If journalism is the first draft of history, these three essays might be described as a stab at a second draft. It is an attempt by three scholars from different disciplines, with sharply contrasting methodologies, to provide an account of the protest movements of 2011, from the Arab Spring to Occupy Wall Street. We deploy the perspectives of ethnography, political thought, and iconology in an effort to produce a multidimensional picture of this momentous year of revolutions, uprisings, mass demonstrations, and—most (...) centrally—the occupations of public space by protest movements. (shrink)

What precisely, W. J. T. Mitchell asks, are pictures (and theories of pictures) doing now, in the late twentieth century, when the power of the visual is said to be greater than ever before, and the "pictorial turn" supplants the "linguistic turn" in the study of culture? This book by one of America's leading theorists of visual representation offers a rich account of the interplay between the visible and the readable across culture, from literature to visual art to the (...) mass media. (shrink)

"[Mitchell] undertakes to explore the nature of images by comparing them with words, or, more precisely, by looking at them from the viewpoint of verbal language.... The most lucid exposition of the subject I have ever read."—Rudolf Arnheim, _Times Literary Supplement_.

Paul Lewis and Walter Gulick summarize and evaluate Mark Micthell’s new book, Michael Polanyi: The Art of Knowing, and Mitchell responds to their comments in this symposium article.

A large proportion of hospital inpatients are affected by cognitive impairment, posing challenges in the provision of their care in busy, fast-paced acute wards. Signs and symbols, known as visual identifiers, are employed in many U.K. hospitals with the intention of helping healthcare professionals identify and respond to the needs of these patients. Although widely considered useful, these tools are used inconsistently, have not been subject to full evaluation, and attract criticism for acting as a shorthand for a routinized response. (...) In order for visual identifiers to be used effectively in acute care settings, thorough consideration must be given to the ethical and legal issues that are engaged in this context, and their potential benefits and harms must be weighed and balanced. This paper proposes a set of legal and ethical principles that can be used to guide the implementation of visual identifiers. Together, these principles provide a framework applicable in the design and implementation phases to systematically identify relevant considerations arising from the use of these tools. We outline some tensions that arise between principles and conclude that selecting a preferred moral framework could help to guide decision-making, as does clarity around the purpose and objectives of the identifier. (shrink)

Although the notion of spatiality has always lurked in the background of discussions of literary form, the self-conscious use of the term as a critical concept is generally traced to Joseph Frank's seminal essay of 1945, "Spatial Form in Modern Literature."1 Frank's basic argument is that modernist literary works are "spatial" insofar as they replace history and narrative sequence with a sense of mythic simultaneity and disrupt the normal continuities of English prose with disjunctive syntactic arrangements. This argument has been (...) attacked on several fronts. An almost universal objection is that spatial form is a "mere metaphor" which has been given misplaced concreteness and that it denies the essentially temporal nature of literature. Some critics will concede that the metaphor contains a half-truth, but one which is likely to distract attention from more important features of the reading experience. The most polemical attacks have come from those who regard spatial form as an actual, but highly regrettable, characteristic of modern literature and who have linked it with antihistorical and even fascist ideologies.2 Advocates of Frank's position, on the other hand, have generally been content to extrapolate his premises rather than criticize them, and have compiled an ever-mounting list of modernist texts which can be seen, in some sense, as "antitemporal." The whole debate can best be advanced, in my view, not by some patchwork compromise among the conflicting claims but by a radical, even outrageous statement of the basic hypothesis in its most general form. I propose, therefore, that far from being a unique phenomenon of some modern literature, and far from being restricted to the features which Frank identifies in those works , spatial form is a crucial aspect of the experience and interpretation of literature in all ages and cultures. The burden of proof, in other words, is not on Frank to show that some works have spatial form but on his critics to provide an example of any work that does not. · 1. Frank's essay first appeared in Sewanee Review 53 and was revised in his The Widening Gyre . Frank's basic argument has not changed essentially even in his most avante-garde statements; he still regards spatial form "as a particular phenomenon of modern avante-garde writing." See "Spatial Form: An Answer to Critics," Critical Inquiry 4 : 231-52. A useful bibliography, "Space and Spatial Form in Narrative," is being complied by Jeffrey Smitten .· 2. This charge generally links the notion of spatial form with Wyndham Lewis and Ezra Pound, the imagist movement, the "irrationality" and pessimistic antihistoricism of modernism, and the conservative Romantic tradition. Frank discusses the complex motives behind these associations in the work of Robert Weimann and Frank Kermode in his "Answer to Critics," pp. 238-48. W. J. T. Mitchell, editor of Critical Inquiry, is the author of Blake's Composite Art, and The Last Dinosaur Book: The Life and Times of a Cultural Icon. The present essay is part of Iconology: The Image in Literature and the Visual Arts. "Diagrammatology" appeared in the Spring 1981 issue of Critical Inquiry. Leon Surette responds to the current essay in "‘Rational Form in Literature’". (shrink)

First Published in 1999. Routledge is an imprint of Taylor & Francis, an informa company.

In video games, identification with avatars—virtual entities or characters driven by human behavior—has been shown to serve many interpersonal and intraindividual functions but our understanding of the psychological variables that influence players' avatar choices remains incomplete. The study presented in this paper tested whether players' preferred style of avatar creation is linked to the magnitude of self-perceived discrepancies between who they are, who they aspire to be, and who they think they should be. One-hundred-and-twenty-five undergraduate gamers indicated their preferred avatar (...) creation style and completed a values measure from three different perspectives: their actual, ideal, and ought selves. The average actual/ideal values discrepancy was greater among those who preferred idealized avatars vs. those who preferred realistic avatars. The average actual/ought values discrepancy was greater among those who preferred completely different avatars vs. those who preferred realistic avatars. These results, therefore, offer additional evidence that self-discrepancy theory is a useful framework for understanding avatar preferences. (shrink)

The meaning of pain is the subject of this text, providing a philosophical perspective on coping with this debilitating condition. The book presents a discussion and review of world philosophy and literature relevant to the problem of human suffering.

Background:Reducing the incidence and negative consequences of concussion among youth athletes is a public health priority. In 2010, Massachusetts passed legislation aimed at addressing the issue of concussions in school athletics. We sought to understand local-level implementation decisions of the Massachusetts concussion law.Methods:A qualitative multiple-case study approach was utilized. Semi-structured interviews with school-employed actors associated with the law's implementation were used for analysis. Interview data were subjected to a conventional content analysis.Results:A total of 19 participants from 5 schools were interviewed. (...) Schools were purposefully selected from communities varying in socioeconomic status and population. Participants included 5 athletic directors, 5 coaches, 4 athletic trainers, 4 school nurses, and 1 health and wellness coordinator. Eight themes emerged regarding specific ways schools have implemented the law. Six themes emerged regarding factors influencing implementation.Conclusions:All cases employ neurocognitive testing as a means to assess concussions, place decision-making authority in athletic trainers' hands, and use a 30-minute online video to disseminate concussion education. Employing athletic trainers could pose challenges to school districts with limited financial capacity, as financial assistance from the state is not provided under the law. The validity of neurocognitive testing and the effectiveness of online concussion training need further study. Cooperation from student athletes, their parents, and physicians is necessary for full implementation of the law. (shrink)

By ruling out questions of impairment from the social critique of disability, Disability Studies analyses establish a limit point in the field. Of course the setting of “limits” enables possibilities in multiple directions as well as fortifies boundaries of refusal. For instance, impairment becomes in DS simultaneously a productive refusal to interpret disabled bodies as inferior to non-disabled bodies and a bar to thinking through more active engagements with disability as materiality. Disability materiality such as conditions produced by ecological toxicities (...) serve as active switch-points for creative corporeal navigations of the interaction between bodies and environments.In fact in this paper we want to propose a more “lively” definition of disability materiality to existing definitions of impairment as limiting expressions of non-normative bodies. We have no useful ways of explaining disability as adaptation and it’s time we begin the process of theorizing more active ideas of materiality that extend existing ideas of disability beyond simplistic conceptions of socially rejected biologies made available by social constructivist thought. (shrink)

Reality medical television, an increasingly popular genre, depicts private medical moments between patients and healthcare providers. Journalists aim to educate and inform the public, while the participants in their documentaries—providers and patients—seek to heal and be healed. When journalists and healthcare providers work together at the bedside, moral problems precipitate. During the summer of 2010, ABC aired a documentary, Boston Med, featuring several Boston hospitals. We examine the ethical issues that arise when journalism and medicine intersect. We provide a framework (...) for evaluating the potential benefits and harms of reality medical television, highlighting critical issues such as informed consent, confidentiality, and privacy. (shrink)

Name der Zeitschrift: Paragrana Jahrgang: 25 Heft: 2 Seiten: 29-48.

The polymath Michael Polanyi first made his mark as a physical chemist, but his interests gradually shifted to economics, politics, and philosophy, in which field he would ultimately propose a revolutionary theory of knowledge that grew out of his firsthand experience with both the scientific method and political totalitarianism. In this sixth entry in ISI Books’ Library of Modern Thinkers’ series, Mark T. Mitchell reveals how Polanyi came to recognize that the roots of the modern political and spiritual crisis (...) lay in an errant conception of knowledge that served to foreclose any possibility of making meaningful statements about truth, goodness, or beauty. Polanyi’s theory of knowledge as ineluctably personal but also grounded in reality is not merely of historical interest, writes Mitchell, for it proposes an attractive alternative for anyone who would reject both the hubris of modern rationalism and the ultimately nihilistic implications of academic postmodernism. (shrink)

The question naturally arises: Is public art inherently violent, or is it a provocation to violence? Is violence built into the monument in its very conception? Or is violence simply an accident that befalls some monuments, a matter of the fortunes of history? The historical record suggests that if violence is simply an accident that happens to public art, it is one that is always waiting to happen. The principal media and materials of public art are stone and metal sculpture (...) not so much by choice as by necessity. “A public sculpture,” says Lawrence Alloway, “should be invulnerable or inaccessible. It should have the material strength to resist attack or be easily cleanable, but it also needs a formal structure that is not wrecked by alterations.”12 The violence that surrounds public art is more, however, than simply the ever-present possibility of an accident—the natural disaster or random act of vandalism. Much of the world’s public art—memorials, monuments, triumphal arches, obelisks, columns, and statues—has a rather direct reference to violence in the form of war or conquest. From Ozymandias to Caesar to Napoleon to Hitler, public art has served as a kind of monumentalizing of violence, and never more powerfully than when it presents the conqueror as a man of peace, imposing a Napoleonic code or a pax Romana on the world. Public sculpture that is too frank or explicit about this monumentalizing of violence, whether the Assyrian palace reliefs of the ninth century b.c., or Morris’s bomb sculpture proposal of 1981, is likely to offend the sensibilities of a public committed to the repression of its own complicity in violence.13 The very notion of public art as we receive it is inseparable from what Jürgen Habermas has called “the liberal model of the public sphere,” a dimension distinct from the economic, the private, and the political. This ideal realm provides the space in which disinterested citizens may contemplate a transparent emblem of their own inclusiveness and solidarity, and deliberate on the general good, free of coercion, violence, or private interests.14 12. Lawrence Alloway, “The Public Sculpture Problem,” Studio International 184 : 124.13. See Leo Bersani and Ulysse Dutoit, “The Forms of Violence,” October, no. 8 : 17-29, for an important critique of the “narrativization” of violence in Western art and an examination of the alternative suggested by the Assyrian palace reliefs.14. Habermas first introduced this concept in The Structural Transformation of the Public Sphere: An Inquiry into a Category of Bourgeois Society, trans. Thomas Burger and Frederick Lawrence . First published in 1962, it has since become the focus of an extensive literature. See also Habermas’s short encyclopedia article, “The Public Sphere,” trans. Sara Lennox and Frank Lennox, New German Critique 1 : 49-55, and the introduction to it by Peter Hohendahl in the same issue, pp. 45-48. I owe much to the guidance of Miriam Hansen and Lauren Berlant on this complex and crucial topic. W. J. T. Mitchell, editor of Critical Inquiry, is Gaylord Donnelly Distinguished Service Professor of English and art at the University of Chicago. His recent book is Iconology: Image, Text, Ideology. (shrink)

In Animal Rites, Cary Wolfe examines contemporary notions of humanism and ethics by reconstructing a little known but crucial underground tradition of theorizing the animal from Wittgenstein, Cavell, and Lyotard to Lévinas, Derrida, ...

The huge amounts spent on store security and crime prevention worldwide, not only costs international businesses, but also amounts to a hidden tax on those law-binding consumers who bear higher prices. Most previous research has focused on shoplifting and ignored many other ways in which consumers cheat businesses. Using a hybrid of both qualitative research and survey approaches in four countries, an index of 37 activities was developed to examine consumers’ unethical activities across UK, US, France, and Austria. The findings (...) indicate that around three quarters of consumers in all four countries can be classified as heavy offenders for these minor cheats. The paper argues that government agencies, marketers, and retailers should adopt more pro-active preventative approaches, rather than reactive loss limitation measures to combat unethical behavior. (shrink)

G. E. Moore observed that to assert, 'I went to the pictures last Tuesday but I don't believe that I did' would be 'absurd'. Over half a century later, such sayings continue to perplex philosophers. In the definitive treatment of the famous paradox, Green and Williams explain its history and relevance and present new essays by leading thinkers in the area.

Mitchell: Could we begin by discussing the problem of public art? When we spoke a few weeks ago, you expressed some uneasiness with the notion of public art, and I wonder if you could expand on that a bit.Kruger: Well, you yourself lodged it as the “problem” of public art and I don’t really find it problematic inasmuch as I really don’t give it very much thought. I think on a broader level I could say that my “problem” is (...) with categorization and naming: how does one constitute art and how does one constitute a public? Sometimes I think that if architecture is a slab of meat, then so-called public art is a piece of garnish laying next to it. It has a kind of decorative function. Now I’m not saying that it always has to be that way—at all—and I think perhaps that many of my colleagues are working to change that now. But all too often, it seems the case.Mitchell: Do you think of your own art, insofar as it’s engaged with the commercial public sphere—that is, with advertising, publicity, mass media, and other technologies for influencing a consumer public—that it is automatically a form of public art? Or does it stand in opposition to public art?Kruger: I have a question for you: what is a public sphere which is an uncommercial public sphere? Barbara Kruger is an artist who works with words and pictures. W. J. T. Mitchell, editor of Critical Inquiry, is Gaylord Donnelly Distinguished Professor of English and art at the University of Chicago. (shrink)