‘Media events’ reconsidered: from ritual theory to simulation and performativity

This paper re-examines the long-established notion of ‘media events’ by contrasting and critically appraising three distinct approaches to the question of media events. These are: ritual theory associated with Daniel Dayan and Elihu Katz, secondly, Jean Baudrillard’s approach rooted in his notions of simulation and ‘non-events’ and, finally, the more recent performative approaches to media and mediation. I take Sarah Kember and Joanna Zylinska’s reading of media events presented in Life After New Media (2012) as exemplary of the performative approach. An argument is made that the accounts of media events offered by performative approaches add very little, and, indeed, lack the critical insightfulness of the earlier approaches. Both ritual theory and Baudrillard’s thought are briefly reappraised and, against Nick Couldry, I try to show that these accounts are not characterised by binary and reductive thinking. The major misunderstandings concern the nature of the sacred and profane dualism and the further dualisms developed in Baudrillard’s thought, particularly the figures of implosion and reversibility. Finally, Baudrillard’s position on technology is addressed and the paper concludes with the suggestion that his account is not solely negative, since technological developments are not only at the mercy of ironic reversals they may also enable new rituals of disappearance

Consumption caught in the cash nexus.

During the last thirty years, ‘consumption’ has become a major topic in the study of contemporary culture within anthropology, psychology and sociology. For many authors it has become central to understanding the nature of material culture in the modern world but this paper argues that the concept is, in British writing at least, too concerned with its economic origins in the selling and buying of consumer goods or commodities. It is argued that to understand material culture as determined through the monetary exchange for things - the cash nexus - leads to an inadequate sociological understanding of the social relations with objects. The work of Jean Baudrillard is used both to critique the concept of consumption as it leads to a focus on advertising, choice, money and shopping and to point to a more sociologically adequate approach to material culture that explores objects in a system of models and series, ‘atmosphere’, functionality, biography, interaction and mediation

Rights of passage: law and the biopolitics of dying

Deleuze and Law: Forensic Futures explores the relation between law and life and the advent of a politics of 'life'. How have recent events focused social, political and cultural attention on the living body and its maintenance and management? The central concept, through which the embodiment of the subject will be examined will be that of 'bio-power'. Articulated by Michel Foucault, but brought to attention more recently in the work of Giorgio Agamben, this concept recognises that the relation between life and law is both historical and necessary: the law must operate on bodies but can only do so by establishing a border between the body of the polity, and the mere life excepted from political concern. The contemporary advent of bio-politics occurs when the polity increasingly and invasively operates on this 'mere' life, and the body or organism – rather than the self – becomes the object of political management. The manner in which the body becomes the focus of contemporary power has led legal theory to explore new questions of the threshold between life and death and has led social theory to question the new extensions of the law and the polity into embodied life. The contributors explore the forensic shift in contemporary social theory and cultural sensibility from a number of perspectives. Description of book from publisher website at: http://www.palgrave.com

Disquieting presences: the ambiguity and indeterminacy of Maurice Nio’s architecture

© The Author(s) 2016. Open Access. This article is distributed under the terms of the Creative Commons Attribution 4.0 International License (http://creativecommons.org/licenses/by/4.0/), which permits unrestricted use, distribution, and reproduction in any medium, provided you give appropriate credit to the original author(s) and the source, provide a link to the Creative Commons license, and indicate if changes were made.Background In recent years, Dutch architect Maurice Nio has built an array of projects in the Netherlands, which have generally been considered within the spectrum of the Superdutch phenomenon, and more broadly, within Iconic Architecture. Seemingly, to his Dutch colleagues, Nio's work is on the track of liberating architecture from the burden of cultural responsibilities (Ibelings Supermodernism: Architecture in the age of globalization: Nai Uitgevers Pub, 1998), yet it evinces significant differences from other work in that vein. Methods Nio’s projects are compared with Jencks' phenomenology of iconic architecture (Jencks The iconic building: Rizzoli New York, 2005), in order to demonstrate the importance and peculiarity of Nio’s work within the context of Iconic Architecture and the Superdutch period, and the extent to which his work can be considered different. Results This article argues that Nio’s architecture is not based on the production of outstanding shapes (Lootsma SuperDutch Afterthoughts Post. Rotterdam. Rotterdam: 010 Publisher, 2001), or the clever interpretation of a given program (Betsky Reading MVRDV: NAi 2003), but on the creation of disquieting presences in the built environment. Most of his work consists of pieces of architecture each of which has its own name, character and identity and seems to rely on disrupting the expected and disturbing the quiet. Conclusions This paper examines Nio’s work, with particular attention to three case studies, in order to generate a series of qualitative characteristics that define his idiosyncratic architecture.Peer reviewedFinal Published versio

A monument to the player: Preserving a landscape of socio-cultural capital in the transitional MMORPG

This is the pre-print version of the Article. The official published version can be accessed from the links below - Copyright @ 2012 Taylor & Francis LtdMassively multiplayer online role-playing games (MMORPGs) produce dynamic socio-ludic worlds that nurture both culture and gameplay to shape experiences. Despite the persistent nature of these games, however, the virtual spaces that anchor these worlds may not always be able to exist in perpetuity. Encouraging a community to migrate from one space to another is a challenge now facing some game developers. This paper examines the case of Guild Wars® and its “Hall of Monuments”, a feature that bridges the accomplishments of players from the current game to the forthcoming sequel. Two factor analyses describe the perspectives of 105 and 187 self-selected participants. The results reveal four factors affecting attitudes towards the feature, but they do not strongly correlate with existing motivational frameworks, and significant differences were found between different cultures within the game. This informs a discussion about the implications and facilitation of such transitions, investigating themes of capital, value perception and assumptive worlds. It is concluded that the way subcultures produce meaning needs to be considered when attempting to preserve the socio-cultural landscape

Vernacular museum: communal bonding and ritual memory transfer among displaced communities

Eclectically curated and largely ignored by the mainstream museum sector, vernacular museums sit at the interstices between the nostalgic and the future-oriented, the private and the public, the personal and the communal. Eluding the danger of becoming trivialised or commercialised, they serve as powerful conduits of memory, which strengthen communal bonds in the face of the ‘flattening’ effects of globalisation. The museum this paper deals with, a vernacular museum in Vanjärvi in southern Finland, differs from the dominant type of the house museum, which celebrates masculinity and social elites. Rather, it aligns itself with the small amateur museums of everyday life called by Angela Jannelli Wild Museums (2012), by analogy with Lévi-Strauss’ concept of ‘pensée sauvage’. The paper argues that, despite the present-day flurry of technologies of remembering and lavishly funded memory institutions, there is no doubt that the seemingly ‘ephemeral’ institutions such as the vernacular museum, dependent so much on performance, oral storytelling, living bodies and intimate interaction, nevertheless play an important role in maintaining and invigorating memory communities