outside my own web site. This means that to a certain degree any selection that has only seen publication on my web site and not yet been produced runs the risk to change in numbers of images included. Needless to say, I am the last one that finally makes a decision and I do honor all given earlier decision if those were final. F+T: How do you feel the act of photographing the lecture affects your reception of the contents of the lecture? And your recollection afterwards, do you remember the lecture more having photographed it, or just having sat and listened? RG: As mentioned above, I get very little distraction from photographing since I can multitask well and do not obsess about the quality of the image: I photograph from where I am and listen with my ears and not my eyes. I am not sure whether the images serve as a mnemonic devise to the content of the lecture if there are no images involved but they at least remind me that the lecture existed, the title of the lecture and the name of the people and institutions involved. The titles of the hundreds of lectures I took during the past 15 years can also be read as an essay of theoretical life in that period. This will be come more and more visible as time passes by. These images age much better than I do. F+T: You mentioned at the outset of our discussions that you started this practice some time ago and have seen the practice of photographing lecturers become more commonplace. Why do you think that this shift has taken place? RG: The answer is very simple. Photographing is now free of any charge and hence omnipresent. You buy a phone or any other personal digital assistant and it has a camera integrated in it whether you want it or not. There is no need to develop images and there is no hassle to keep images, to distribute images, to organize images and save them. It is all virtual, not creating any costs and doesn’t require any efforts. You don’t spend twenty dollars for photo-developing anymore, you don’t need to walk anymore to your pharmacy or your photo shop to drop off and return to pick up and pay. You don’t need to go to the post office to send somebody a picture. You have a program like Photoshop already built into your camera. Photographing is now a thing for everybody—with functioning cameras made for two year olds. It is technically now nearly impossible to make bad images. The image quality is virtually guaranteed by cheap, high performing, mini-computers packed into miniscule cameras. With all these technological changes, we are undergoing now a cultural paradigm shift that includes permanent recording (not only still image taking) of everything. I wonder even whether babies are just born to be photographed—at least a process where the first photograph is right there. What is interesting now, is how the law is trying to catch up. I am experiencing and expecting more restrictions on photographing and recording—something already in place in many museums and in certain galleries—as the recording devices become more and more invisible and undetectable. It is an interesting cat and mouse play and will end up with some of us that are photographing the world around us in court. The world has become very transparent and everybody is contributing to it with social networking technologies—like twitter and Facebook—that are designed to monitor and communicate every step we make in our lives. F+T: Why did you start the practice? As a way to remember, or to capture the experience of the lecture and the environment there? RG: A couple of years earlier I started to photograph my own reading seminars as part of my art work with results that surprised me positively. I really liked these images of students and people discussing heavy non-fiction with me. The reading seminars justified this kind of pictorialism. Then in 1995 I had the chance to attend an entire seminar by Edward Said entitled “The Representation of Intellectuals at Columbia University,” which really gave me the idea to start this series. Why not also photograph these lectures I visit all the time since this really is a way of representing intellectuals? F+T: The constellation of images and the title seem like a kind of portrait, do you agree? If so, is it a portrait of the speaker, of yourself, or of the event? RG: Well, to follow up on the previous question the lectures are more than just portraits of lecturers since I include not only the speakers but also the audience, an audience that is not named or specifically highlighted as is the speaker. So if we stick with the metaphor of the portrait we would have to extend it also to the environment, the class room, the lecture hall, the arrangements of seats or benches, tables, lecture stands and other stuff typically seen on my images. Often the walls are decorated or even tagged with graffiti or posters and other stuff. There is a big difference between a small seminar room at the English Department of Columbia University, full with books and cabinets and a lecture room at a Paris or Frankfurt university that accommodates 50 to 150 people. We should, maybe, also distinguish between lectures that are one time events—mostly open to the public, free of charge or paid—and events that are weekly, closed to the public and held mostly in universities that can cost fortunes or be paid by the State as it is still predominantly the case in continental Europe. All this, of course, is not necessarily announced in the title of the lecture and is subject to information that isn’t visible on the images. To a certain degree we see also portraits of a general privilege when it comes to the public of certain institutions that are highly selective and extremely costly without forgetting that most of the lectures are dealing with theory, art, philosophy and other highbrow subjects. In general, I would say we see very little if we don’t know already what’s going on, who the lecturer, the institutions, the context are in which we subsequently can zoom into variants like sexual, racial, or age-related make-up without ignoring clothing fashions, hair styling, body mannerisms, gadgets and stuff. F+T: Do you see a relation between this body of work and your other work, for example your language studies? RG: Everything I do is “unfortunately” related. I say unfortunately because this makes my work not so easy to grasp. The relationship to the language studies is relatively clear since both are originally grounded in the domain of education and knowledge production. Nearly all my work comes across that nexus where knowledge and power are addressed. I was at one point wondering what the relationship was to some of my earlier indexical work where I was happy alone with footnotes from books painted on the walls: I came to understand that both are just different manifestations of knowledge and information. F+T: Do you foresee continuing the series indefinitely, or is there an end to it? RG: I think that I will continue this series indefinitely or to be more precise, as long as I go listen to lectures and want to learn something which brings me to your previous question: What do the reading seminars, language studies, historical research and lecture hopping have in common: I learn something. Further Reading Rainer Ganahl’s website William Kaizen. “ Vulgar Politics .” art&education . April 2009. Web. Smith, Roberta. “ Rainer Ganahl: ‘Language of Emigration & Pictures of Emigration .’” New York Times April 23 2010. Web. (shrink)

In White Noise by Don DeLillo, two characters visit a famous barn, described as the “most photographed barn in America” alongside hordes of picture-taking tourists. One of them complains the barn has become a simulacrum, so that “no one sees” the actual barn anymore. This implies that there was once a real barn, which has been lost in the “virtual” image. This is in line with Plato’s concept of the simulacrum as a false or “corrupt” copy, which has lost all (...) connection with the “original.” Plotinus, however, offered a different definition: the simulacrum distorts reality in order to reveal the invisible, the Ideal. There is a real building which has been called “the most photographed barn in America”: the Thomas Moulton Barn in the Grand Teton National Park. The location—barn in the foreground, mountain range towering over it—forms a striking visual composition. But the site is not only famous because it is photogenic. Images of the barn in part evoke the heroic struggles of pioneers living on the frontier. They also draw on the tradition of the “American sublime.” Ralph Waldo Emerson defined the sublime as “the influx of the Divine mind into our mind.” He followed Plotinus in valuing art as a means of “revelation”—with the artist as a kind of prophet or “seer.” The photographers who collect at the Moulton Barn are themselves consciously working within this tradition, and turning themselves into do-it-yourself “artist-seers.” They are the creators, not the slaves of the simulacrum. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:On Deconstructing Life-Worlds: Buddhism, Christianity, CultureRoger CorlessOn Deconstructing Life-Worlds: Buddhism, Christianity, Culture. By Robert Magliola. Preface by Edith Wyschogrod. American Academy of Religion Cultural Criticism Series, edited by Cleo McNelly Kearns, Number 3. Atlanta, GA: Scholars Press, 1997. xxii + 202 pp.How does one review a deconstructionist book—a book that seeks not only to discuss deconstruction but to be deconstructionist, a book that simultaneously takes books seriously and (...) mocks both the author and the reader for imagining there could ever be such a thing as a book, a something that is written and then read, a writing that says that everything is Writing but that all Writing/writing is written under erasure and so is (as p. 202 explicitly, self-reflexively proclaims itself) an empty page that is, by that very emptiness, marked? Derrida derides the Introduction, for, he asks (without speaking, parlant avec dénégations, denying that he is expressing denials) what is being Introduced? What do we think we are doing when we lead a reader into (introducere) something that is not there to be lead into until a reader is lead or leads himself or herself into it? Do we not, thus, need an Introduction to the Introduction, and another Introduction to that Introduction, a regressus ad infinitum introductionum? Edith Wyschogrod writes a Preface. Does she mean us to think that the book has a Face, and that it therefore needs a pre-Face? Does she think that she/we face toward the book, or does the book face toward her/us, or does/do she/we both together face toward the putative subject matter, which itself has two faces, Buddhism and Christianity? And who am I, the reviewer?This cannot be a review (a looking-over), but it might be a re-view (a looking-again), which informs (in-forms, incarnates) itself so that you, dear Introducer of Yourself, can review (look over) your presuppositions about Buddhism, Christianity, life-worlds, and reality in general, and re-view them (re-visit them, look again at them) so as to reform (re-view, see-again, as formless, and thus re-form) them.One draws a circle, says Charles Fort, beginning anywhere. So let us open the book at random. On page 84 we find: “Taiwan has over 25,000 students studying in the United States, the largest foreign contingent in American universities.” This aggressively logocentric sentence is provided with a footnote: “Statistic of 1987. Since then, the proportion of Chinese from the People’ [sic] Republic has become much more noticeable.” Hmm—a little typo, but nevertheless we are, to our surprise, deep in the overheated hotel conference rooms of the annual meeting of the American Academy of Religion. So, why are we told this? It is part of a section that cuts (“Lt. sect-, cut”, we are reminded on p. 175) across (cross-hatches) Magliola’s life/lives run/runs (Curriculum Vitae, Curricula Vitae, Curricula Vitae Novae, Curricula Vitarum, as the chapter headings have it) as an academic, a Catholic, an almost-priest, a Buddhist meditator, a husband, a divorcé, an Italian, an American, [End Page 216] a resident of Taiwan. All these spill out from the overstuffed closet of Magliola’s life/lives, which, without warning, he opens upon us and then sits among the salade challenging the reader to become bricoleur. But if we do, we feel we have missed the point. Or we have seen the point—which is just as bad.Crosshatch: that’s the theme, I think. Cross, “X” (both the Roman character “eks” and the Greek character “chi”), crucifix, saltire, cross-religions, cross-cultures, cross-countries, cross-country, crossing-out (rature), and finally, revelation by relationis oppositio under/through four forks (“Il ne s’écrit que sous la grille des quatre fourches”—p. 177, quoting Derrida).Magliola is on this cross, he is cross (angry/mad), he is crucified by it, he hopes to cross over by means of it. “This book is not written for the arrived by the arrived” (p. xix), yet he is “on the water, not at sea” (p. xx).It may not be incorrect to say that the book is in... (shrink)