Between the radical, creative capacity of our imagination and the social imaginary we are immersed in is an intermediate space philosophers have termed the imaginal, populated by images or (re)presentations that are presences in themselves. Offering a new, systematic understanding of the imaginal and its nexus with the political, Chiara Bottici brings fresh perspective to the formation of political and power relationships and the paradox of a world rich in imagery yet seemingly devoid of imagination. Bottici begins by (...) defining the difference between the imaginal and the imaginary, locating the imaginal's root meaning in the image and its ability to both characterize a public and establish a set of activities within that public. She identifies the imaginal's critical role in powering representative democracies and its amplification through globalization. She then addresses the troublesome increase in images now mediating politics and the transformation of politics into empty spectacle. The spectacularization of politics has led to its virtualization, Bottici observes, transforming images into processes with an uncertain relationship to reality, and, while new media has democratized the image in a global society of the spectacle, the cloned image no longer mediates politics but does the act for us. Bottici concludes with politics' current search for legitimacy through an invented ideal of tradition, a turn to religion, and the incorporation of human rights language. (shrink)

Assuming that “YouTube provides a deindividuated interactional context where social identity, including ethnic identity, is salient”, we focus our analysis on the online discussants’ identity narratives in order to investigate what makes each identity narrative into a cohesive specific ethos and how this ethos is coherent with the positioning of the party and their leaders. Our methodology includes qualitative analysis as well as a quantitative approach. Our findings confirm that the emotions and ideologies salient in the leadership speeches and keywords (...) are perpetuated, reinvented and re-enacted in avatars, pseudonyms and comments, constructing therefore a coherent virtual community. We also conclude that the ethos of this virtual community was built on the concept of resisting the loss of sovereignty, symbolically co-constructed with myths, memories and a glorious past, instilling pride and unity, while cultivating anger, resentment and contempt against the “enemy”. (shrink)

Confucian Image Politics: Masculine Morality in Seventeenth-Century China. By Ying Zhang. Seattle: University of Washington Press, 2016. Pp. xvi + 306. $50.

This article analyses the political economy of the image today, a historical conjuncture in which art contributes its meanings (even its critiques and negations) to a process of socialization through consumption. This analysis is pursued in light of the reception of an idea of the image drawn from a world before capitalism – or certainly on the edge of capitalism and modernity – as found in Novalis’s unfinished and posthumous novel Henry von Ofterdingen of 1802.

A brand is a complex construction. In addition to its tangible and intangible dimensions, it implies an intrinsic relational dimension associated to any brand building process. The relational dimension is even more visible in the case of the political brand. The political brand brings with it a symbolic construction in which the experience of a diffuse form of sacredness is central, by the presence of the inadequate report specific to the manifestations related to the sacred representations. On the (...) one hand, we are experiencing a meeting that creates the context of identity, and on the other hand a cohabitation that highlights the role of alterity. The brand imposes itself as a symbolic construction based on this game of identity and alterity in a global communication market. Communication advisers must pay attention to this symbolic dimension. It is the expressive form in which interpersonal relationships manifest themselves as assuming the values and meanings that individuals place under the idea of having a better life. The orientation towards the development of political brands understood as personal brands corresponds to a phase of professionalization of politics and political communication in electoral campaigns, but also in the stages between campaigns. At the same time, political brands grow in importance in times of crisis, both because they offer exemplary models and because they synthesize the mythological elements of the imaginary of abundance, trust and authentic dialogue. (shrink)

Nancy's writing on the image may be understood as a critical engagement with the traditions of modern aesthetics and classical theories of art. However, the starting point for his approach to the image indicates that his writing on this topic has much wider ambitions than the treatment of a regional aesthetic topic. Nancy defines the image as a mode of access to sense. Nancy attempts an ontological rehabilitation of the image, which reiterates the precepts of his (...) conception of being as ‘co-presence’. I will argue here that a careful study of the implications of this rehabilitation of the image can be used to clarify the significance of the tacit references that Nancy's ontology makes regarding politics. (shrink)

Publicly-enacted blood extractions (principally blood donation events and petitions or paintings in blood) in mass Indian political contexts (for instance, protest or political memorial events and election rallies) are a noteworthy present-day form of political enunciation in India, for such extractions – made to speak as and on behalf of political subject positions – are intensely communicative. Somewhat akin to the transformative fasts undertaken by Gandhi, such blood extractions seek to persuade from the moral high ground (...) of political asceticism. This essay seeks to shed light on how and why these extractions have become such a means, with a particular focus on blood-based portraiture. What makes such portraits – chiefly of politicians and ‘freedom fighter’ martyrs – interesting from a Strathernian point of view is their immanent persuasive relationality. The insights of Strathern can help us to explicate these objects’ dynamic relational features, while reciprocally, the portraits may help us to illuminate and clarify the very particular and interesting nature of the way Strathern treats (and creates) images. (shrink)

In order to better understand the conditions of the twenty-first century Raphael Sassower and Louis Cicotello revisit the twentieth century in Political Blind Spots: Reading the Ideology of Images. Sassower and Cicotello revisit some of the most significant periods in art and politics in the twentieth century paying close attention to the relationship between aesthetics and politics.

ExcerptIn “Thoughts for the Times on War and Death,” Freud defines nations as “the collective individuals of mankind” and suggests that their development recapitulates individual development.1 Like individuals, nations provide a structure for the internal organization of the passions, and, also like individuals, each nation has ideals that exhort, order, and orient its constitution and forces, imparting an image of unity that establishes borders, delimits hostilities, and guards equilibrium. In this essay, I read Freud and Schmitt through the existential (...) concerns and insights of the other in order to draw out the convergence between the energetic constitution of the ego…. (shrink)

This essay focuses on the ongoing references made to the ban on graven images for the foundation of political aesthetics. In this tradition the image itself plays a significant role in the creation of a dichotomy in which the image becomes either “icon” or false appearance. The image in this tradition is a powerful agent and gains as such performative power. From the Bible to Kant and German idealism to Adorno and Deleuze, the prohibition of the (...) image signals its power and turns it into a strong magnet in political aesthetics, may it be affirmative or negative. (shrink)

In this article, we develop a conceptual framework to understand how a company’s CSR identity becomes defined as a political activity destabilizing the strong identity–image relations. We draw on theories of political CSR and organizational identity–image relations to study how CSR emerges as a corporate political activity in a context where the corporate CSR work is first appreciated and later critiqued by the public in the wake of socio-political events. We analyse the micro-organizational processes (...) in the context of macro-political level changes, and we refer to this as the ‘identity–image dynamics of political CSR’. Concretely, we describe in two vignettes how IKEA’s declared ‘apolitical and neutral’ CSR identity becomes entangled with national and international socio-political events that critically challenge the corporate engagement prior national understandings of citizenship rights. In this process, IKEA’s CSR identity becomes defined as a political and non-neutral activity. Our article contributes by bringing attention to the organizational level dynamics of political CSR by offering a conceptualization of how global and local socio-political events may disturb the alignment between CSR identity and image and challenge the corporate CSR work beyond managerial control. (shrink)

While critics have relied upon bibliographical data and his translation of Thucydides to establish the early Thomas Hobbes as a humanist, this essay argues that substantive evidence to support this conclusion can be found in the comparatively neglected discourses of the Horae Subsecivae. Reading Hobbe's contribution to the Horae alongside his translation of Thucydides reveals a consistent concern with the political potential of both verbal and visual images and with the dangers rhetorical manipulation could pose to individual and sovereign (...) authority. Together these texts demonstrate an early Hobbes already deeply invested in the political debates and crises of his era. (shrink)

By looking at the politics of classification within machine learning systems, this article demonstrates why the automated interpretation of images is an inherently social and political project. We begin by asking what work images do in computer vision systems, and what is meant by the claim that computers can “recognize” an image? Next, we look at the method for introducing images into computer systems and look at how taxonomies order the foundational concepts that will determine how a system (...) interprets the world. Then we turn to the question of labeling: how humans tell computers which words will relate to a given image. What is at stake in the way AI systems use these labels to classify humans, including by race, gender, emotions, ability, sexuality, and personality? Finally, we turn to the purposes that computer vision is meant to serve in our society—the judgments, choices, and consequences of providing computers with these capacities. Methodologically, we call this an archeology of datasets: studying the material layers of training images and labels, cataloguing the principles and values by which taxonomies are constructed, and analyzing how these taxonomies create the parameters of intelligibility for an AI system. By doing this, we can critically engage with the underlying politics and values of a system, and analyze which normative patterns of life are assumed, supported, and reproduced. (shrink)

Within the genres of news and current affairs television, it is the generic logic of the ‘feelgood’ genre of the talk show that legitimizes personalized discourse between famous hosts and politicians. The article presents a case study of such an interview, focusing on the ways in which the interaction between the verbal, the visual and the rhythmic modalities of the interview is employed by the multiple authors of the text to construct a variety of interpersonal footings for interviewer and interviewee (...) on the one hand and a series of preferred interpretations for the audience on the other. The method is deviant case analysis, using tools from semantics and pragmatics, discourse and conversation analysis, and visual analysis of news images. To explore the manner of interaction between the verbal and visual channel, the concept of rhythm is developed for dialogic audiovisual texts. Dialogic audiovisual rhythm is defined as arising from the interaction of speaker or addressee change with onset of new shot, and with frequency of shots per turn/ generic unit of the interview. Rhythmic sequences can then be segmented which make up the textual structure of the interview, delineating its semantic units and areas of strategic positioning between the private, the personal and the political. Three types of the personalization of politics can be discerned in the text: that of the private domain, that of political relations as private ones, and that of politics as history being made by great men. A forth type of personalization is that of the relations between the media and politics. Different combinations of verbal, visual and rhythmic means are used to realize these types discursively. (shrink)

This article seeks to critically question the internal logic and coherence of ‘anti-doping’ through the case study of advantage-seeking practices in the sport of Brazilian Jui-Jitsu (BJJ). We provide an analysis of the recent controversy between high-profile fighters Gordon Ryan and Nicky Rod involving the relative morality of image and performance enhancing drug (IPED) use compared with ‘greasing’, whereby BJJ athletes apply substances, such as oil or lubricants, to the body to make it harder for opponents to establish a (...) grip or maintain control during grappling exchanges. We employ this case study to highlight the impasse between the World Anti-Doping Agency’s (WADA) ethical foundation of the ‘spirit of sport’ and the anti-doping industry’s ‘anti-policy’ stance. We then query why a host of non-chemical advantage-seeking practices are normalised and overlooked within the rigid and constrictive systems. Ultimately, we characterise WADA as a myopic compliance system that stifles moral debate around advantage-seeking in sport and is hamstrung by an ethical discord between anti-policy and the neo-Aristotelian ideal of the spirit of sport. We close with a call for a holistic ethical understanding of advantage-seeking in sport and the need to encourage stakeholders to ‘think institutionally’ in order to establish a malleable and reactive response to doping. (shrink)

ABSTRACTThe pragmatist reform and opening-up in 1978 has revolutionised the way China communicates internally and engages with the outside world. Firmly embedded within this broader historical context, the interpreter-mediated and televised Premier-Meets-the-Press conferences are a high-profile institutional event in China. At this discursive event, the Chinese premier – ranked second in China’s political hierarchy – is put in the international media limelight, answering journalists’ questions on a range of topics. The section involving the interpreters’ rendering of journalists’ questions is (...) triadic and dynamic and represents a particularly interesting site of ideological contestation, which can be conceptualised profitably using Bakhtin’s concept dialogised heteroglossia. Drawing on a corpus containing 20 years’ press conference data between 1998 and 2017, this CDA study interrogates the interpreters’ agency, particularly in constructing the Chinese government’s image when rendering journalists’ questions. Despite the commonplace assumptions of interpreters being impartial with little agency, the government-affiliated interpreters are found to actively engage in facework and image construction. This leads to a discursive pattern described in Van Dijk’s ideological square, which involves further emphasising and foregrounding the positive elements yet de-emphasising and mitigating the negative elements about Beijing. (shrink)

Certain anthropological narratives of South Africa's Eastern Cape province, such as Monica Hunter's 1936 Reaction to Conquest and Philip Mayer's 1963 Townsmen or Tribesmen, persist as potent referential 'bodies of knowledge'. By laying down the coordinates of Black rural and urban experience, such studies continue to animate concepts of tradition and modernity, effectively conjuring up notions of 'the border', both literally and metaphorically. Encountering Pauline Ingle's photographic collection amidst these circuits of knowledge and ways of seeing is to recognise that (...) it is both unusual and exceptional. It is a collection of over 4000 images that are not only located in a rural area but also covers a sustained time period, corresponding to the period of formal apartheid. The concept of the rural is amplified in the collection, positioning it as a site of development, as the 'not yet modern', in which subjects are figured both in class hierarchies and in relation to Daniel Morolong's urban photographs in and around East London in the 1950s. Employing the theory of social acts enables a re-contemplation of the subject, and a reading of the social that suggests a set of possibilities and futures beyond what currently constitutes the rural and the urban; and upturns the disciplinary optics that condition the predominating ethnographies and historiographies of the Eastern Cape. (shrink)

This essay theorizes the fashion photographic image as a privileged site for queer sensory experience. It takes the stance that the aesthetic engagement with the fashion image occurs through sensation, and more precisely, through a haptic and periperformative experience that activates desires, meanings, and fantasies. Through the circulation of feelings sparked via the sensorial experiencing of the photo, queer subjects can sense belongings and form affiliations that bind them in an egalitarian community of sense exceeding sexual and social (...) differences. A queer theory of fashion photography does not posit that the photographic image may foster propositional knowledge in the viewers, but rather that it moves them to engage corporeally with the image and triggers their imagination to configure new affective modes of being in the world. (shrink)

Human rights are in crisis today. Everywhere one looks, there is violence, deprivation, and oppression, which human rights norms seem powerless to prevent. This book investigates the roots of the current crisis through the thought of Italian philosopher, Giorgio Agamben. Human rights theory and practice must come to grips with key problems identified by Agamben "e; the violence of the sovereign state of exception and the reduction of humanity to 'bare' life. Any renewal of human rights today must involve breaking (...) decisively with the traditional coordinates of Western political thought and instead affirm a new understanding of life and political action. (shrink)

The section of the collective monograph provides a comprehensive analysis of the digital information impact and political modernization on the formation of a holistic and high-quality image of transitive democracy. The technologies of implementing effective changes in the political system in the context of building the domestic and foreign policy image of a transitive state are revealed. The role of information and the impact of the digitalization process on it in the context of the formation of (...) the image of transitive democracy is studied. (shrink)

Charles Taylor argues that recognition begins with the politics of "self-image," as groups represented in the past by others in ways harmful to their own identity replace negative historical self-images with positive ones of their own making. Given the centrality of "self image" to his politics of recognition, it is striking that Taylor, himself, represents disabled people in language that is both limiting and depreciating. The author argues such negative self-images are not unique to Taylor but endemic to (...) modern political thought from John Locke to John Rawls, as the disabled are constituted in direct opposition to the rational person and/or citizen. Using contemporary social theories of disability, as articulated by disabled scholars and advocates, the author concludes that such negative self-images must be purged from political theory and replaced with an alternative theory of personhood/citizenship rooted in the image of interdependency. (shrink)

The last ten to fifteen years have seen the publication of numerous books and articles considering the relation between images and politics. The reasons for this development are obvious: footage of the World Trade Center attacks and photos from Abu Ghraib and Guantanamo (to give just a few examples) have clearly demonstrated that images not only respond to political events, but also play an important part in shaping them. Images have therefore been blamed for their complicity in these events (...) (in ways that literature and music, for instance, have not), and these accusations have prompted artists, philosophers and theoreticians to investigate how images can also be used to think critically about political events. This text examines two quite different, though not opposed, explorations of this last question: Georges Didi-Huberman’s 'Quand les images prennent position' (2009) — the first volume in a book series entitled 'L’Œil de l’histoire' — and Judith Butler’s 'Frames of War' (2009). In addition to these, a number of Jacques Rancière’s recent writings will be included in the discussion. (shrink)

This article explores the work of Didi-Huberman as both an “art historian” and a “philosopher of art.” In particular, Schwarte examines the political turn that Didi-Huberman’s recent works have taken, for example in relation to the ethics of “looking” developed in Images in Spite of All, and to the political philosophy expounded in works such as Peuples exposés, peuples figurants and in the Soulèvements exhibition. Schwarte questions why Didi-Huberman, instead of delivering a more systematic political philosophy, prefers (...) to analyse specific cases. Moving beyond these, Schwarte seeks in Didi-Huberman’s work possible criteria for distinguishing between emancipatory uprisings of the people, on the one hand, and what might be categorized as reactionary or even fascist uprisings, on the other. (shrink)

Rosa Menkman proposed that the concept of glitch should be considered a tipping point, a momentum, that can be seized, in which the power of subjectivity and the collaborative efforts of creators and the active spectators take centre stage. This article will discuss how in the last decades the glitch as noise and techne has shifted towards glitch as precarious aesthetics and how it has become associated with decolonial and feminist modes of critique. While the glitch is still seen as (...) a material, a techne, there is a resistant aesthetics of mutiny, a tactical revolt of the material that is confronting systemic standardization, bias and institutionalization. As presented in the exhibition VJ Um Amel, Beit Um Amel (2020), the technologically induced phenomena are analogous with the crises and states of emergency in various global infrastructures, systems and information channels. (shrink)

Lindroos constructs an alternative interpretation on history, time, politics and art, approached through the moment of the Now (Jetztzeit). In the first section, she elaborates the critique of chronologic-linear way of understanding history. Through a close reading of Benjamin's "Work of Art" essay, the second section examines the problems of origins, authenticity and traditions of art through the ideas of artistic avant-garde and politicization of aesthetics. The end of the book discusses the concept of image and the new images (...) as an Image-Space (Bildraum) of action. (shrink)

There are excellent research papers in the field of visual studies that examine the relationship between war and images. This paper has other and additional aims. The first is to examine not so much how war is transferred from the ground to image production, but how war, as intrusion of the real, forces a general reflection on image techniques. The second is to examine whether there is an instance of art that is somehow different from the instance of (...) the mere image, which is always related to something that manifests itself in war, and which, especially on the occasion of a war, invites a broader reflection on existence, judgement and the world. The paths taken for these investigations are rooted in the idea that a (political) theory of art cannot be reduced to an internal classification of image theory, since it investigates aspects that go beyond the definition of the image itself. (shrink)

These days, American politicians are loath to cite biblical passages for fear of being charged with breaching the wall between church and state. There was a time when a presidential candidate could claim that a certain monetary policy would “crucify us on a cross of gold.” This kind of rhetoric is now taboo. America's national leaders even avoid quoting the religious phrases from the Declaration of Independence, particularly its references to the “Creator” or “Nature's God.” Although in the past some (...) of the greatest American political oratory—Abraham Lincoln at Gettysburg or Martin Luther King, Jr., at the Lincoln Memorial —relied unashamedly on biblical sources and imagery, it is no longer considered acceptable to argue publicly in the language of either the Hebrew or Christian Bibles. However religious American society might still be today, political rhetoric is noticeably nonreligious. (shrink)