Transformative sensemaking: Development in Whose Image? Keyan Tomaselli and the semiotics of visual representation

The defining and distinguishing feature of homo sapiens is its ability to make sense of the world, i.e. to use its intellect to understand and change both itself and the world of which it is an integral part. It is against this backdrop that this essay reviews Tomaselli's 1996 text, Appropriating Images: The Semiotics of Visual Representation/ by summarizing his key perspectives, clarifying his major operational concepts and citing particular portions from his work in support of specific perspectives on sense-making. Subsequently, this essay employs his techniques of sense-making to interrogate the notion of "development". This exercise examines and confirms two interrelated hypotheses: first, a semiotic analysis of the privileged notion of "development" demonstrates its metaphysical/ ideological, and thus limiting, nature especially vis-a-vis the marginalized, excluded, and the collective other, the so-called Developing Countries. Second, the interrogative nature of semiotics allows for an alternative reading and application of human potential or skills in the quest of a more humane social and global order, highlighting thereby the transformative implications of a reflexive epistemology.Web of Scienc

Class dynamics of development: a methodological note

This article argues that class relations are constitutive of developmental processes and central to understanding inequality within and between countries. In doing so it illustrates and explains the diversity of the actually existing forms of class relations, and the ways in which they interplay with other social relations such as gender and ethnicity. This is part of a wider project to re- vitalise class analysis in the study of development problems and experiences

Magic, Emotion and Practical Metabolism:Affective Praxis in Sartre and Collingwood

This article develops a new way of understanding the integration of emotions in practical life and the practical appraisal of emotions, drawing on insights from both J-P. Sartre and R. G. Collingwood. I develop a concept of ‘practical metabolism’ and show that emotions need to be understood not only as transformations from determinate to indeterminate practical intuitions, but also as transformations in the reverse direction. Firstly, I provide a new conception of the dynamic phenomenal structure of the emotions that can resolve significant tensions in the Sartre’s theory. Secondly, I develop that theory to shed light on the diverse socially mediated roles of emotions in practical life by drawing on Collingwood’s philosophy of magic. Thirdly, I deploy the notion of practical metabolism to address the appraisal of emotions, setting out a framework for understanding the various ways in which emotional expression is subject to structural breakdown

Tragicomic presentations of self : starring Phil Silvers as Bilko : the incomplete comic human

When a performer becomes over-associated with a particular, celebrated comic character can this lead to problems, not merely in terms of type-casting, but in creating confusions for the actor’s own perception of self? In instances where a comic creation is perceived to be an extension of the performer’s actual ‘self’, what dissonances in self construct may arise between the comic actor’s created persona and his/her own presentation of self? This article considers the nature of tensions created through the permeation of persona and person which can beset comedians who become closely identified with their particular mediated role. Can, indeed, over-association with their successful ‘signature’ comic role be seen to prove psychologically destabilising for certain performers whose own fragile, sense of identity becomes further compromised by presentation of their own most familiar and definitive, comic creations? Drawing specifically upon the career and comedy of Phil Silvers (aka ‘Sergeant ‘Bilko’), this article attempts to evaluate the forms of crises of identity that can arise between presentations of public and private selves for those performers who become, in effect, ‘public comic property’