Touch, time and technics: Levinas and the ethics of haptic communications

The development of immersive media-communication environments, and their theorization in terms of the 'haptic', calls for a reconsideration of the relationship between sensuality and the ethics of contact. For the most part, the cultural theorization of the virtual which remains preoccupied with the visual has tended to limit its scope to the paradoxes, politics and ethics of representation. Much of media and cultural studies work, for instance, has adopted, directly or indirectly, the traditional visual and ocularcentric paradigm in its analyses of cultural forms and technologies as these have become integrated into contemporary life. Whilst it has been argued, for instance by Mark Hansen in his recent books, that this paradigm is inadequate to digital media and the developments of human-machine interactions the digital introduces, few comentators have addressed how new developments in immersive sensory media environments bear on the ethics of communication. By way of a reflection on the themes of the tactility of contact and the ethics of touch in the work of Emmanuel Levinas, this article critically evaluates the ethical significance of the 'sensory extension' haptic media represent. It identifies and argues against the neo-positivist tendency of Hansen's reliance on the empiricism of the neurosciences whilst locating the resources for an ethics of touch in Levinas' concept of time as 'diachrony'

The promise of makeability: digital video editing and the cinematic life

This article analyses amateur video editing software and considers its use within a broadly defined context of cultural practices, or `everyday cinematic life'. The authors argue that such software must be understood in relation to specific cinematic discourses and in the context of longstanding promises of popular participation in `movie-making'. They situate the historically sedimented nature of audiovisual experience in terms of a geneaology of non-commercial film editing and filmmaking, and analyse the phenomenological mixture of constraints and potentials embodied by individual amateur filmmakers and implemented in popular consumer-level editing software. The figure of the video editor (the software and the individual), the authors argue, incorporates a compromise inherent to cinematic life between the propensity to `make' by appropriating forms and materials from the cinema, and the material, economic and legal constraints on making that preserve the organization of entertainment industries

Digital Atmospheres: Affective practices of care in Elefriends

This article develops the concept of digital atmosphere to analyse the affective power of social media to shape practices of care and support for people living with mental distress. Using contemporary accounts of affective atmospheres, the article focuses on feelings of distress, support and care that unfold through digital atmospheres. The power of social media intersects with people's support and care-seeking practices in multiple ways and not in a straightforward model of ‘accessing or providing support’. Indeed, we find that the caring relations developed through social media often need to be cared for themselves. The article draws on online and interview data from a larger project investigating how practices of care and support are (re)configured in the mental health-related social media site Elefriends. Users have to negotiate the disruption of moving support online, as well as the possibility of becoming subject to a fragility in care, in which caring for oneself becomes bound up in the ambiguities of caring for others. We argue that understanding how experiences of distress are shaped by social media is essential for understanding the implications of the increased digitisation of mental healthcare

Biology's gift: interrogating the turn to affect

This article investigates how the turn to affect within the humanities and social sciences re-imagines the relationship between cultural theory and science. We focus on how the writings of two neuroscientists (Antonio Damasio and Joseph LeDoux) and one developmental psychologist (Daniel Stern) are used in order to ground certain claims about affect within cultural theory. We examine the motifs at play in cultural theories of affect, the models of (neuro)biology with which they work, and some fascinating missteps characterizing the taking up of scientific literature. While neuroscience frames the affective as part of a system of regulation that makes both self and social coherence possible, in cultural theory’s narratives, by contrast, affectivity becomes a placeholder for the inherent dynamism and mutability of matter. The article interrogates the consequences of cultural theory’s strange borrowings from neuroscience and developmental psychology in their institution of a model of subjectivity preoccupied with a lived present in excess of the hold of habit and embodied history