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Strange reflections on the Abashiri River: between the prison and the museum
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Re-framing Albert Londres' 'reportages' as graphic novel: from adventure narrative to prison comics
No full textFoucault and the history of our present
No full textAccording to philosopher Michel Foucault, the 'history of the present' should constitute the starting point for any enquiry into the past and a critical ontology of ourselves. This book comprises a series of essays all centring on the question of the present or, rather, multiple presents which compose contemporary experience. The collection brings together philosophical readings of Foucault which try to rework his thought in light of our present, together with practical analyses of our own moment which draw on his methodological approaches to questions of power, knowledge and subjectivity. Covering a range of topics including freedom, politics, ethics, security, war, migration, incarceration, the sociology and political economy of new media, Marxism and activism, Foucault and the History of Our Present features essays from Tiziana Terranova, Alberto Toscano, Judith Revel, Sanjay Seth, Saul Newman, Mark Neocleous and William Walters
Pixelated flesh
No full textThe pixel and the technique of pixelating faces belong to a politics of fear and a digital aesthetics of truth which shapes public perceptions of criminality and the threat of otherness. This article will draw on Paul Virilio's account of the pixel in Lost Dimension in order to analyze its specific role and operation in relation to contemporary representations of incarceration. In particular, the article will consider the figure of the incarcerated informant. The incarcerated criminal or informant plays a complex role as both subversive other and purveyor of truth and as such constitutes an important example of the ways in which pixelation functions as a visible signifier of a dangerous truth whilst blurring, erasing and, ultimately, dehumanizing those "speaking" this truth. Our discussion forms part of a larger analysis of the production, framing and circulation of images of otherness, identifying Virilio as key to debates around the violence of the screen
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