The Critical Foundations of Visual Criminology: The State, Crisis, and the Sensory

This article considers the manner in which visual criminology has flourished in the current moment, while exploring its foundational relations and points of distinction as a form of critical criminology. In particular, we devote attention to the relationship of images to control, power and resistance at a time defined by the spectacular proliferation of media. We also discuss new and recent directions in visual criminology that enlarge our understandings of both critical and visual work, including forensic architecture and sensory criminology

Low life: William Hogarth, visual culture and sociologies of art

This paper is an effort to understand Hogarth's unique position in early eighteenth century London, so as to grasp the rich complexity of his work. It begins by tracing two rival competing positions in the sociology of art, derived from Becker and Bourdieu, before taking a closer look at how Hogarth's work conjures up a new vision of the world, providing shape and meaning to the nation's changing understandings of morality, society, and the city. A fundamental transformation in the field of representation appears halfway through the eighteenth century and the interweaving of art theory, national identity, and systems of patronage are at the centre of this dynamic period. It is no accident that in Hogarth's world the main targets are those who seek to transgress their stations in life and cross class barriers. By combining two different sociological approaches to art the study builds a more nuanced picture of the artist and his work

The guillotine: Shadow, spectacle and the terror

Of all the images generated by the French Revolution it is the guillotine that is the most notorious. From the beginning the apparatus constituted an elaborate visual spectacle, one that not only efficiently dispensed justice but also offered up a form of popular entertainment and ritualised collective vengeance. The paper seeks to shed fresh light on one of the most perplexing mysteries of the revolutionary era. How did enlightened individuals who had helped create the most democratic and egalitarian society yet seen in the world, descend into a totalitarian regime in which many thousands were arrested, tried without appeal and executed? Why did revolutionaries begin to kill one another, and how did the guillotine come to represent an ideal of Revolution? To answer these questions, the paper begins by looking more closely at the relationships between popular violence and state violence in the Revolution, before describing the invention of the guillotine and how audiences had to adjust to a new kind of spectacle, where terror emerges as a principle of government

Reading a “Titian”: Visual Methods and the Limits of Interpretation

Contemporary criminology is witnessing something of a 'visual turn' and as researchers develop their methods of enquiry it is clear that interdisciplinary scholarship will play a key role in shaping inventive approaches in it. In this article, I discuss some of the different ways art historians have 'read' images and the multiple connections they have forged to understand an artwork, before turning to how these approaches have been mobilized in a single example: Titian's Flaying of Marsyas, which dates from the 1570s, and is among the most disturbing images in the entire history of art

Changing Fortunes: Criminology and the Sociological Condition

Criminology and its relationships with sociology are today at a crossroads, and this article explores the changing fortunes of each as they have evolved over the last 50 years. The separation has occurred as criminology has successfully established itself as an independent subject with an impressive ability to attract students, scholars and research grants. Some see the striking expansion of criminology and move away from the basic disciplines as an indication of success and impressive achievement, while others are more sceptical and highlight the costs such isolation brings. The article examines the consequences of these changes, then it focuses on the fates of some of the key concepts in sociological criminology, before concluding that social theory can be a unifying force, capable of reinvigorating the ties between the two disciplines

Unsettling Appearances: Diane Arbus, Erving Goffman and the Sociological Eye

Both the photographer Diane Arbus and sociologist Erving Goffman were fascinated by the way we present ourselves to others and this paper sets out how each understood the drama of human interaction. It begins by exploring how their work parallels some developments in the sociology of deviance, and notes how Goffman was one of the earliest critics of this field, before briefly sketching out Arbus’s controversial career and then turning to a more detailed look at three of her images. It concentrates on how the gap between intention and effect, or what Goffman terms the difference between the impressions we ‘give’ and those we actually ‘give off’, are at the core of her work and this sociological insight animates her compositions. The paper then describes how their work unsettles ‘normal appearances’ and provides rich resources for understanding human conduct

Punishment in the Frame: Rethinking the History and Sociology of Art

Images of punishment have featured prominently in Western art and this article explores what might be learnt from studying such pictures of suffering. It seeks to develop an approach to the visual that avoids both the essentialism of art history and the reductionism of sociology by offering a rethinking of the relationships between the two. It begins by setting out the current state of the sociology of art, before discussing ‘new’ art histories that are inspired by social analysis. It then concentrates on how images of punishment have featured in Western art. This substantive material provides a rich resource to understand the force of representation and offers an opportunity to develop an aesthetic sociology that avoids some of the problems identified in the article. The approach developed in the second part is one that seeks to elaborate an aesthetic sociology that combines a historical sensitivity to images with the analytical concerns of social science. It strives to extend the art historian Michael Baxandall’s writings toward more sociological interpretations of visual analysis

Geographies of landscape: Representation, power and meaning

Green criminology has sought to blur the nature-culture binary and this article seeks to extend recent work by geographers writing on landscape to further our understanding of the shifting contours of the divide. The article begins by setting out these different approaches, before addressing how dynamics of surveillance and conquest are embedded in landscape photography. It then describes how the ways we visualize the Earth were reconfigured with the emergence of photography in the 19th century and how the world itself has been transformed into a target in our global media culture

Traces of violence: Representing the atrocities of war

This article explores the relationships between war and representation through the use of visual images, and takes a cue from the French cultural theorist Paul Virilio, who has written extensively on the militarization of vision in ways that have yet to be fully recognized in criminology. It then outlines some of the disputes surrounding documentary photography, not least since one of the main factors driving the development of the medium was the desire to record warfare, before turning to recent efforts to reconfigure the violence of representation by focusing on what has been termed ‘aftermath photography’, where practitioners deliberately adopt an anti-reportage position, slowing down the image-making process and arriving well after the decisive moment. This more contemplative strategy challenges the oversimplification of much photojournalism and the article concludes by reflecting on how military-turned-consumer technologies are structuring our everyday lives in more and more pervasive ways