Today, in the situation that we call the instanternity of the digital age, the visual aspect of the social (and power) relations is ever more important. The majority of human interactions on the Internet are happening in the field of vision. In this field, human desire follows the scopic drive, which is, according to Freud, expressed in the ambivalence of voyeurism and exhibitionism. This means that voyeurism and exhibitionism are the fundamental mechanisms operating in, and structuring, the digital (...) virtual. This topic, in a broader sense, tackles the inscription of the subject within the digital virtual spectacle, which deals with the relation between the individual’s imaginary and symbolic identification, that is, between the ideal ego and the ego ideal. To a certain extent, this also relates to what has been marked as a »pathological narcissism«. Even if the changes brought about by the digital virtual, as far as the subject is concerned, are not ontological, i.e. they do not concern its relation to being, they do concern its entry into the field of the Other, and can, because they are systemic changes, fundamentally restructure the social fabric. The bet of this article is therefore not only to try to understand the mechanisms driving the formation of subjectivity within the digital virtual, but also to trace their transformative potential. (shrink)

I argue that there is nothing wrong with perfect voyeurism , covert watching or listening that is neither discovered nor publicized. After a brief discussion of privacy I present attempts from Stanley Benn, Daniel Nathan, and James Moor to show that the act is wrong. I argue that these authors fail to make their case. However, I maintain that, if detected or publicized, voyeurism can do grave harm and to that extent should be severely punished. I conclude with (...) some thoughts on the stubborn intuition that perfect voyeurism is wrong despite the absence of harm. (shrink)

RACINE L and PERRON A. Nursing Inquiry 2012; 19: 190–201 Unmasking the predicament of cultural voyeurism: a postcolonial analysis of international nursing placementsThe growing interest in international nursing placements cannot be left unnoticed. After 11 years into this twenty‐first century, violations of human rights and freedom of speech, environmental disasters, and armed conflicts still create dire living conditions for men and women around the world. Nurses have an ethical duty to address issues of social justice and global health as (...) a means to fulfil nursing’s social mandate. However, international placements raise some concerns. Drawing on the works of postcolonial theorists in nursing and social sciences, we examine the risk of replicating colonialist practices and discourses of health in international clinical placements. Referring to Bakhtin’s notions of dialogism and unfinalizability, we envision a culturally safe nursing practice arising from dialogical encounters between the Self as an Other and with the Other as an Other. We suggest that exploring the intricacies of cultural and race relations in everyday nursing practice are the premises upon which nurses can understand the broader historic, racial, gendered, political and economic contexts of global health issues. Finally, we make suggestions for developing culturally safe learning opportunities at the international level without minimizing the impact of dialogical cultural encounters occurring at the local and community levels. (shrink)

In the first part of the paper the author briefly revisits two of the most important traditions that stand behind the contemporary conceptualizations of affect: the Deleuzian tradition and the Lacanian one. Having pointed to the most important features of the two lines of thinking affect, as well as to certain difficulties that arise within them, the author proceeds to offer his own simple conceptual model that would be operative in thinking about film experience. The model involves feeling, emotion and (...) affect as three distinct phenomena; the concept of “ex-spectator” is introduced in order to account for the crucial difference between emotion and affect. In the second part of the paper, the model is tested against the later films by Quentin Tarantino. The films are presented as “affective”: by skilfully operating with “reflective images” they are able to deconstruct the subject of the ex-spectator into the split-but-real, affected self of the true spectator. (shrink)

Until the advent of plastinated cadavers, few outside the medical professions have had firsthand experience with human corpses. Such opportunities are now available at the Body Worlds exhibits of Gunther von Hagens. After an overview of these exhibits, we explore visitor responses as revealed in comment books available upon exiting the exhibit. Cultural, philosophical, and religious issues raised in the comments serve as a microcosm of society at large. The conclusion considers the challenge of such exhibits in introducing the public (...) to science education, notes the image of the body as machine—so prevalent in the West—reflected in visitor comments, and finds hope that the exhibits promote, for many visitors, a sense of community among all humankind. (shrink)

Recent times have witnessed a groundswell in the number of British television programmes that deal with the ‘real life’ experiences of people in various health care settings. Such programmes tend to focus upon the two interrelated strands of the experience of those who deliver professional care and those who are at the receiving end of it. The usual rationale given for such programmes is that they offer insights about the delivery of health care that are not readily accessible to members (...) of the public. This article will look beneath the rationale and reasons offered by programme makers for the existence of such documentaries. It will explore insidious and questionable elements that go beyond revealing the ‘lived experience’ of professional carers and those for whom they care. Emerging from this is the challenging notion that such programmes deliver the opportunity to experience the vulnerability, suffering and even death of others through a voyeuristic gaze. (shrink)

This collection examines the peculiarly modern phenomena of voyeurism as it is experienced through the digital screen. Violence, voyeurism, and power populate film more than ever, and the centrality of the terrified body to many digital narratives suggests new forms of terror and angst, where bodies are subjected to an endless knowing look. The particular perils of the digital age can be seen on, by, and through screen bodies as they are made, remade, represented, and used. The essays (...) in this book examination the machinations of voyeurism in the digital age and the realization of power through digital visual forms. They look at the uses of power over the female body, at the domination and repression of women through symbolic violence, at discourses of power as they are played out onscreen, and at how the digital realm might engage the active/passive dichotomy in new ways."-Provided by publisher. (shrink)

Voyeurism seems creepy. This paper considers whether these feelings are well-founded. It identifies a variety of ethically troubling features, including harmful consequences, deceit, and the violation of various religious, legal, and conventional norms. Voyeurism is something of a moral misdemeanor that seems worrisome when associated with these other failings. However, because voyeurism remains troubling even in the absence of harm or deceit, we must pay special attention to the ways complex social conventions can be used to show (...) disrespect for others. The discussion centers on the famous case of Lady Godiva and Peeping Tom, but much of the analysis applies to voyeurism more generally. (shrink)

Trust between transaction partners in cyberspace has come to be considered a distinct possibility. In this article the focus is on the conditions for its creation by way of assuming, not inferring trust. After a survey of its development over the years (in the writings of authors like Luhmann, Baier, Gambetta, and Pettit), this mechanism of trust is explored in a study of personal journal blogs. After a brief presentation of some technicalities of blogging and authors’ motives for writing their (...) diaries, I try to answer the question, ‘Why do the overwhelming majority of web diarists dare to expose the intimate details of their lives to the world at large?’ It is argued that the mechanism of assuming trust is at play: authors simply assume that future visitors to their blog will be sympathetic readers, worthy of their intimacies. This assumption then may create a self-fulfilling cycle of mutual admiration. Thereupon, this phenomenon of blogging about one’s intimacies is linked to Calvert’s theory of ‘mediated voyeurism’ and Mathiesen’s notion of ‘synopticism’. It is to be interpreted as a form of ‘empowering exhibitionism’ that reaffirms subjectivity. Various types of ‘synopticon’ are distinguished, each drawing the line between public and private differently. In the most ‘radical’ synopticon blogging proceeds in total transparency and the concept of privacy is declared obsolete; the societal gaze of surveillance is proudly returned and nullified. Finally it is shown that, in practice, these conceptions of blogging are put to a severe test, while authors often have to cope with known people from ‘real life’ complaining, and with ‘trolling’ strangers. (shrink)

In The Rules of Insanity, Carl Elliott draws on philosophy and psychiatry to develop a conceptual framework for judging the moral responsibility of mentally ill offenders. Arguing that there is little useful that can be said about the responsibility of mentally ill offenders in general, Elliott looks at specific mental illnesses in detail; among them schizophrenia, manic-depressive disorders, psychosexual disorders such as exhibitionism and voyeurism, personality disorders, and impulse control disorders such as kleptomania and pyromania. He takes a particularly (...) hard look at the psychopath or sociopath, who many have argued is incapable of understanding morality. Making extensive use of psychiatric case histories, Elliott explores the various ways in which mental illness can affect a person's intentions and thus excuse him or her from moral responsibility. (shrink)

In this collection of her provocative essays on Third World art and culture, award-winning filmmaker and theorist Trinh Minh-ha offers new challenges to Western regimes of knowledge. Bringing to her subjects an acute sense of the many meanings of the marginal, Trinh examines Asian and African texts, the theories of Barthes, questions of spectatorship, the enigmas of art, and the perils of anthropology. In one essay, taking off from ideas raised earlier by Zora Neale Hurston, Trinh considers with astonishment the (...) search by Western "experts" for the hidden values of a person or culture, a process of legitimized voyeurism that, she argues, ultimately equates psychological conflicts with depth , while inner experience is reduced to mere personal feeling. When the Moon Waxes Red is an extended argument against reductive analyses, even those that appear politically adroit. Feminist struggle is heterogeneous. The multiply-hyphenated peoples of color are not simply placed in a duality between two cultural heritages; throughout, Trinh describes the predicament of having to live "a difference that has no name and too many names already." She argues for multicultural revision of knowledge so that a new politics can transform reality rather than merely ideologize it. By rewriting the always emerging, already distorted place of struggle, such work seeks to "beat the master at his own game.". (shrink)

This paper addresses one of the challenges in human rights education concerning the conceptualization of a pedagogical orientation that avoids both the pitfalls of a purely juridical address and a ‘cheap sentimental’ approach. The paper uses as its point of departure Richard Rorty’s key intervention on human rights discourse and argues that a more critical orientation of Rorty’s proposal on ‘sentimental education’ has important implications for HRE. This orientation is not limited to perspectives such as Rorty’s voyeuristic approach to sentimentality, (...) but rather focuses explicitly on the emotional and political consequences of various manifestations of sentimentality. Such an orientation in HRE will not only encourage learners to become more sympathetic to the living realities of those who suffer, but it will also interrogate the conditions of hearing narratives of suffering so that possibilities for cheap sentimentality are minimized as much as possible. (shrink)

This article interrogates the relationship between technology and law enforcement and how changing police surveillance techniques have influenced Western expectations of privacy from the mid-19th century to the present. By examining the evolution of telecommunications devices in particular, the author identifies a diffuse and publicly inclusive system of collaborative data mining maintained by private citizens—a culture of wikisurveillance—as being a technologically determined consequence of police reforms made in 1829 Britain. From the now extinct police signal box to modern AMBER alerts, (...) technology allows the police to be divested of their public presence as mechanical surveillance responsibilities are willingly usurped by private enterprise and largely unaccountable civilians who collectively coauthor and codify the occidental discourse on privacy. As public and private spaces alike become increasingly subject to internal, unregulated monitoring that mimics the police methodology, this article explores the origins of our present zeitgeist of mediated voyeurism. (shrink)

Released in 1958, Vertigo is widely regarded as Alfred Hitchcock’s masterpiece and one of the greatest films of all time. This is the first book devoted to exploring the philosophical aspects of Vertigo . Following an introduction by the editor that places the film in context, each chapter reflects upon Hitchcock’s film from a philosophical perspective. Topics discussed include: memory, loss, memorialisation, and creativity mimetic or representational art and art as magic the nature of romantic love gender, sexual objectification, and (...) identity looking, "the gaze", and voyeurism film and psychoanalysis fantasy, illusion, and reality the phenomenology of colour. Including annotated further reading at the end of each chapter, this collection is essential reading for anyone interested in Vertigo , and an ideal resource for students of film and philosophy. (shrink)

In the spring of 2008, the artist Georg Schneider announced an art performance with a mortally ill person. Most of the responses to this art project were very critical. While the artist argued that the exhibition of a dying person should be understood as a humanistic intervention against the social taboo of death, commentators often criticized the exhibition as voyeuristic. Based on this discussion, the article explores what it means to stage a dying person as a piece of art and (...) investigates the historical conditions of this project by locating the longing for ethic and aesthetic self-determination within the humanistic tradition of the modern concept of the work of art. (shrink)

This article provides a historical perspective on how both American and European psychiatrists have conceptualized and categorized sexual deviance throughout the past 150 years. During this time, quite a number of sexual preferences, desires, and behaviors have been pathologized and depathologized at will, thus revealing psychiatry's constant struggle to distinguish mental disorder--in other words, the "perversions," "sexual deviations," or "paraphilias"--from immoral, unethical, or illegal behavior. This struggle is apparent in the works of 19th- and early-20th-century psychiatrists and sexologists, but it (...) is also present in the more recent psychiatric textbooks and diagnostic manuals, such as the consecutive editions of the Diagnostic and Statistical Manual of Mental Disorders. While much of the historical literature revolves around the controversy over homosexuality, this article also reviews the recent medicohistorical and sociohistorical work on other forms of sexual deviance, including the diagnostic categories listed in the latest edition, the DSM-IV-TR: exhibitionism, voyeurism, fetishism, frotteurism, pedophilia, sexual masochism, sexual sadism, and transvestic fetishism. (shrink)

Medical ethicists have assumed a role in justifying public voyeurism of human "curiosities." This role has precedent in how scientists and natural philosophers once legitimized the marketing of museums of "human curiosities." At the beginning of the twentieth century, physicians dissociated themselves from entrepreneurial displays of persons with anomalies, and such commercial exhibits went into decline. Today, news media, principally on television, promote news features about persons that closely resemble the nineteenth century exhibits of human curiosities. Reporters solicit medical (...) ethicists for soundbites to affirm the newsworthiness and propriety of public voyeurism of these medical stories. Ethicists' soundbites are usually ambiguous or self-evident and rarely enable viewers to morally engage the issues. The precedent of early twentieth century physicians disengaging from such exploitive public shows is a useful example for medical ethics. (shrink)

Poverty tours - actual visits as well as literary and cinematic versions - are characterized as morally controversial trips and condemned in the press as voyeuristic endeavors. In this collaborative essay, we draw from personal experience, legal expertise, and phenomenological philosophy and introduce a conceptual taxonomy that clarifies the circumstances in which observing others has been construed as an immoral use of the gaze. We appeal to this taxonomy to determine which observational circumstances are relevant to the poverty tourism debate. (...) While we do not defend all or even most poverty tourism practices, we do conclude that categorical condemnation of poverty tourism is unjustified. (shrink)

The first English-language publication of a classic French book on the relationship between the development of photography and of the medical category of hysteria. In this classic of French cultural studies, Georges Didi-Huberman traces the intimate and reciprocal relationship between the disciplines of psychiatry and photography in the late nineteenth century. Focusing on the immense photographic output of the Salpetriere hospital, the notorious Parisian asylum for insane and incurable women, Didi-Huberman shows the crucial role played by photography in the invention (...) of the category of hysteria. Under the direction of the medical teacher and clinician Jean-Martin Charcot, the inmates of Salpetriere identified as hysterics were methodically photographed, providing skeptical colleagues with visual proof of hysteria's specific form. These images, many of which appear in this book, provided the materials for the multivolume album Iconographie photographique de la Salpetriere. As Didi-Huberman shows, these photographs were far from simply objective documentation. The subjects were required to portray their hysterical "type"—they performed their own hysteria. Bribed by the special status they enjoyed in the purgatory of experimentation and threatened with transfer back to the inferno of the incurables, the women patiently posed for the photographs and submitted to presentations of hysterical attacks before the crowds that gathered for Charcot's "Tuesday Lectures." Charcot did not stop at voyeuristic observation. Through techniques such as hypnosis, electroshock therapy, and genital manipulation, he instigated the hysterical symptoms in his patients, eventually giving rise to hatred and resistance on their part. Didi-Huberman follows this path from complicity to antipathy in one of Charcot's favorite "cases," that of Augustine, whose image crops up again and again in the Iconographie. Augustine's virtuosic performance of hysteria ultimately became one of self-sacrifice, seen in pictures of ecstasy, crucifixion, and silent cries. (shrink)

To establish a tripartite division of the parts of the soul, Socrates in Plato’s Republic introduces a Principle of Opposites. The principle entails that only distinct parts of a soul can be simultaneously engaged in opposed actions directed toward the same intended object. Appealing to the principle, Socrates proposes to distinguish between rational, spirited, and appetitive parts of the soul. He describes two situations of opposed actions in a soul that both desires to drink but chooses not to drink, and (...) desires to indulge in morbid voyeurism but is angry about doing so. Without a sound basis for dividing the parts of the soul in precisely this way, Socrates cannot adequately defend the dialogue’s main conclusion that justice in both city and soul is the proper harmonious hierarchical order of their respective parts. I argue that Socrates’ efforts to prove the division of the soul into three parts are inconclusive because it is possible to interpret his illustrations as involving unopposed psychological acts directed toward different rather than identical intended objects. (shrink)

Wallace-Hadrill's reading of spatial hierarchy does not address the representation of gender in mythological paintings. However, a rough survey indicates that the majority are erotic and/or violent. Erotic depictions common on household items suggest that the Romans were sensitive to this content; the likely use of pattern books in selecting programs for domestic decoration suggests a synoptic awareness of it. This points to the applicability of contemporary theories of representation and power, and Mulvey's model of visual pleasure in narrative film (...) is adapted for this paper. According to Mulvey, film offers two pleasures: scopophilia, which presents the woman as aesthetic-erotic fragments, suggesting but concealing her difference ; sadistic voyeurism, which assumes difference and then investigates, punishes, or forgives it. Both are illustrated in paintings of Ariadne abandoned and rediscovered, and in other paintings which portray either the gaze or erotic violence . While these paintings seem to confirm in relation to gender what the rest of the house says about class and status, some paintings confuse the issue. The male body is often fetishized , and attacked ; gender and role are sometimes deliberately ambiguous . Such transgressions of the boundaries of the male body are not a part of Mulvey's theory, and they suggest the use of gender to complicate as well as confirm the class/status message of the house; two different negotiations of this use are found in the House of the Vettii and the House of the Ara Maxima. One can compare reversals and reassertions of gender, class and status in other evidence, in literature, pantomime and the games. (shrink)

This article examines what was, for many decades, to a large audience the paradigmatic example of the short film, i.e. the animated short. Focussing on the first two Mickey Mouse shorts (i.e. Plane Crazy and Steamboat Willie (both 1928)), which I understand as highly self-conscious reflections on animation, I explore how animation relies on a set of pleasures, sensations and fascinations that differ profoundly from what mainstream (‘photographic’) feature-length cinema has on offer, and thereby opens to a series of insights (...) into ‘cinematic experiences’ that cannot be grasped within the logic of the voyeuristic model of the cinematic apparatus that has until recently dominated classical film theory. (shrink)

Drawing on the well-established understanding of the zombie as metaphor for the deadening effects of consumer capitalism, this chapter seeks to account for three distinct changes that contextualise 21st century zombie fiction. The first is situational: the global economic crisis has amplified the anxieties that inspired Romero's critique of consumer capitalism in Dawn of the Dead (1978). The second is intellectual: as Chapman and Anderson (2011) note, there has been an “explosion of research on all aspects of disgust” in recent (...) years. The third concerns the subgenre itself: zombies have become increasingly sexualised since the late 1990s. These issues intersect in a numerous recent zombie films - including Zombie Strippers! (2008), Zombies! Zombies! Zombies! (2008), Big Tits Zombie (2010), and Zombies Vs Strippers (2012) - that are centred around or within strip clubs. Stripping epitomises the logic of consumer capitalism, offering tantalising promises but little physical satisfaction. Stripping translates sexual desire into a voyeuristic transaction, evacuated of corporeal messiness. The zombie’s decomposing body epitomises disgust, and its presence in the strip-club disturbs the fantasy typically provided within that context. In the zombie infected strip-club, intimate contact is damaging rather than desirous. In these respects, zombies hypostatize numerous tensions that are usually masked by fantasy and financial exchange. In doing so, these zombies reify the horrors of late capitalism. Their disgusting bodies disrupt the foundational logic of consumerism qua desire. (shrink)

The last decades have shown that Nicander's Theriaca, a didactic hexameter poem of 958 lines on snakes, scorpions, spiders, and the proper treatment of the wounds they inflict, is a markedly more playful work than most readers thought. Rather than considering the poem as a vehicle of authentic learning, literary approaches to the nature of Nicander's strange poetic world have focussed on his eye for Alexandrian aesthetics, intertextuality, linguistic innovation, and awareness of the didactic tradition that started with Hesiod's Works (...) and Days, but also on his predilection for horror, voyeuristic sensationalism, and gory details. Although literary-minded readers have found it hard to disprove convincingly that Nicander may have had some professional knowledge of his subject matter, a glance at his arcane language is enough to convince any reader that the Theriaca cannot be concerned solely with its explicit subject. In this article I will make some additional observations on the way in which Nicander has turned the Theriaca into a work of literature, focussing on some of the choices that he has made with regard to his less than veracious depiction of snakes and animals. While Spatafora rightly points to Nicander's eye for detail when portraying floral beauty, I will argue that the poet's play with the topos of the locus amoenus has a darker side. Rather than creating an epic world of beauty, Nicander shows his talent for taking the reader along an unpleasant path of apprehension and negative feelings, portraying a choice selection of afflictions. Not only does he have many ways of giving his quasi-scientific account a markedly negative atmosphere, but his world may well be a deliberate reversal of that other well-known Hellenistic portrayal of the natural world, Theocritus' bucolics. (shrink)

This essay will concentrate, somewhat voyeuristically, on a particular and very special textual encounter. For if there is one text in the psychoanalytic tradition that will have caused Derrida to spill more ink than any other – it's Freud's Beyond the Pleasure Principle (1920). For ten years, from 1970–1980, Derrida returns not once but three times, on three separate occasions, in three different contexts, to Freud's text on repetition compulsion and the death drive, each time devoting more time and energy (...) – that is to say, more pages – to it. As we will see in this essay, what emerges from this textual encounter is not only a new kind of pleasure; it is also a chance event of repetition that brings with it something strikingly new. (shrink)

“Poorism”—organized tours that bring predominantly middle and upper class people to impoverished regions—is growing in popularity, touted by its supporters as conscientious consumerism. Evan Selinger examines the arguments of poorism’s advocates and of its detractors . Heconcludes that this kind of privileged voyeurism is at best a morally complex endeavor.

Poverty tours—actual visits as well as literary and cinematic versions—are characterized as morally controversial trips and condemned in the press as voyeuristic endeavors. In this collaborative essay, we draw from personal experience, legal expertise, and phenomenological philosophy and introduce a conceptual taxonomy that clarifies the circumstances in which observing others has been construed as an immoral use of the gaze. We appeal to this taxonomy to determine which observational circumstances are ethically relevant to the poverty tourism debate. While we do (...) not defend all or even most poverty tourism practices, we do conclude that categorical condemnation of poverty tourism is unjustified. (shrink)

In 1969, Kisho Kurokawa stated that the ‘capsule is cyborg architecture’. The capsule is the ultimate form of the prefabricated building. As such it has emancipated itself from the land to become the immediate extension of the moving self, similar to cars or the Japanese kago. In Japanese Metabolism, an architecture movement of the 1960s and 1970s, the capsule is a small, repeatable building unit rooted in historical elements, such as the teahouse. The capsule is also a tool – a (...) machine for living – that is modular and part of a system offering simplicity and complexity. The capsule signifies individuality within a diverse society, including standardization, functionality, technology and smallness in scale. This article re-examines the potential of the capsule in contemporary bioarchitecture, in living systems and in evolving environments. Through Philip Galanter’s theory of ‘complexism’, the article connects the capsule to modular(ity), embodiment, protective vulnerability, voyeurism, unpredictability, complexity, immateriality and ephemerality. I propose that the capsule instantiates a cyborg bioarchitecture. (shrink)

In The Cruel Radiance, Susie Linfield challenges the idea that photographs of political violence exploit their subjects and pander to the voyeuristic tendencies of their viewers. Instead she argues passionately that looking at such images—and learning to see the people in them—is an ethically and politically necessary act that connects us to our modern history of violence and probes the human capacity for cruelty. Grappling with critics from Walter Benjamin and Bertolt Brecht to Susan Sontag and the postmoderns—and analyzing photographs (...) from such events as the Holocaust, China’s Cultural Revolution, and recent terrorist acts—Linfield explores the complex connection between photojournalism and the rise of human rights ideals. In the book’s concluding section, she examines the indispensable work of Robert Capa, James Nachtwey, and Gilles Peress and asks how photography should respond to the increasingly nihilistic trajectory of modern warfare. A bracing and unsettling book, The Cruel Radiance convincingly demonstrates that if we hope to alleviate political violence, we must first truly understand it—and to do that, we must begin to look. (shrink)

Despite a predominantly digital, 21st century music production landscape, analogue hardware professional audio technologies persist. In the discoursal throes of the leading online audio technology message forum Gearslutz, such technologies are routinely objectified, sexualized, fetishized and socialized into gear. Situated in a contemporary critical, interdisciplinary framework of fetish, masculinity and sexuality studies, this research interrogates how audio technologies manufactured and intended for music production contexts become sexy. Applying a mixed-mode methodology, including an intensive discourse, image and material-semiotic analysis of an (...) ‘epic’ sexy gear thread, we collated extensive data about technological fetishization. Sexy gear discourse articulates themes of voyeurism, acquisition, control and animation – linking the fetish value of technological objects and their connoisseurship with the erotic potential of sexualized objects. Such discourses ultimately serve to maintain social order, and become sites for performing the maintenance work of hegemonic masculine formations. This research provides new insights into how hegemonic masculinities depend upon the organization of online and offline sociability around fetishized material objects. Furthermore, our findings align with those of current scholarship focused on representational politics of technoculture. (shrink)

Disasters are not events; they are processes. True, news media inevitably focuses our attentions on the disaster singularity because it makes such compelling coverage. In the era of reality TV it=s about as good as it gets. Buildings are torn apart as we watch, people are seen in abject distress; there are miraculous escapes and heroic rescues and, as the cameras follow rescue workers into the rubble of buildings or search houses as flood waters recede, we might even see a (...) real corpse. The only thing to compare is war reporting. Watching disaster coverage live on television is something akin to necro-voyeurism. But like wars and other forms of deadly conflict, disasters are anything but the singularities portrayed in news coverage. They have long portentous rehearsals and extended coda, little of which makes for entertainment like graphic scenes of destruction. The purpose of these remarks is to highlight the social conditions that lead to disaster, drawing on global and local lessons from natural disasters and deadly conflicts. (shrink)

Trust between transaction partners in cyberspace has come to be considered a distinct possibility. In this article the focus is on the conditions for its creation by way of assuming, not inferring trust. After a survey of its development over the years (in the writings of authors like Luhmann, Baier, Gambetta, and Pettit), this mechanism of trust is explored in a study of personal journal blogs. After a brief presentation of some technicalities of blogging and authors’ motives for writing their (...) diaries, I try to answer the question, ‘Why do the overwhelming majority of web diarists dare to expose the intimate details of their lives to the world at large?’ It is argued that the mechanism of assuming trust is at play: authors simply assume that future visitors to their blog will be sympathetic readers, worthy of their intimacies. This assumption then may create a self-fulfilling cycle of mutual admiration. Thereupon, this phenomenon of blogging about one’s intimacies is linked to Calvert’s theory of ‘mediated voyeurism’ and Mathiesen’s notion of ‘synopticism’. It is to be interpreted as a form of ‘empowering exhibitionism’ that reaffirms subjectivity. Various types of ‘synopticon’ are distinguished, each drawing the line between public and private differently. In the most ‘radical’ synopticon blogging proceeds in total transparency and the concept of privacy is declared obsolete; the societal gaze of surveillance is proudly returned and nullified. Finally it is shown that, in practice, these conceptions of blogging are put to a severe test, while authors often have to cope with known people from ‘real life’ complaining, and with ‘trolling’ strangers. (shrink)

This new edition of Professionalism and Ethics: Q & A Self-Study Guide for Mental Health Professionals thoroughly updates the highly regarded and groundbreaking first edition, offering the contemporary reader clinical wisdom and ethical guidance for challenging times. As with its predecessor, the second edition features commentaries by leaders in psychiatric ethics, plus two foundational chapters on ethics and professionalism in the field of mental health. These commentaries and introductory chapters provide an overview of essential ethical principles and concepts, the professional (...) obligations of the mental health clinician, common ethical tensions found in practice, ethical aspects of caring for special populations, and ethical issues in professional training and research. The introductory chapters are followed by case-oriented questions and answers on core concepts and topics in clinical care, medical research, and interactions with colleagues and trainees. Topics explored in-depth include authorship, disclosure, and ethical peer review for scientific publications; assisted suicide and euthanasia; professional voyeurism versus patient privacy online and on social media; the appropriate process for reporting an impaired colleague; and problems of burnout, work-life balance, and professional well-being. Professionalism and Ethics: Q & A Self-Study Guide for Mental Health Professionals poses and plumbs critically important ethical dilemmas in a compelling, down-to-earth way for today's practitioners and learners. (shrink)

Although international law grants a distinct juristic personality to indigenous peoples, this subjecthood is premised on a hierarchical reading of ethnicity and indigeneity. Through illustrations of Adivasi experiences in India, this article interrogates the prejudices of the global juridical discourse that are reproduced by the domestic jurisdiction, exposing the voyeuristic performance of legality in constructing indigenousness.

This paper explores the filmic trajectories experienced by the protagonists in two case studies: Lightning Over Water by Nicholas Ray and Wim Wenders, and Sick, The Life and Death of Bob Flanagan, Supermasochist by Kirby Dick. In both films, the limitexperience, caused by a disease, becomes an active device, one that produces knowledge for the protagonists. In this radical experience, what is revealed is the link between selfrepresentation and a will to self-destruction, and the normative margins of rationality are questioned. (...) Based on the studies of Jean-Luc Nancy, Jean Baudrillard and Clément Rosset, this essay examines an approach to terminal illness and self-representation both in the context of pain and the voyeuristic process of death as a spectacle. (shrink)

Greta Garbo named herself. It was she who invented the name “Garbo” and officially registered the change from Greta Gustafsson to Greta Garbo at the Ministry of Justice in Sweden on 4 December 1923. The name had the metonymic virtue of suggesting the nature of her screen presence. The Swedish meaning of garbo, “wood nymph,” suggests the association with otherworldly forces that became part of her image; while the Spanish meaning of the word, “animal grace sublimated,” combines the animal passion (...) and spiritual grace that were part of her power.1 And yet in most accounts of Garbo’s life and work the legend still persists that it was Swedish director Mauritz Stiller who named her after a seventeenth-century Hungarian king. The extent to which the legend has obscured Garbo’s initial act of self-naming is symptomatic of the larger tendency in film theory and criticism to mask the creative power of the actress by treating her as the blank sheet upon which the director inscribes his own signature.What is particularly misleading about the Svengali metaphor as it has figured in studies of Garbo is that it so deliberately masks the evidence. In her article “Gish and Garbo: The Executive War on the Stars,” Louise Brooks suggests that the popular image of Garbo—the “dumb Swede” transformed by Stiller’s art—was perpetuated by Hollywood executives eager to play down the very real power that Garbo already exhibited in the rushes for her first American film, The Torrent . “The whole MGM studio, including Monta Bell, the director, watched the daily rushes with amazement as Garbo created out of the stales, thinnest material the complex, enchanting shadow of a soul upon the screen.” Although recent accounts of Garbo’s life and work have advanced beyond the “dumb Swede” publicity of Photoplay magazine, critics still reveal a similar, almost vampish determination to deprive Garbo of her creative power. “Her contribution,” states Kenneth Tynan, “is calm and receptiveness, an absorbent repose which normally, in women, coexists only with the utmost vanity. Tranced by the ecstasy of existing, she gives to each onlooker what he needs” . Comparing Garbo to a “watermark in a blank sheet of paper,” David Thomson says in an essay in honor of her seventy-fifth birthday: “She must be no one in herself if she is to signify so much to so many others…. All the moods and moments of love are encompassed because the appearance is hollow. We are to inhabit it, to flesh it out.” In these accounts, Garbo is presented not as an active shaping power but as a passive female vessel, ready to receive the impress of male voyeuristic fantasy. Betsy Erkkila, assistant professor of English at the University of Pennsylvania, is author of Walt Whitman among the French: Poet and Myth and editor of Ezra Pound: The Critical Reception. She is currently working on a book, Whitman the Political Poet, and a collection of essays, American Women Poets Musing. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:What’s His Story?Gwen Adshead (bio)Keywordsnarrative, violence, identityIn this commentary, I discuss three issues raised by Cartwright: whether and to what extent explanations from the past can adequately explain or excuse present actions, the nature of moral identity, and the notion of the moral community.I have often thought that psychiatrists and psychotherapists working with offenders have to be like writers of detective fiction. To make the story convincing, the writer (...) of detective fiction has to convey to the reader an understanding of the killer's motives. The successful writer enables the reader to appreciate the killer's reasons for killing; and these reasons offer to readers a tantalizing glimpse of what it might actually be like to be a violent and dangerous person; or more particularly, one who acts on their cruel and violent thoughts.Psychiatrists want to understand the reasons for their patient's violence, for several reasons (which probably include the voyeuristic pleasure that all humans seem to have at other people's disasters). However, the main reason is to do with prevention of future harm; if we understand the reasons that this happened, then we can take steps to make sure that it does not happen again. This view has been called the just world theory (Janoff Bulman 1989), which implies a world of predictable causes and reasons, where disasters occur because of an identifiable fault or omission that can be rectified with good result. The payoff of this view is that it gives the believer a sense of control, which after a disaster is important for maintaining confidence and self-esteem.The problem with this theory is that it presupposes that the world of human actions is essentially rational, and that people do things for reasons that make sense to them. However, much human cruelty has an irrational and unreasonable aspect to it; one that literally makes no sense. Cartwright's paper begins with a narrative about real people doing really dreadful things for no reasons that would ever satisfy the average detective story reader. Forensic mental health work is full of histories that are actually much stranger than any detective fiction.But it seems that humans are not happy with stories that do not make sense, even if senselessness is part of the natural world around them. As Cartwright indicates (see p. 150), when we hear about people like Robert Harris, we immediately move the field of inquiry from "Why did he do that?" to "Why is he like that?" With the rise of developmental psychology over the last 150 years, it has become natural to look at people's histories to see if this explains the person's present identity. In this sense, therefore, we seem to be natural Aristotelians, assuming that a man's character is revealed by his current actions: we also seem to be assuming that a man's character is an expression of past actions and events. [End Page 157]His-Story: Explaining the PresentIs this in fact the case? To what extent is it true that our identities are shaped by our past experiences? Even if this were the case, shaping is not the same as determining. There has always been a risk that developmental psychology will take up a similar position to genetics, with regard to explaining behavior; namely, that there are those who will try to argue that the presence of this, that, or the other gene, or this, that, or the other experience, both determines and "explains" the behavior. The moral point here is that when it comes to violent and antisocial behaviors, a person's past history is said to simultaneously explain the behavior, determine the behavior, and excuse it, by implying that the actor had no choice about what he did, given his past. This has been taken to an extreme in the US criminal courts, with what Dershowitz (1994) has called "the abuse excuse" (used most notably in the trial of the Menendez brothers, who killed their parents and claimed at the trial that their parents had abused them).Trials are about evidence, and it is worth considering the evidence about the effect of early childhood adversity... (shrink)

David Houston Jones builds a bridge between practices conventionally understood as forensic, such as crime scene investigation, and the broader field of activity which the forensic now designates, for example performance and installation art, as well as photography. Contemporary work in these areas responds both to forensic evidence, including crime scene photography, and to some of the assumptions underpinning its consumption. It asks how we look, and in whose name, foregrounding and scrutinising the enduring presence of voyeurism in visual (...) media and instituting new forms of ethical engagement. Such work responds to the object-oriented culture associated with the forensic and offers a reassessment of the relationship of human voice and material evidence. It displays an enduring debt to the discursive model of testimony which has so far been insufficiently recognised, and which forms the basis for a new ethical understanding of the forensic. Jones's analysis brings this methodology to bear upon a strand of contemporary visual activity which has the power to significantly redefine our understandings of the production, analysis and deployment of evidence. Artists examined include Forensic Architecture, Simon Norfolk, Melanie Pullen, Angela Strassheim, John Gerrard, Julian Charrière, Trevor Paglen, Laura Poitras and Sophie Ristelhueber. The book will be of interest to scholars working in art history, visual culture, literary studies, modern languages, photography and critical theory. (shrink)

This essay, by the editor of Common Knowledge, introduces the sixth and final installment of “Fuzzy Studies,” the journal's “Symposium on the Consequence of Blur.” Suggesting that “Fuzzy Studies” should be understood in the context of a desultory campaign against zeal conducted in the journal for almost twenty years, he explains that the editors' assumption has been that any authentic case for the less adamant modes of thinking, or the less focused ways of seeing, needs to be unenthusiastic and carefully (...) ramified. To establish the distinction between overenthused and unemphatic approaches to blur, he contrasts the ecstatically amorphous “Blur building” with examples of classical Chinese landscape painting. Elizabeth Diller and Richard Scofidio, in their book blur: the making of nothing, chronicle the development of their plans for the Blur building and, in the process, inadvertently show that, to overbear various negative associations of blur and fog, the authors/architects grew self-contradictorily emphatic about the need to produce de-emphasis in architecture and in modern life. Perl shows how this self-contradiction appears also in phenomenology-inflected writings on blur by T. J. Clark, Yve-Alain Bois and Rosalind Kraus, J.-P. Sartre, and Georges Bataille, but not in the work of the phenomenologist François Jullien, whose book The Great Image Has No Form analyzes the role of blur in classical Chinese art theory and practice. Where traditional Western painting, Jullien argues, calls for voyeuristically intense focus, traditional Chinese painting stimulates “dé-tente, relaxation or ‘untensing’.” Intense focus on a blur is still, Perl observes, an intense focus. In describing a painting by the Yuan Dynasty master Ni Zan, Perl concludes that the only way to be un-self-contradictorily positive about fuzziness, whether in logic or aesthetics, is to de-reify and de-differentiate with the aim of achieving blandness. (shrink)

This essay, by the editor of Common Knowledge, introduces the sixth and final installment of “Fuzzy Studies,” the journal's “Symposium on the Consequence of Blur.” Suggesting that “Fuzzy Studies” should be understood in the context of a desultory campaign against zeal conducted in the journal for almost twenty years, he explains that the editors' assumption has been that any authentic case for the less adamant modes of thinking, or the less focused ways of seeing, needs to be unenthusiastic and carefully (...) ramified. To establish the distinction between overenthused and unemphatic approaches to blur, he contrasts the ecstatically amorphous “Blur building” (on Switzerland's Lake Neuchâtel) with examples of classical Chinese landscape painting. Elizabeth Diller and Richard Scofidio, in their book blur: the making of nothing, chronicle the development of their plans for the Blur building and, in the process, inadvertently show that, to overbear various negative associations of blur and fog, the authors/architects grew self-contradictorily emphatic about the need to produce de-emphasis in architecture and in modern life. Perl shows how this self-contradiction appears also in phenomenology-inflected writings on blur by T. J. Clark, Yve-Alain Bois and Rosalind Kraus, J.-P. Sartre, and Georges Bataille, but not in the work of the phenomenologist (and sinologist) François Jullien, whose book The Great Image Has No Form analyzes the role of blur in classical Chinese art theory and practice. Where traditional Western painting, Jullien argues, calls for voyeuristically intense focus, traditional Chinese painting stimulates “dé-tente, relaxation or ‘untensing’.” Intense focus on a blur is still, Perl observes, an intense focus. In describing a painting by the Yuan Dynasty master Ni Zan, Perl concludes that the only way to be un-self-contradictorily positive about fuzziness, whether in logic or aesthetics, is to de-reify and de-differentiate with the aim of achieving blandness. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:MIMETIC SADISM IN THE FICTION OF YUKIO MISHIMA Jerry Piven New York University Mishima Yukio (1925-1970) was one ofthe mostenigmatic authors of the 20th century. Novelist, playwright, actor, exhibiionist —his novels are rife with homoerotic and violent imagery, while his fanatical and nihilistic philosophy calls for a return to a Samurai ethos. Mishima thus attained infamy in Japan and in the West, as his shocking novels inspired hordes ofyoung (...) Japanese into a cult ofMishima worship, while critics who acknowledge his genius are still nervous about his sadistic homosexuality and his suicide. Mishima's works are suffused with erotic bloodshed and misogyny, and Mishima finally ended his life by ritually disemboweling himself. I will make the case that Mishima was incessantly plagued by torturous mimetic frustrations, and that his final act of spilling his blood and intestines can be interpreted as the result of mimetic hatred against his rivals. I also argue that Mishima was fundamentally schizoidal; in Girardian terms, a man whose hypocrisy for the sakeofdesire rendered him an exhibitionistic maskdisguisingmimetic rage and fear. Having previously written about Mishima from a psychoanalytic perspective, I believe that a Girardian approach would often yield drastically different interpretations of identical biographical and literary materials. ' 1I initially wrote on Mishima for several diagnostic assignments at my psychoanalytic institute, the National Psychological Association for Psychoanalysis (NPAP). After considering the psychoanalytic and Girardian approaches, I expanded these original essays using identical material to determine whetherthe interpretations orconclusions would differ; I was struck by the way the same details could provide both remarkable congruences and vast divergences ofperspective. Read side by side, one can find compatible conclusions, but one also finds perceptions ofthe same details that would be difficultto conceive or articulate 70Jeremy Piven Mimesis, misogyny, and maculacy Kimitake Hiraoka was a frail, sickly child before he became the muscular and exhibitionistic novelist Yukio Mishima. His brutal and helpless childhood inaugurated his mimetic complexes: his need to escape the suffocating and diseased environment of his grandmother, his rivalry with her, and his mimetic ideal ofbeauty and muscular invulnerability. Mishima was an unhealthy youth, taken from the arms of his mother before he was two months old, and confined to the sickroom of his grandmother for the first twelve years ofhis life. Under the auspices ofhis tyrannical and ostensively psychotic grandmother, Mishima lived in the dark, could play only female friends (becausetheywere deemed harmless), and could eat only gentle foods. He thus lived an imprisoned life away from his parents, amid the excrescences of his sick and hysterical grandmother until adolescence, when his father "reclaimed him." Mishima later rebelled against this sickly nature, sculpting himself into a statuesque ideal of masculine beauty. He became obsessed with martial arts and the eroticism ofhis own engraved body. His fiction and philosophy were permeated by misogyny, glorification ofGrecian male sexuality and aesthetics, and the repudiation ofanything weak or feminine. He finally killed himselfbefore age could wither his masculine beauty. Mishima's fiction prominently features protagonists who mirror his sickly youth. The autobiographical Confessions of a Mask (Kamen no Kokuhaku) describes the homoerotic development ofthis frail child. Such fraiIcharacters inMishima'sfiction arealwaysdrawneroticallytobeautiful males as both mimetic rivals and models. The narrator of Confessions describes his sexual attraction to a sewage collector, a "ladler of excrement"(8). Thehandsomemanwith "ruddycheeks" and "shiningeyes" fascinates the narrator, and he is filled with desire lookingathistightjeans. using psychoanalytic perspectives andjargon. Two ofthe original essays will be published inthePsychoanalyticReview in comingmonths: "PhallicNarcissism, Anal Sadism, and Oral Discord: The Case ofYukio Mishima (part I)," and "Narcissistic Revenge and Suicide: The Case ofYukio Mishima (part H)." I am currently translating these articles for publication in Japan. I included a brief discussion of Mishima in the introduction to Psychological Undercurrents ofHistory (Piven and Lawton, eds.), to explore the complex methodological and psychological dynamics of the field of psychohistory. A commentary on Mishima's traumaticchildhood entitled "The Pathology ofGenius," will appearin aforthcomingedition ofTapestry: TheJournalofHistoricalMotivations andtheSocialFabric, and afinal article, "Voyeurism and Rage in The Sailor Who Fellfrom Grace with the Sea," will appear in Psychological Undercurrents ofHistory, Volume II (2002). Mimetic Sadism in the Fiction ofYukio Mishima71 The narrator thus emerges into a burgeoning homosexuality, but he also fantasizes about dying dramatically. His... (shrink)

In retrospect of the scandal caused by the first performance of PEEPING TOM in 1960, the "project" of Michael Powell's prototypal serial killer is analysed from a media theoretical viewpoint. Mark Lewis kills women, because he wants to see their horriffied expression in the moment of death and capture it on celluloid, employing an apparatus made of camera, stiletto and concave mirror. What exactly does Lewis want to spot in his victims' eyes? And how would that involve the issue of (...) voyeurism at the cinema? (shrink)

This paper engages in a critical examination of Michel Henry’s (1922-2002) phenomenological study of the erotic relation. I argue that while Henry’s analysis sheds light on the nature of eros and how it might be renewed from the obscene objectivism to which it has largely been reduced in Western society today, his analysis of eros undermines his account of the phenomenological life of the subject as a radically immanent mode of appearing and calls for revision. I contend that it is (...) by acknowledging life as a movement of transcendence toward the world that we can resolve this issue and further refine Henry’s insights into the nature of eros and how it might once again be renewed in contemporary Western civilization. I begin by laying out Henry’s account of how the forgetting of life results in a reduction of the erotic (i.e., inter-subjective) relation to a merely sexual (i.e., inter-objective) one, and how this lays the groundwork for what he regards as the destructive sadomasochistic practices of voyeurism and pornography. Following this, I outline Henry’s account of the nature and limits of the erotic relation, and I demonstrate how Henry’s work harbours the latent suggestion that the failure of eros can serve as a step toward a higher union with others in a love of God. In the closing section, I show how Henry’s analysis of the erotic relation calls for a re-conception of life as a movement of transcendence. I outline how this re-conception better accounts for the complex exchanges between the non-objectifying drives of life and the objectifying acts of consciousness, and I show how this allows us to retain some of Henry’s insights into eros and its renewal while forcing us to modify others. (shrink)

A volume of essays by leading photography writers and critics, published to benefit Amnesty International, cites such examples as the work of Susan Sontag to question whether photography of disturbing images stirs empathy or voyeurism in its viewers, outlining how to look at photographs to become contextually informed. Original.

This article questions the value of photographs of violence and suffering. Taking Nancy Scheper-Hughes and Philippe Bourgois’ anthology Violence in War and Peace (2004) as a point of departure and return, it will explore the significance of the inclusion of images of explicit violence when they readily acknowledge they risk both indifference and voyeuristic interest. Key to my analysis is the centrality of the body to the images. Scheper-Hughes and Bourgois are wary of reducing questions of violence to bodily suffering, (...) but the admission of so many images of physical violation undercuts their critique of the primacy of the physical in our accounts of violence. The use of the body as a brute signifier of violence is deeply problematic, not least because it is tied to questions of race. Ultimately, it is argued, they attempt, unconsciously, to fix the nature of violence – which they deem slippery because it is irrefutably social – in the (visualized) body. (shrink)