The Social Life of Time and Methods: Studying London’s Temporal Architectures

This paper contributes to work on the social life of time. It focuses on how time is doubled; produced by and productive of the relations and processes it operates through. In particular, it explores the methodological implications of this conception of time for how social scientists may study the doubledness of time. It draws on an allied move within the social sciences to see methods as themselves doubled; as both emerging from and constitutive of the social worlds that they seek to understand. We detail our own very different methodological experiments with studying the social life of time in London, engaging interactive documentary to elucidate nonlinear imaginaries of space-time in London’s pop-up culture (Ella Harris) and encountering time on a series of walks along a particular stretch of road in south east London (Beckie Coleman). While clearly different projects in terms of their content, ambition and scope, in bringing these projects together we show the ability of our methods to grasp and perform from multiple angles and scales what Sharma calls ‘temporal architectures’. Temporal architectures, composed of elements including the built environment, commodities, services, technologies and labour, are infrastructures that enable social rhythms and temporal logics and that can entail a politicized valuing of the time of certain groups over others. We aim to contribute to an expanded and enriched conceptualisation of methods for exploring time, considering what our studies might offer to work on the doubled social life of time and methods, and highlighting in particular their implications for an engagement with a politics of time and temporality

‘Oh you pretty thing!’: How David Bowie ‘unlocked everybody’s inner queen’ in spite of the music press

The 1967 Sexual Offence Act decriminalised homosexual acts between men allowing gay men to discuss their sexuality in public. Few prominent popular musicians came-out until 1972 when David Bowie claimed that he was bisexual in an interview with Melody Maker. Music papers and Bowie had substantial cultural power: Bowie was a rising star and music papers recruited journalists who discussed and perpetuated social change. The subsequent conversation, however, reinforced negative stereotypes in constructing the queer subject and tried to safeguard commercial concerns due to the assumption that the market for popular music avoided queer music. This undermined arguments that associate permissive legislation with a permissive media and society, but, to some, representation alone empowered people and destabilised preconceptions about queer identity.Published versio

The Transgender Look

This text studies the construction and development of the transgender look in contemporary queer cinema, specifically: The Crying Game (Neil Jordan, 1992), Boys don’t Cry (Kimberly Peirce, 2000) and By Hook or by Crook (Harry Dodge and Silas Howard, 2001). The analysis examines carefully the constitution of a meaningful materiality of the body through the gaze and the dialogue-confrontation between the transgender look and mainstream cinema’s gaze, in its capability to regulate pleasures and sexual identities