Theory,Culture & Society

Nomadism as a spatial concept denoting uncharted movements has opened up non-static ways of theorizing the subject in feminist theory and beyond. But it seems that the nomads of the real world and their torturing wanderings today have irrevocably challenged the romance of unregulated movement and force us to radically rethink the very concept of nomadism itself. In this paper I address the aporias that women's entanglement in current mobility assemblages has raised in the ways we understand and imagine the subject of feminism. In doing so, I experiment with the concept of the non-nomad as an emergent figuration that retains the radicalism of nomadic theories, while pointing to their margins, shadows and exclusions.

For theorists interested in screen cultures and the digital economy, looking beyond Facebook and YouTube prompts a more refined conceptualization of participation and monetization on social networks. This paper examines YY as representative of Chinese platforms that monetize spectacles of social inequality. I first discuss why these financially successful platforms have eluded the attention of media and cultural critics, and then explain how these social network platforms blend subversive texting with streaming through a format called ‘bullet screen’. This format collapses social inequality into a spectacle of money flowing and vanishing on screen. This investigation contributes to the theoretical discussion of mixed-semiotics, reorients several Marxian neologisms and explains what texting means on screen in both semiotic and economic terms.

This article explores the relationship between political freedom and collaboration in the work of human rights organizations. I focus here on the ethical and political implications involved in the production of evidence once the documenting tool, the camera, is in the hands of an engaged civilian rather than a bystander, such as a photojournalist. By examining cases in the Occupied Palestinian Territories where the Palestinians are the photographers of human rights violations, I outline the relations and tensions between emancipatory acts and collaboration via visual information production. Human rights organizations laud new technology and celebrate the participation of those afflicted by such violations in knowledge production as a form of empowerment, and those afflicted may experience the visual practice as a mode of self-representation. But inevitably such a practice is based on collaborative action. In the Israeli/Palestinian conflict case study below, such collaboration has negative effects, which impinge upon the emancipatory features of this mode of documenting.

In a landmark text, ‘The Theological Turn of French Phenomenology’, Dominique Janicaud posits a boundary that sharply divides the legitimate phenomenological tradition from a problematic variant seen to be fundamentally compromised by theology. This article develops an immanent critique of Janicaud’s position. It demonstrates that his boundary relies on the mature work of Maurice Merleau-Ponty as a constitutive exemplar of the tradition, that this work is centrally concerned with beauty, and that its notion of beauty is irreducibly theological. Merleau-Ponty himself will thus be shown to enact his own version of the theological turn. I shall consequently propose a reconstrual of the boundary of phenomenology. My argument relies fundamentally on Merleau-Ponty’s essay, ‘Eye and Mind’, and includes a critical restatement of Galen Johnson’s reading of this text. In addition to its direct relevance to phenomenology, this article bears upon broader concerns, including the relationships between theory, the body, aesthetics, and the post-secular.

The case for an unprecedented penetration of life mechanisms into the politics of Western modernity has been a cornerstone of 20th-century social theory. Working with and beyond Foucault, this article challenges established views about the history of biopower by focusing on ancient medical writings and practices of corporeal permeability. Through an analysis of three Roman institutions: a) bathing; b) urban architecture; and c) the military, it shows that technologies aimed at fostering and regulating life did exist in classical antiquity at the population scale. The article highlights zones of indistinction between natural and political processes, zoē and bíos, that are not captured by a view of destructive incorporation of or over life by sovereign power. In conclusion, the article discusses the theoretical potential of this historical evidence for contemporary debates on ‘affirmative biopolitics’ and ‘environmental biopower’.

Giorgio Agamben’s work on the power of sovereignty has been greatly influential in recent political thought. However, it has also overshadowed the independently original contributions of his two primary theoretical sources, Carl Schmitt and Walter Benjamin. In this article, I argue that Agamben’s political defeatism can be traced back to a double misconception in his reception of these two authors: first a formalistic reduction of Schmitt, and second a Schmittian reduction of Benjamin. Through this reduction to juridical formalism, the radicality of Benjamin’s historical materialist critique is replaced by a messianic nihilism, leading to the colonization of society by the logic of the concentration camp. Though Agamben’s theory of sovereignty and its implications for a positive political project have been contested, this origin of the decline of radical philosophy has not previously undergone a systematic critique.

This paper focuses on the documentary photography of Eugène Atget in late 19th and early 20th-century Paris. I will begin by exploring Atget’s position as a pioneering documentary photographer in the field, followed by an engagement with the urban environment of Paris, in which Atget worked almost exclusively. Finally, I will analyse a single photograph in depth while discussing it in relation to the work of Charles Baudelaire and Jacques Rancière. This text is a contribution to a literature of critical engagement with documentary photography, urban history and the politics of class visibility. I will do so by arguing for the political significance of reading Atget’s images in a critical, political manner that engages with Rancière’s concept of the ‘anonymous multiple’. Atget is considered a key documentary photographer, and, as such, he is exemplary of the history of documentary photography and its treatment of its subjects.