Please help us test our new pre-print finding feature by giving the pre-print link a rating. A 5 star rating indicates the linked pre-print has the exact same content as the published article.
Authors:Eray Çaylı Pages: 481 - 490 Abstract: Journal of Visual Culture, Volume 20, Issue 3, Page 481-490, December 2021.
Please help us test our new pre-print finding feature by giving the pre-print link a rating. A 5 star rating indicates the linked pre-print has the exact same content as the published article.
Authors:Andrew Barry Pages: 491 - 505 Abstract: Journal of Visual Culture, Volume 20, Issue 3, Page 491-505, December 2021. This article develops two arguments. One follows from the idea that materials can be made into witnesses to environmental violence by drawing together the evidence generated from multiple sensors. In this way, the practice of Forensic Architecture entails a commitment to a distinctive form of collective empiricism that leads to the generation of ‘informed materials’. The second theme of the article follows from Forensic Architecture’s claim that the microphysical investigation of specific incidents can be a starting point in reconstructing larger political and environmental processes. In light of this claim, the author interrogates the relation between the evidence generated by material witnesses and the political situations to which this evidence contributes. His contention is that qualitative forms of social and historical research are required that both complement and go beyond the limits of Forensic Architecture’s commitment to collective empiricism. Citation: Journal of Visual Culture PubDate: 2022-03-28T02:45:41Z DOI: 10.1177/14704129211061181 Issue No:Vol. 20, No. 3 (2022)
Please help us test our new pre-print finding feature by giving the pre-print link a rating. A 5 star rating indicates the linked pre-print has the exact same content as the published article.
Authors:Nishat Awan Pages: 506 - 521 Abstract: Journal of Visual Culture, Volume 20, Issue 3, Page 506-521, December 2021. Humanitarian agencies are relying more frequently on remote sensing, satellite imagery and social media to produce accounts of violence. Their analysis aims at creating more compelling narratives for the court of law or of public opinion and has contributed towards a forensic turn, thus complicating the already fraught relationship between the practice of witnessing and political subjects. This article explores how digital witnessing allows us to ‘see’ further and deeper into places that are at a distance from us, whilst at the same time creating the conditions that make certain subjects recede from view. I will discuss these issues in relation to a country I am familiar with and one that has been central to the forensic imagination – Pakistan – although the particular geographies within Pakistan that this imagination works with are not mine. Thinking with non-linear temporalities of violence, I explore how the forensic turn may have actually contributed to the erasure of the racialized political subject. Citation: Journal of Visual Culture PubDate: 2022-03-28T02:45:42Z DOI: 10.1177/14704129211061182 Issue No:Vol. 20, No. 3 (2022)
Please help us test our new pre-print finding feature by giving the pre-print link a rating. A 5 star rating indicates the linked pre-print has the exact same content as the published article.
Authors:Mangalika de Silva Pages: 522 - 542 Abstract: Journal of Visual Culture, Volume 20, Issue 3, Page 522-542, December 2021. The centrality of apparition and disapparition as political manifestation and existential threshold informs enforced disappearance as a political regime that interrupts the existing densities and securities of social visibility in private and public spheres. The author contends that executive power deploys enforced disappearance to amplify its ekphrastic power. However, the latter can be confronted by the ekphrastic testimony of survivors of disappearance as surrogates of those kin who lack embodied presence. Ekphrasis is the creation of an effect upon its auditors that they are actually beholding through sound and/or language what is visually and temporally withdrawn from their present. Enforced disappearance names the extrajudicial ‘abduction and deprivation of liberty’ of individuals and communities by a sovereign that conceals the act, location of the victims, circumstances of their death and their post-mortem disposition. In this article, the author navigates the complex and intertwining agonistic social rhetorics of visibility and invisibility associated with disappearance that collide as historicizing and dehistoricizing forces through competing ekphrastic rhetorics. She examines how ekphrastic witnessing as a form of blind witnessing becomes an affective media of postwar justice in a society that has erased and disavowed its war crimes. Citation: Journal of Visual Culture PubDate: 2022-03-28T02:45:40Z DOI: 10.1177/14704129211065055 Issue No:Vol. 20, No. 3 (2022)
Please help us test our new pre-print finding feature by giving the pre-print link a rating. A 5 star rating indicates the linked pre-print has the exact same content as the published article.
Authors:Oscar Pedraza, Hannah Meszaros Martin Pages: 543 - 562 Abstract: Journal of Visual Culture, Volume 20, Issue 3, Page 543-562, December 2021. In this article, the authors discuss their work in Coquitos from 2019–2021 with the Colombian Truth Commission and Forensic Architecture. They consider conflicts around land tenure, violent land dispossessions and land grabbing as the sedimented articulation of multiple environmental, legal, economic, and violent processes that are drawn out over decades. Their mode of analysis is based on a visual methodology using ‘situated testimony’ of ‘earthly memory’ that reflects the need to combine modes of seeing and understanding earth systems through the historicity of such slow violence. This focus on earthly memory allows for an approach to violence that resists the commodification of the environment and its reduction to an inert object, or a mere prize of war (what is often reduced to a ‘conflict over resources’). Rather, by focusing these situated testimonies on the theme of earthly memory, the authors pursue an analysis that underscores the environment as an active agent in the conflicts and forms of violence that are at the heart of land dispossession. The environment should be understood, they argue, as both a mode and medium through which violence is conducted, rather than a passive victim on which violence is executed. This is how they arrive at a method of situated testimony that could be employed as a way of addressing the role of earthly memory in the long history of the Colombian war. Citation: Journal of Visual Culture PubDate: 2022-03-28T02:45:40Z DOI: 10.1177/14704129211072651 Issue No:Vol. 20, No. 3 (2022)
Please help us test our new pre-print finding feature by giving the pre-print link a rating. A 5 star rating indicates the linked pre-print has the exact same content as the published article.
Authors:Philipp Sattler, Dubravka Sekulić, Milica Tomić Pages: 563 - 574 Abstract: Journal of Visual Culture, Volume 20, Issue 3, Page 563-574, December 2021. At Aflenz an der Sulm in south-eastern Austria, digging into the soil to see what material evidence of recent history it holds reflects a broader process of investigation. It uncovers the entanglements that produced landscape as a material and an immaterial construction. The article focuses on Aflenz unpacking its contemporary landscape that covers layers of (invisible) history – obliviated relations of politics, finance, and business – which formed it as a WWII labour and concentration camp. Considering also the subsequent processes of forgetting unearths the land and its soils as the constant and thus an unwilling archive and thereby the necessary object of inquiry. The article proposes investigation and ‘investigative memorialisation’ put forward by artist Milica Tomić, to consider such knowledge as a public matter, positioning it as an open-ended public form that can speak of the complexities afforded and deposited in the soil as memory. Citation: Journal of Visual Culture PubDate: 2022-03-28T02:45:42Z DOI: 10.1177/14704129211067952 Issue No:Vol. 20, No. 3 (2022)
Please help us test our new pre-print finding feature by giving the pre-print link a rating. A 5 star rating indicates the linked pre-print has the exact same content as the published article.
Authors:Helene Kazan Pages: 575 - 595 Abstract: Journal of Visual Culture, Volume 20, Issue 3, Page 575-595, December 2021. Through engaged analysis of entangled research-based practice, this article argues that thresholds of distinction between environmental or conflict-based violence are unbound across Lebanon’s critical lived–built environment. Drawing on the fields of architecture, law, art and cultural production, this investigative scope is engaged through de-colonial, feminist and critical legal theory and method. The analysis in this article is an attempt at dismantling the inherent asymmetric power structures – legal, political and architectural – operating through violent risk, which continue to evade certain frames of accountability. This is done to reveal the complexity of this violent limit condition and its materializations, in the proposal of a progressive methodological imagining and investigation: an unbound critical lived–built environment. Citation: Journal of Visual Culture PubDate: 2022-03-28T02:45:40Z DOI: 10.1177/14704129211066297 Issue No:Vol. 20, No. 3 (2022)
Please help us test our new pre-print finding feature by giving the pre-print link a rating. A 5 star rating indicates the linked pre-print has the exact same content as the published article.
Authors:Allen Feldman Pages: 596 - 604 Abstract: Journal of Visual Culture, Volume 20, Issue 3, Page 596-604, December 2021. The forensics of environmental violence transposes habeas corpus from juridically individuated civil subjects to the forensic cartography of the conscripted, militarized and rapidly disappearing corpus of habitats. This forensics communicates with Peter Sloterdijk’s classification of terrorism (including state terror) in ‘Airquakes’ (2009) as environmental war, irrespective of disparate ideological justifications. A forensics of the power and privation that is entangled with juridical positivism and cognate humanitarian agendas presupposes the right-to-look as the property of a sovereign subject. However, the possession character of this right raises the question of envisioning a nonsovereign gaze and an ethics of opacity. The thinking through of a will not to will a right-to-look confronts the atmospheric and habitat hegemonies of technologies and ideologies of omnivoyance, including mass incarceration, policing, and the racial capitalism of environmental extraction. Citation: Journal of Visual Culture PubDate: 2022-03-28T02:45:42Z DOI: 10.1177/14704129211067434 Issue No:Vol. 20, No. 3 (2022)
Please help us test our new pre-print finding feature by giving the pre-print link a rating. A 5 star rating indicates the linked pre-print has the exact same content as the published article.
Authors:Katarzyna Falęcka Pages: 605 - 609 Abstract: Journal of Visual Culture, Volume 20, Issue 3, Page 605-609, December 2021.
Please help us test our new pre-print finding feature by giving the pre-print link a rating. A 5 star rating indicates the linked pre-print has the exact same content as the published article.
Authors:Mollie Arbuthnot Pages: 610 - 613 Abstract: Journal of Visual Culture, Volume 20, Issue 3, Page 610-613, December 2021.
Please help us test our new pre-print finding feature by giving the pre-print link a rating. A 5 star rating indicates the linked pre-print has the exact same content as the published article.
Authors:David Escudero Pages: 614 - 616 Abstract: Journal of Visual Culture, Volume 20, Issue 3, Page 614-616, December 2021.
Hybrid journal (It can contain Open Access articles)
[1174 journals]
