The essay is concentrated on emotional affects caused by representation of violence in the case of Russia’s war against Ukraine and beyond. Instant accessibility to first-hand visual information created fertile soil for planting and then multiplying manipulative strategies of one or another political interest. Meanwhile, the demand for shocking content continues to steadily rise because it guarantees popularity, spectacle and even a form of pleasure. This, in turn, supports a very propagandistic version of reality where violence plays a central role (...) in the overall design and transmission of contents, which is driven by shock as an affective medium. Blind Spot, Gradual Loss of Vision and Speck in the Eye represent a body of works by Mykola Ridnyi, address the question of what potential response(s) could be given by artistic interventions understood as a dialectical and critical framework able to face and make visible the problem of dehumanization through violence? (shrink)

In the wake of the Civil War, women’s suffrage activists hoped that the U.S. Congress would meet their demand for enfranchisement. But not only did the Fourteenth Amendment, first introduced in 1865, leave that out, but it introduced an explicit mention of sex into the Constitution for the first time by referring to the rights of “male citizens.” When efforts to change the amendment’s language failed, some within the suffrage movement publicly opposed its ratification. Tensions mounted further when the Fifteenth (...) Amendment—“the right of citizens of the United States to vote shall not be denied or abridged... on account of race, color, or previous condition of servitude”—failed to... (shrink)

This article focuses on Jacques Rancière’s reflections on Alfredo Jaar’s The Rwanda Project in the context of wider discussions of the politics of naming the dead. Against the claim that his reflections reveal a depoliticizing, universalist commitment to naming all the dead, it contends that foregrounding the relation between naming and counting in this discussion shows Rancière’s focus to be the policing and politics of naming. In an original argument, it focuses specifically on how, for Rancière, in this context, individualized (...) proper names function politically and dissensually. To do so it explores Rancière’s analysis of the role of the mainstream media during the Rwandan genocide in perpetuating the police order which divided nameable individuals from anonymous masses, thereby constituting living and dead Rwandans as of little or no account, and his account of how Jaar’s art is able to disrupt the ‘partition of the sensible’ underpinning this count. The article concludes by considering how Rancière’s ideas about the relationship between naming and counting and between politics and police serve as a useful supplement to and extension of existing discussions of grievability. (shrink)

Although there is ample interrogation of advertising/commercial/media culture in critical pedagogy, there is little attention paid to the fine arts and to aesthetic experience. This lacuna is all the more perplexing given Paulo Freire’s use of artist Francisco Brenand’s illustrations for his culture circles. In this essay I will return to Freire’s original description of the relationship between fine art images and conscientizacao in order to map out the future of the image in critical pedagogy. This return to the origin (...) of the use of images in literacy programs will highlight the interdependent nature of word and image but also will demonstrate some of the long standing misconceptions of the way fine art images function in relation to education and politics. In conclusion I will suggest that if images have a future in critical pedagogy, then this future must ultimately move beyond Freire. As an alternative genealogical anchoring point for the development of the aesthetics of critical literacy, I suggest a turn to the work of Jacques Rancière. Through his conceptualization of the “pensive image” as well as the “emancipated spectator” we can begin to understand how the fine art image can work to realize Freire’s democratic ideals without relying on Freire’s problematic formulation of the image-pedagogy relationship. In conclusion, I suggest that the philosophical model necessary to support critical literacy is not Freire’s culture circle so much as Kant’s aesthetic community now revitalized via Rancière’s own aesthetics of dissensus. (shrink)

In the novel The City and the City, by China Mieville, the reader follows the Kafkaesque journey of Inspector Tyador Borlu through a labyrinthian political conspiracy set in two politically autonomous yet territorially overlapping cities: Beszel and Ul Qoma. Although “grosstopically” interwoven like topographic doppelgangers, the two cities are perceived as distinct political and cultural territories. Even as citizens from the two cities intermingle on divided streets, live in buildings where different floors exist in different cities, and children climb on (...) trees territorially split (“crosshatched”) down the center, they must learn to “unsee” and “unnotice” one another. The major role of education is to teach .. (shrink)