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Lynn Turner
Goldsmiths, University of London, Visual Cultures, Department Member
- Feminist Philosophy, Jacques Derrida, Visual Culture, Science Fiction, Luce Irigaray, Voice Theory, and 24 moreCritical Animal Studies, Feminist SF, Posthumanism, Continental Philosophy, Feminist Art, Deconstruction, Hélène Cixous, Performativity, Aural and Visual Cultures, Autobiography, Sociology of Food and Eating, Contemporary Art, Art-Writing, China Miéville, Film Studies, Sonic Art, Cornelia Vismann, Science, Technology and Society, Vinciane Despret, Karen Barad, Donna Haraway, Animal Studies, New Materialism, and Environmental Humanitiesedit
- My work explores how animal and sexual differences matter in visual and aural culture, literature and philosophy.edit
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Paperback coming autumn 2021! Table of Contents 1. In the beginnings: introducing Poetics of Deconstruction 2. The Animal Cure: inhaling the other in Dean Spanley 3. Raising Animals: between the basement and the kennel in The... more
Paperback coming autumn 2021!
Table of Contents
1. In the beginnings: introducing Poetics of Deconstruction
2. The Animal Cure: inhaling the other in Dean Spanley
3. Raising Animals: between the basement and the kennel in The Woman
4. Speculations: gesture in Conceiving Ada and Absent Presence
5. ‘Unfamiliar Unconscious’: the performativity of Infinity Kisses
6. Outlaws: towards a posthumanist feminine in Dancer in the Dark
7. In Lieu of Conclusion: cardiopedagogy in White God
In Poetics of Deconstruction, Lynn Turner develops an intimate attention to independent films, art, and the psychoanalyses by which they might make sense other than under continued license of the subject that calls himself man. Drawing extensively from Jacques Derrida's philosophy in precise dialogue with feminist thought, animal studies and posthumanism, this book explores the vulnerability of the living as rooted in non-oppositional differences. From abjection to mourning, to the speculative and the performative, it reposes concepts and buzzwords seemingly at home in feminist theory, visual culture and the humanities more broadly. Stepping away from the carno-phallogocentric legacies of the signifier and the dialectic, Poetics of Deconstruction asks you to welcome nonpower into politics, always sexual but no longer anchored in sacrifice.
Table of Contents
1. In the beginnings: introducing Poetics of Deconstruction
2. The Animal Cure: inhaling the other in Dean Spanley
3. Raising Animals: between the basement and the kennel in The Woman
4. Speculations: gesture in Conceiving Ada and Absent Presence
5. ‘Unfamiliar Unconscious’: the performativity of Infinity Kisses
6. Outlaws: towards a posthumanist feminine in Dancer in the Dark
7. In Lieu of Conclusion: cardiopedagogy in White God
In Poetics of Deconstruction, Lynn Turner develops an intimate attention to independent films, art, and the psychoanalyses by which they might make sense other than under continued license of the subject that calls himself man. Drawing extensively from Jacques Derrida's philosophy in precise dialogue with feminist thought, animal studies and posthumanism, this book explores the vulnerability of the living as rooted in non-oppositional differences. From abjection to mourning, to the speculative and the performative, it reposes concepts and buzzwords seemingly at home in feminist theory, visual culture and the humanities more broadly. Stepping away from the carno-phallogocentric legacies of the signifier and the dialectic, Poetics of Deconstruction asks you to welcome nonpower into politics, always sexual but no longer anchored in sacrifice.
Research Interests: Psychoanalysis, Feminist Theory, Film Theory, Posthumanism, Animal Studies, and 15 moreKinship (Anthropology), Deconstruction, Horror Film, Performativity, Luce Irigaray, Sigmund Freud, Abjection, Jacques Derrida, Julia Kristeva, Donna Haraway, Death Penalty, Kinship, Cary Wolfe, Mourning and melancholia, and Carno-Phallogocentrism
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contributors: Nicholas Royle, Helene Cixous, Kelly Oliver, Peggy Kamuf, Sarah Wood, Marie-Dominique Garnier, Stephen Morton, Judith Still, Marta Segarra, Laurent Milesi, Lynn Turner
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Research Interests: Sociology of Food and Eating, Animal Studies, Anthropology of Food, Deconstruction, Jacques Derrida, and 17 moreDonna Haraway, Amelie Hastie, Bio Art, Invitro Meat, Undine Sellbach, Stephen Loo, Lindsay Kelley, Eva Hayward, Eszter Timar, Michael Marder, Michael O'Rourke, Jake Metcalf, Allison Carruth, Carno-Phallogocentrism, Oron Catts, Ionat Zurr, and Eamonn Dunne
"One in the 'Visual Cultures As...' series, each comprising 2 essays by staff from the Visual Cultures department at Goldsmiths on a named theme, plus a conversation between these colleagues concerning these essays in the context of their... more
"One in the 'Visual Cultures As...' series, each comprising 2 essays by staff from the Visual Cultures department at Goldsmiths on a named theme, plus a conversation between these colleagues concerning these essays in the context of their broader research interests. This edition is named Recollection and contains work by Lynn Turner and Astrid Schmetterling. The series is edited by Jorella Andrews"
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Paper given at the Colloquium on the occasion of the retirement of Professor Nicholas Royle from the University of Sussex.
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In light of work by Donna Haraway, Jacques Derrida and Hélène Cixous, this paper weaves a poetic response to the Western ethnocentric mode of thought as that which cuts a once and forever line dividing nature from culture. That line... more
In light of work by Donna Haraway, Jacques Derrida and Hélène Cixous, this paper weaves a poetic response to the Western ethnocentric mode of thought as that which cuts a once and forever line dividing nature from culture. That line elevates Man over all other creatures, indeed all other living things, and does so by means of a phallic imaginary deeply tied to Judaeo-Christian ontotheology - to shame, nudity and original sin. Through the figure of the fig leaf, the essay affirms the earthly and earthy field of sexual as that which links rather than divides categories, disciplines and forms of life.
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The chapter will begin with Aristotle’s unfortunately persistent distinction, hiving off the political for the human by virtue of the possession of speech as well as his investment in linguistic articulation as the gift of those beings... more
The chapter will begin with Aristotle’s unfortunately persistent distinction, hiving off the political for the human by virtue of the possession of speech as well as his investment in linguistic articulation as the gift of those beings equipped with tongue and lips. It will critically engage post-Lacanian psychoanalysis as the frame that expands voice too as the terrain of the human insofar as it speaks to a specific relation to trauma. The entanglement between voice, trauma and the political is thus my focus. I will take contemporary writings on cetaceans as the case through which to exert pressure on what I take to be the peculiar re-statement of human exceptionalism by psychoanalysis. This is not simply to point out Aristotelian ignorance of cetacean physiology, nor to dwell on the persistence of his view that all animals sing as a prelude to mating. It is rather to continue the work of deconstruction in dismantling the philosophical homogenization of both ‘the voice’ and ‘the animal’ through insisting on the particularity, in the temporal and spatial otherworldliness of the oceans, of the phenomena of cetacean songs. I will elaborate how this particularity is bridged by what Derrida calls ‘writing’ as that which is common to those that we call the living, drawing on Bateson’s notion that mammalian visuality is funneled dramatically into voice by cetaceans as well as Roburn’s account of the impact of acoustic pollution in the oceans on those beings who are primarily oriented by sound. My suspicion is thus that cetaceans are traumatised both physically (by the deafening sounds of explosive testing and naval sonar) and psychically through the interruption of their means of communication. In rethinking the relation between voices and animals, the chapter thus radicalises all of its key terms, including what we might mean by ‘the psyche’.
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This paper will attend to a cluster of historical yet persistently ongoing problems in how we think of the voice especially as a category opposed to that of speech (the legacy of Aristotle’s Politics). Ultimately the chapter will argue... more
This paper will attend to a cluster of historical yet persistently ongoing problems in how we think of the voice especially as a category opposed to that of speech (the legacy of Aristotle’s Politics). Ultimately the chapter will argue for the political urgency of the deconstruction of this opposition (in light of a range of texts by Jacques Derrida, from Voice and Phenomenon, 2010, to Sovereignties in Question, 2005). Thus this will not be a matter of simply arguing for the inclusion of animals within the realm from which they have been conceptually excluded. Rather in revising the voice – speech relation, politics itself will undergo modification. En route it will examine a contemporary discourse that manifests a particular resistance to changing the grounds by which the notion of ‘political animals’ might be radically reconfigured such that the term no longer bespeaks human exceptionalism. The discourse in question is the post-Lacanian psychoanalysis of Mladen Dolar (A Voice and Nothing More, 2006).
The peculiar signature of Dolar’s influential book lies in the way in which - while acknowledging the Aristotelian tradition – voice now accrues to the human. In so doing voice, conceptualized after Lacan as the silent ‘voice-object,’ blocks any engagement with the sounds of voices whether made by humans or other animals (and thus blocks any possibility of taking sounds made by animals as significant). Seeking to remedy at least the acoustic dimension of this problem, John Mowitt (‘Like a Whisper’ 2011) has recently turned to the framing of sound in psychoanalysis as an explicitly political problem that rests on ‘the excision of the animal in the political animal’ (186). While ‘whispering’, in Mowitt’s analysis, departs from merely hushed speech to indeed remain like a whisper, incorporating a variety of acoustic phenomena including the sound of the wind or rustle of leaves, since it is also embedded in the discourse of trauma, a field dominated by psychoanalysis, it is difficult to see what transformation could occur.
The sound of the shofar in Yom Kippur shows up in Dolar – again in deference to Lacan – as the sound of the dying Father’s voice in explicit reminiscence of the totemic destruction of the father in simultaneity with the commencement of his Law. In tune with the reduction of totemism in Freudian legend to the conduit of patriarchy, human breath passing through the ram’s horn sounds of anything but an animal. Indeed for Dolar the only ‘sound’ of note is that of the ‘voice object,’ which here is understood as the cleavage between the commanding presence of the Father and the ambiguous alterity of the feminine. This chapter will allow the shofar to resound in light of Derrida’s discussion of ‘the thought of the world’ as the carrying of the other - an other not preordained as human (‘Rams’ in Sovereignties).
The peculiar signature of Dolar’s influential book lies in the way in which - while acknowledging the Aristotelian tradition – voice now accrues to the human. In so doing voice, conceptualized after Lacan as the silent ‘voice-object,’ blocks any engagement with the sounds of voices whether made by humans or other animals (and thus blocks any possibility of taking sounds made by animals as significant). Seeking to remedy at least the acoustic dimension of this problem, John Mowitt (‘Like a Whisper’ 2011) has recently turned to the framing of sound in psychoanalysis as an explicitly political problem that rests on ‘the excision of the animal in the political animal’ (186). While ‘whispering’, in Mowitt’s analysis, departs from merely hushed speech to indeed remain like a whisper, incorporating a variety of acoustic phenomena including the sound of the wind or rustle of leaves, since it is also embedded in the discourse of trauma, a field dominated by psychoanalysis, it is difficult to see what transformation could occur.
The sound of the shofar in Yom Kippur shows up in Dolar – again in deference to Lacan – as the sound of the dying Father’s voice in explicit reminiscence of the totemic destruction of the father in simultaneity with the commencement of his Law. In tune with the reduction of totemism in Freudian legend to the conduit of patriarchy, human breath passing through the ram’s horn sounds of anything but an animal. Indeed for Dolar the only ‘sound’ of note is that of the ‘voice object,’ which here is understood as the cleavage between the commanding presence of the Father and the ambiguous alterity of the feminine. This chapter will allow the shofar to resound in light of Derrida’s discussion of ‘the thought of the world’ as the carrying of the other - an other not preordained as human (‘Rams’ in Sovereignties).
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On Dorothy Cross's spurs, animal and sexual differences. As I've been saying in several classes since writing this - I have a more considered reading of the 'carrier bag theory of fiction' now after remembering to go back to Donna... more
On Dorothy Cross's spurs, animal and sexual differences.
As I've been saying in several classes since writing this - I have a more considered reading of the 'carrier bag theory of fiction' now after remembering to go back to Donna Haraway!
As I've been saying in several classes since writing this - I have a more considered reading of the 'carrier bag theory of fiction' now after remembering to go back to Donna Haraway!
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This paper follows the science-fiction of C. J. Cherryh after Freud after Derrida in order to draw attention to the non-human limits of writing. The delay to which any and all writing is subject, even a total delay, is brought into... more
This paper follows the science-fiction of C. J. Cherryh after Freud after Derrida in order to draw attention to the non-human limits of writing. The delay to which any and all writing is subject, even a total delay, is brought into particular focus through the psychoanalytic investment in transference.
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"One of the few papers to treat both Cixous and Derrida's relation to the animot. This essay forms a part of the opening chapter of my _Machine-Event_ book in which it develops the performativity of the kiss - heightened through its... more
"One of the few papers to treat both Cixous and Derrida's relation to the animot. This essay forms a part of the opening chapter of my _Machine-Event_ book in which it develops the performativity of the kiss - heightened through its interspecies status in Cixous, Haraway and Carolee Schneemann.
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Still one of the only (possibly the only) paper to treat both Cixous and Derrida's relation to the animot, in this case alongside related work by Donna Haraway and Carolee Schneemann. This essay forms a part of the opening chapter of... more
Still one of the only (possibly the only) paper to treat both Cixous and Derrida's relation to the animot, in this case alongside related work by Donna Haraway and Carolee Schneemann.
This essay forms a part of the opening chapter of my _Machine-Event_ book in which it develops the performativity of the kiss - heightened through its interspecies status in Cixous, Haraway and Schneemann.
A much longer version of this paper is now published in Humanimalia
This essay forms a part of the opening chapter of my _Machine-Event_ book in which it develops the performativity of the kiss - heightened through its interspecies status in Cixous, Haraway and Schneemann.
A much longer version of this paper is now published in Humanimalia
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The sexual politics and poetics of tape recording in Richard Linklater's 2001 film, _Tape_. An extended version of this paper will form a chapter for my _Machine-Events_ book, particularly developing the question of transference and... more
The sexual politics and poetics of tape recording in Richard Linklater's 2001 film, _Tape_.
An extended version of this paper will form a chapter for my _Machine-Events_ book, particularly developing the question of transference and technology. In the meantime, I gave an updated version of this paper with a much stronger intersection with the work of Cornelia Vismann at the Legal Media colloquium and will be publishing that soon, details to follow.
An extended version of this paper will form a chapter for my _Machine-Events_ book, particularly developing the question of transference and technology. In the meantime, I gave an updated version of this paper with a much stronger intersection with the work of Cornelia Vismann at the Legal Media colloquium and will be publishing that soon, details to follow.
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I'm curious that there have been a number of recent searches for this article. I have quite a bit more unpublished material on this film that could be translated into a much longer article. Plus, 13 years later, I can now write less... more
I'm curious that there have been a number of recent searches for this article. I have quite a bit more unpublished material on this film that could be translated into a much longer article. Plus, 13 years later, I can now write less enigmatically.
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on the erotics of Sarah Spanton's dance performance Emerge as viewed in the glass lifts at Waterstones in Leeds
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on voice and voice over in Chantal Akerman's film Je tu il elle.
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Photographs of human skin inscribed with tattoo-like texts, Jenny Holzer’s Lustmord series was first published in 1993, showcased in the Sunday magazine supplement of the newspaper, Suddeutsche Zeitung. Diane Elam drew attention to this... more
Photographs of human skin inscribed with tattoo-like texts, Jenny Holzer’s Lustmord series was first published in 1993, showcased in the Sunday magazine supplement of the newspaper, Suddeutsche Zeitung. Diane Elam drew attention to this work in her chapter on ‘Feminism’ in Deconstructions: A User’s Guide (2000), largely focusing on it as a linguistic performance between senders and receivers. She noted the blood used in the ink on the magazine’s cover text – blood donated from Bosnian women raped by Serbians in the Yugoslavian conflict – primarily in the context of its hypocritical reception: the German public recoiled from the impropriety of blood on the paper, not the systematic rape from which the series took leave.
Between 1999 and 2001, Derrida’s seminars focused on the Death Penalty (seminars that are only now garnering widespread attention through the Derrida Seminars Translation Project). There, blood draws material, thematic, poetic and conceptual analysis. While the cruelty of making blood flow (cruor) floods the first volume of published seminars, the ‘Ninth Session’ in the second volume begins with the question ‘How to conceive of blood?’ subsequently repeating a refrain that asks after a possible future for blood. If the ‘concept’ is the ‘end of blood’ as Derrida argues, this chapter returns to Holzer to ask how the gift of blood in Lustmord might bypass this transubstantiation. Opening a future for blood might here offer a counter-path to lex talionis, overflowing the logic of calculated and cancelled debt mandated in the masculine libidinal economy of the law.
While the mortification exhibited in the reception of Lustmord can be read as a reactive abjection that also staunches a future for blood, in this chapter it will lead to Freud’s misplaced transposition of the masculine and ‘primitive’ fear of defloration into the feminine compulsion to violently steal the penis from which she is otherwise denied. Threatening castration in order to mask her own state, Freud finds this ostensibly eternal condition repeated most strongly in the ‘emancipated’ writerly women of his own time. Yet rather than frontally refute Freud, Derrida joins in deconstructive alliance with these women in echo of resistance to the red thread of the death penalty historically offered not by philosophers or politicians but by poets and writers. In light of her ‘female libidinal economy’ as that which is both ‘endless’ and ‘difficult to read,’ ‘Sanguine Resistance’ writes the Cixous of ‘Castration or Decapitation?’ into this alliance. Moreover, where Cixous offers to ‘relieve man of his phallus’, this chapter finds a displacement of retribution in favour of another ‘erogenous field’ that, in supplanting concept, contract, and castration, might dream of a future for blood.
Key texts:
Gil Anidjar, ‘Le Cru: Derrida’s Blood’ in theory@buffalo 2015.
Hélène Cixous, ‘Castration or Decapitation?’ trans. Annette Kuhn, in Signs, 7.1 1981.
Jacques Derrida, The Death Penalty, Volume 2, trans. Elizabeth Rottenberg, Chicago:
Chicago University Press, 2017.
Diane Elam, ‘Deconstruction and Feminism’ in Nicholas Royle, ed. Deconstructions: A
User’s Guide, Manchester: Manchester University Press, 2000.
Sigmund Freud, [1917] ‘The Taboo of Virginity’ in Five Lectures on Psycho-Analysis,
Leonardo da Vinci and Other Works, Volume XI in the Penguin Freud Library, trans.
James Strachey, Penguin Books.
Between 1999 and 2001, Derrida’s seminars focused on the Death Penalty (seminars that are only now garnering widespread attention through the Derrida Seminars Translation Project). There, blood draws material, thematic, poetic and conceptual analysis. While the cruelty of making blood flow (cruor) floods the first volume of published seminars, the ‘Ninth Session’ in the second volume begins with the question ‘How to conceive of blood?’ subsequently repeating a refrain that asks after a possible future for blood. If the ‘concept’ is the ‘end of blood’ as Derrida argues, this chapter returns to Holzer to ask how the gift of blood in Lustmord might bypass this transubstantiation. Opening a future for blood might here offer a counter-path to lex talionis, overflowing the logic of calculated and cancelled debt mandated in the masculine libidinal economy of the law.
While the mortification exhibited in the reception of Lustmord can be read as a reactive abjection that also staunches a future for blood, in this chapter it will lead to Freud’s misplaced transposition of the masculine and ‘primitive’ fear of defloration into the feminine compulsion to violently steal the penis from which she is otherwise denied. Threatening castration in order to mask her own state, Freud finds this ostensibly eternal condition repeated most strongly in the ‘emancipated’ writerly women of his own time. Yet rather than frontally refute Freud, Derrida joins in deconstructive alliance with these women in echo of resistance to the red thread of the death penalty historically offered not by philosophers or politicians but by poets and writers. In light of her ‘female libidinal economy’ as that which is both ‘endless’ and ‘difficult to read,’ ‘Sanguine Resistance’ writes the Cixous of ‘Castration or Decapitation?’ into this alliance. Moreover, where Cixous offers to ‘relieve man of his phallus’, this chapter finds a displacement of retribution in favour of another ‘erogenous field’ that, in supplanting concept, contract, and castration, might dream of a future for blood.
Key texts:
Gil Anidjar, ‘Le Cru: Derrida’s Blood’ in theory@buffalo 2015.
Hélène Cixous, ‘Castration or Decapitation?’ trans. Annette Kuhn, in Signs, 7.1 1981.
Jacques Derrida, The Death Penalty, Volume 2, trans. Elizabeth Rottenberg, Chicago:
Chicago University Press, 2017.
Diane Elam, ‘Deconstruction and Feminism’ in Nicholas Royle, ed. Deconstructions: A
User’s Guide, Manchester: Manchester University Press, 2000.
Sigmund Freud, [1917] ‘The Taboo of Virginity’ in Five Lectures on Psycho-Analysis,
Leonardo da Vinci and Other Works, Volume XI in the Penguin Freud Library, trans.
James Strachey, Penguin Books.
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Paper delivered at The Future Past of Visual Culture, a day symposium of invited speakers. It is related to two uploaded published papers on this site: 'Des Jeunes Nées: for a confusion of the tongue, the lip, & the rim’ and 'The course... more
Paper delivered at The Future Past of Visual Culture, a day symposium of invited speakers. It is related to two uploaded published papers on this site:
'Des Jeunes Nées: for a confusion of the tongue, the lip, & the rim’ and 'The course of a general displacement'.
'Des Jeunes Nées: for a confusion of the tongue, the lip, & the rim’ and 'The course of a general displacement'.
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This paper will initiate a disciplinary investigation into how we think of ‘the voice’ in light of theoretical developments in critical animal studies. Numerous scholars today firmly dispel the Cartesian legacy that habitually divides the... more
This paper will initiate a disciplinary investigation into how we think of ‘the voice’ in light of theoretical developments in critical animal studies. Numerous scholars today firmly dispel the Cartesian legacy that habitually divides the speaking - human - subject from the ‘dumb’ animal since that blunt division has so persistently legislated for the violent appropriation of the latter by the former. My task, however, is not to take up ‘the voice’ as figure to speak for those who cannot speak for themselves. It is rather to follow the hermeneutic suspicion that even the most sophisticated recent psychoanalytic engagements with the question of the animal produce a new problem for critical animal studies. The move that I identify as a problem absorbs ‘the animal’ as the anterior ground of ‘the human’ even though that ground may return symptomatically, traumatically.
Of the two authors who raise this concern for me, one is more explicitly involved in a kind of land grab to entrench the voice as the proper object of psychoanalysis embedding its traumatic qualities as effecting a properly human trouble (Mladen Dolar); the other, having developed a theoretically less partisan body of work investigating what he names the percussive field, has recently raised the spectre of the domestication of animals as traumatic only to retain the latter within a psychoanalytic frame privileging speech as the means of abreaction, albeit through the category he renders constitutively ambiguous – the ‘whisper’ (John Mowitt). Appreciative as Mowitt is of work demonstrating the root and branch transformation of the ‘humanities’ by writers such as Cary Wolfe (who he affirmatively cites), his investment in a psychoanalysis relatively untouched by such a transformation risks disappearing the trauma of animals as anything exterior to the formation of human subjectivity. My suspicion is thus that ‘the animal’ risks becoming the new Real. This new corral is contrasted by the Derridean ethics of infinite hospitality. For the latter, one will never know in advance from where - from whom or from what - an ethical call will come or what form it will take.
Of the two authors who raise this concern for me, one is more explicitly involved in a kind of land grab to entrench the voice as the proper object of psychoanalysis embedding its traumatic qualities as effecting a properly human trouble (Mladen Dolar); the other, having developed a theoretically less partisan body of work investigating what he names the percussive field, has recently raised the spectre of the domestication of animals as traumatic only to retain the latter within a psychoanalytic frame privileging speech as the means of abreaction, albeit through the category he renders constitutively ambiguous – the ‘whisper’ (John Mowitt). Appreciative as Mowitt is of work demonstrating the root and branch transformation of the ‘humanities’ by writers such as Cary Wolfe (who he affirmatively cites), his investment in a psychoanalysis relatively untouched by such a transformation risks disappearing the trauma of animals as anything exterior to the formation of human subjectivity. My suspicion is thus that ‘the animal’ risks becoming the new Real. This new corral is contrasted by the Derridean ethics of infinite hospitality. For the latter, one will never know in advance from where - from whom or from what - an ethical call will come or what form it will take.
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After the solicitation of the editor, this paper was revised for publication in the summer 2023 issue of Foundation.
'Secrets and Lies: Embassytown, Ethics and Eating in the Darkness'
'Secrets and Lies: Embassytown, Ethics and Eating in the Darkness'
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Research Interests: Animal Studies and Voice
Critical environments names several senses. If the (Greek) krinein is to sift and kritikos is the ability to discern, then we are faced with the work of interpretation. Yet if we turn to the Latin criticare, then those environments are... more
Critical environments names several senses. If the (Greek) krinein is to sift and kritikos is the ability to discern, then we are faced with the work of interpretation. Yet if we turn to the Latin criticare, then those environments are diagnosed as gravely ill. We know that what we call the ‘environment’ is indeed in a state of crisis – acidification renders the oceans increasingly inhospitable to life; deforestation threatens both local ecologies and global climate maintenance; the appetite for meat eats up land as well as nonhuman life. Many of us choose not to know this, or perhaps maintain the fetishistic logic of knowing that comes with simultaneous disavowal. Corporate interests ranging across agriculture, pharmaceuticals, fossil fuels, and the super-saturation of all forms of media hamper the work of interpretation and the possibility of agency and intervention.
Series chairs: Lynn Turner & Wood Roberdeau
Goldsmiths, University of London
Thursdays, Spring Term
5.00-7.00pm
Professor Stuart Hall Building LG02
The events are free -- no booking is required and all are welcome.
Series chairs: Lynn Turner & Wood Roberdeau
Goldsmiths, University of London
Thursdays, Spring Term
5.00-7.00pm
Professor Stuart Hall Building LG02
The events are free -- no booking is required and all are welcome.
Research Interests: Critical Theory, Human Geography, Visual Studies, Art History, Performing Arts, and 14 moreHumanities, Contemporary Art, Posthumanism, Visual Culture, Environmental Studies, Everyday Aesthetics, Everyday Life Studies, Biosemiotics, Postmodernism, Environmental Sustainability, Environmental Humanities, Visual and Cultural Studies, Earth and Environmental Sciences, and Architecture and Public Spaces
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MA module
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final year UG module