This article contributes to debates about how capitalist corporations ‘see’, and how they concurrently relate to the places where they are located. It argues that an analytical focus on ‘seeing’ illuminates how internal organization and outward relation making are tied together in complex ways. Even so, corporations of the extractive industries in particular cannot be assumed to encompass a single coherent view. The empirical case is a critical examination of how a gas project employed strict health, safety, and security measures to generate order when encountering alterity in an unfamiliar environment in Papua New Guinea. It reveals how the project was organized around two conflicting ways of seeing its host country—trying to separate itself from it while simultaneously having to engage and provide benefits for it.
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Making Order and Disorder through a Petroleum Project
A Cinematic Case Study
James E. Cutting and Karen Pearlman
We investigated physical changes over three versions in the production of the short historical drama, Woman with an Editing Bench (2016, The Physical TV Company). Pearlman, the film’s director and editor, had also written about the work that editors do to create rhythms in film (Pearlman 2016), and, through the use of computational techniques employed previously (Cutting et al. 2018), we found that those descriptions of the editing process had parallels in the physical changes of the film as it progressed from its first assembled form, through a fine cut, to the released film. Basically, the rhythms of the released film are not unlike the rhythms of heartbeats, breathing, and footfalls—they share the property of “fractality.” That is, as Pearlman shaped a story and its emotional dynamics over successive revisions, she also (without consciously intending to do so) fashioned several dimensions of the film— shot duration, motion, luminance, chroma, and clutter—so as to make them more fractal.
Living Species and the Latency of Biological and Environmental Threats
Discourses and practices of anticipation occupy a hypertrophic space in contexts where uncontrolled industrial growth has inflicted grave damage on peoples and territories, even triggering environmental disasters. This article explores the use of nonhuman species as anticipatory devices in a petrochemical terminal in Sicily, focusing on public representations of three species: scavenger bacteria that play a cleansing role and underline citizens’ moral responsibility to secure their best possible futures through bioscience; migrating flamingos that breed under the petrochemical chimneys, raising the possibility of hopefulness by highlighting ecosystem resilience; and fish affected by spina bifida, which reveal human health status in advance, communicating the need to live in preparation for potential diseases. The analysis reveals the highly contentious character of these anticipatory devices and the contested ideas about possible futures they imply, thus shedding light on the ecological frictions that have repercussions locally and globally, in discourse and social practice.
The present article seeks to analyse the place of Shakespeare’s work within the oeuvre of Gabriel Josipovici, starting with the latter’s first published critical book, The World and the Book, and ending with his most recent, Hamlet: Fold on Fold. In the early work Josipovici sought to establish a direct line between the Middle Ages and Modernism, yet Shakespeare was already a presence whose plays obliged that line to deviate. In his later critical work, such as On Trust, Shakespeare becomes one of the figures who allows Josipovici to exemplify clearly the crucial gap he wishes to explore between saying and doing. This gap is most fully explored in the recent book on Hamlet, where the protagonist is seen as the supreme literary example of what happens when the traditions governing doing have fallen away, leaving the character adrift in a sea of possibilities of utterance and action, none of which has the feel of necessity.
The Israeli-Palestinian Conflict
The Oslo peace process has effectively stalled and failed. In this article I show that by positioning the Oslo process and any political and civic forces involved with it as tainted by irrational and emotional weakness, neo-conservative figures and institutions within Israel have successfully argued for a hyper-masculinized Israeli security paradigm. In this configuration, the process of cooperation and the acknowledgement of Palestinian claims are viewed as weak and reprehensible, while aggressive military strategies, deterrence, and the demand for unequivocal Palestinian acceptance of Israel’s terms are perceived as rational and responsible actions that protect Israeli interests. By conflating security with the state, Israeli political leaders perpetuate the conflict rather than resolve it.
Israeli Orthodox Women Filmmakers
Valeria Seigelsheifer and Tova Hartman
Over the past two decades, Israeli Orthodox Jewish women filmmakers have used film to speak in a public voice about various subjects that were previously taboo. Although there are aspects of Orthodoxy to which these filmmakers object, they do so as ‘devoted resisters’. Rather than expressing heretical opposition, the women stay committed to Orthodoxy precisely because they are able to use filmmaking to resist. In their negotiations of voice used to ‘justify’ their decision to become filmmakers, the women position themselves as ‘accidental’ filmmakers, thereby remaining within Orthodoxy while critiquing it through their films. Cultural resistance in this case is not carried out as defiance to Orthodox Judaism but rather out of a relationship with it, featuring a form of resistance that insists upon devotion to multiple commitments.
Constructing the Villain in Narrative Film
Many narrative films feature villains, major characters that audiences are meant to condemn. This article investigates the cognitive-affective underpinnings of audience antipathy in order to shed light on how filmic villainy is constructed. To that end, the article introduces an analytical framework at the intersection of cognitive film theory and moral psychology. The framework analyzes villainy into three categories: guilty intentionality, consequential action, and causal responsibility.
Belowground Agency in the Making of Future Climates
Céline Granjou and Juan Francisco Salazar
Despite soil’s vital ecological importance, its significance as a belowground tridimensional living world remains under-theorized in social and cultural research. Drawing on the reading of scientific literature and a series of interviews with scientists working at the juncture of soil and climate research, this article pursues a picture that highlights soil’s capacities to shape future climates, including by fostering major planetary tipping points; we elaborate on the cultural and ethical significance of that picture for opening up alternative stories in which agency and change are not human-only prerogatives. We develop a critical stance on the growing expectations of storing more carbon into soils and argue for a better consideration of the situated, heterogeneous, and volatile dynamics of carbon within soils. We eventually call for more responsible ways of thinking about, and caring for, the myriad conglomerates of living, decaying, and dead matter that basically make up the stuff of soil.
Egalitarianism and Hierarchy in a Model Democracy
The Swiss system of direct democracy is in many ways paradoxical. The federal structure counteracts the formation of centralizing state hierarchies and protects the egalitarian representation of local political interests. Simultaneously, local political structures can have hierarchical and exclusionary effects, especially when democratic processes are turned into values. This article considers the tensions between egalitarian and hierarchical values in Swiss democratic structures in the wake of the rise of anti-foreigner and anti-EU passions harnessed by extreme right-wing parties. These tensions are heightened in the context of global processes that are transforming the structures of the state, as corporate power undermines state apparatuses with the potential to subvert democratic practices.
(Not) Anticipating as Moral Project
In this article, I explore anticipation as a site of moral experience and moral willing when death may be nearby. Through an examination of the narratives of the wife of a hospice patient in St. Croix, US Virgin Islands, I show that her commitment to not anticipate the course of her husband’s illness is a moral project pitted against biomedical modes of prognostication. In a context in which hospice care is the only option available for many older adults in poor health, I discuss the incommensurability between this position and the anticipatory horizon on which hospice care is predicated: the patient’s imminent death. I argue for an approach to this woman’s experience that takes into account the tendency for temporal orientations to be thrown into flux when death might be nearby, without reducing her commitment to not anticipate to mere avoidance or ‘denial’.