Serial killing and the postmodern self

© 2006 by SAGE PublicationsThe self has been a consistently central theme in philosophy and the social sciences and, in the last decades of the 20th century, the fragmentation of the modern self has engendered extensive academic commentary. In order to contribute to current discussions about self, it is perhaps most effective to map the transformation of a single representation of the self in contemporary culture. As a cultural ‘flashpoint’, the serial killer could provide an apposite analytical focus. Drawing critically on Mark Seltzer's work on serial killers this article interprets serial killing as a form of commodified transgression. In contrast to the modern self, established through state-institutionalized routines, serial killers establish their identities through ecstatic intercourse. These acts of bodily and ethical transgression are facilitated by the use of commodities. In this way, the serial killer represents a self which is consistent with the colonization of interpersonal relations by multinational capital. The serial killer signifies the appearance of a postmodern self

The sensorium at work: the sensory phenomenology of the working body

The sociology of the body and the sociology of work and occupations have both neglected to some extent the study of the ‘working body’ in paid employment, particularly with regard to empirical research into the sensory aspects of working practices. This gap is perhaps surprising given how strongly the sensory dimension features in much of working life. This article is very much a first step in calling for a more phenomenological, embodied and ‘fleshy’ perspective on the body in employment, and examines some of the theoretical and conceptual resources available to researchers wishing to focus on the lived working-body experiences of the sensorium. We also consider some possible representational forms for a more evocative, phenomenologically-inspired portrayal of sensory, lived-working-body experiences, and offer suggestions for future avenues of research

Visualizing Antarctica as a Place in Time

This article presents a chronogeographic account of the Antarctic spatialities that are inflected through the image of the RADARSAT map. Focusing on time as a spatializing operation within the visual geography of globalizing and globally available cartographies, the author questions the multiple geographies that must be considered in a geopolitical account of such a mapping. The subject of this topology is the “event” of the NASA RADARSAT map of Antarctica exhibiting the effects of global warming as a scientific and media event on the Web. Specifically the RADARSAT map documents destruction and also renders it innocuous through technologies of distance. This realization of geopolitical imperatives through scientific visualization reveals particular tensions and operations within Antarctic and global visual cultures. As a narrative cartography, it exhibits how geographic information systems operate in a plurality of visual regimes. The author concludes that the politics of visualizing Antarctica is embedded in the histories of its media production and in this reveals how time has a chronogeographic operation