Edited by Chris Jenks - carlosmoreno.info

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CONTRIBUTORS publications are in the areas of fine art, ethical theory and contemporary culture. Chris Jenks is Head of the Department of Sociology at Goldsmiths’ College, University of London. His most recent books are The Sociology of Childhood (Gregg, 1992), Cultural Reproduction (Routledge, 1993) and Culture (Routledge, 1993). He awaits publication of Images of Community: Durkheim and the Sociology of Art (with J.Smith), Childhood and Core Sociological Dichotomies. Justin Lorentzen lectures in sociology at Goldsmiths’ College, University of London and at South Bank University. His previous publications are in the area of cultural studies and his current research is into transgression. David Morley is Reader in Communications at Goldsmiths’ College, University of London. He has published widely in the area of communication studies and he is the author of The Nationwide Audience (BFI, 1980), Family Television (Comedia, 1986) and Television, Audiences and Cultural Studies (Routledge, 1992). John O’Neill is Distinguished Research Professor of Sociology at York University, Toronto, Canada. He has published extensively in the areas of sociology, phenomenology, critical theory, cultural studies and political theory. Among his many books are Sociology as a Skin Trade (Heinemann, 1972), Modes of Individualism and Collectivism (Heinemann, 1973), Phenomenology, Language and Sociology: Essays for Merleau-Ponty (Heinemann, 1974), Making Sense Together (Routledge & Kegan Paul, 1975), On Critical Theory (Heinemann, 1977), For Marx against Althusser (Routledge & Kegan Paul, 1982), Five Bodies: The Shape of Modern Society (Ablex, 1985), The Communicative Body: Studies in Communicative Philosophy, Politics and Sociology (Northwestern, 1989), Plato’s Cave: Desire, Power and the Specular Functions of the Media (Ablex, 1991) and The Poverty of Postmodernism (Routledge, 1994). Michael Phillipson is an Honorary Fellow of the Department of Sociology, Goldsmiths’ College, University of London, where he was previously a Senior Lecturer in Sociology. Now he is also a practising artist. His most recent books are Painting, Language and Modernity (Routledge & Kegan Paul, 1985) and In Modernity’s Wake (Routledge, 1989). Don Slater is Lecturer in Sociology at Goldsmiths’ College, University of London. He has researched and published in the areas of consumer culture, advertising and marketing, and the theory and history of photography. He awaits publication of Consumer Culture. ix
CONTRIBUTORS John A.Smith is Lecturer in Critical Theory and the Visual Arts at Lancaster University. He is researching into the relation between phenomenology and late-modernism. His previous publications are in the area of the sociology of art and he awaits publication of Images of Community: Durkheim and the Sociology of Art (with C.Jenks). x
Page 2: VISUAL CULTURE Visual Culture is a
Page 5 and 6: First published 1995 by Routledge 1
Page 7 and 8: CONTENTS 10 TELEVISION: NOT SO MUCH
Page 9: CONTRIBUTORS Malcolm Barnard is Sen
Page 14 and 15: 1 THE CENTRALITY OF THE EYE IN WEST
Page 16 and 17: AN INTRODUCTION Our contemporary vi
Page 18 and 19: AN INTRODUCTION thesocial sciences
Page 20 and 21: AN INTRODUCTION and ‘essential fo
Page 22 and 23: AN INTRODUCTION To abstract implies
Page 24 and 25: AN INTRODUCTION Baudrillard it mere
Page 26 and 27: AN INTRODUCTION Ironically it is as
Page 28 and 29: AN INTRODUCTION empiricist tactics
Page 30 and 31: AN INTRODUCTION etymology of the wo
Page 32 and 33: AN INTRODUCTION The city, though tr
Page 34 and 35: AN INTRODUCTION Jenks begins with B
Page 36 and 37: AN INTRODUCTION orders of experienc
Page 38 and 39: AN INTRODUCTION Relations. London:
Page 40 and 41: ADVERTISING: THE RHETORICAL IMPERAT
Page 44 and 45: Figure 2.1 Advertisement for Death
Page 56 and 57: REPORTING AND VISUALISING and visua
Page 58 and 59: REPORTING AND VISUALISING equipment
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REPORTING AND VISUALISING If you wi
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REPORTING AND VISUALISING a ‘real
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REPORTING AND VISUALISING cover oth
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REPORTING AND VISUALISING clear’,
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REPORTING AND VISUALISING events ma
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REPORTING AND VISUALISING Poster, M
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FRACTURED SUBJECTIVITY with regard
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FRACTURED SUBJECTIVITY And there we
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FRACTURED SUBJECTIVITY from the ver
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FRACTURED SUBJECTIVITY complicated
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FRACTURED SUBJECTIVITY into existen
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FRACTURED SUBJECTIVITY Figure 4.4 G
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FRACTURED SUBJECTIVITY its continge
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FRACTURED SUBJECTIVITY appears to s
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FRACTURED SUBJECTIVITY not the cont
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5 THE CITY, THE CINEMA: MODERN SPAC
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THE CITY, THE CINEMA: MODERN SPACES
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FABULOUS CONFUSION! POP BEFORE POP?
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7 AN ART OF SCHOLARS Corruption, ne
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AN ART OF SCHOLARS The details are
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AN ART OF SCHOLARS The other world
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AN ART OF SCHOLARS The defeat of na
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AN ART OF SCHOLARS Determining the
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AN ART OF SCHOLARS because of, or b
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AN ART OF SCHOLARS an experience’
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AN ART OF SCHOLARS the fulfilment o
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AN ART OF SCHOLARS NOTES 1 It would
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AN ART OF SCHOLARS Rosen, Stanley (
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WATCHING YOUR STEP This phone call
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WATCHING YOUR STEP realisation of t
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WATCHING YOUR STEP It is not an ori
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WATCHING YOUR STEP understanding of
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WATCHING YOUR STEP ‘at home in th
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WATCHING YOUR STEP is to commend th
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WATCHING YOUR STEP an original imag
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WATCHING YOUR STEP The Victorian
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WATCHING YOUR STEP The Nichol was s
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9 REICH DREAMS Ritual horror and ar
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REICH DREAMS Secondly, and Steiner
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REICH DREAMS power took control of
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REICH DREAMS and technology, as in
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REICH DREAMS reaffirming the gratui
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TELEVISION: MORE A VISIBLE OBJECT w
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TELEVISION: MORE A VISIBLE OBJECT (
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TELEVISION: MORE A VISIBLE OBJECT (
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TELEVISION: MORE A VISIBLE OBJECT t
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TELEVISION: MORE A VISIBLE OBJECT t
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TELEVISION: MORE A VISIBLE OBJECT l
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TELEVISION: MORE A VISIBLE OBJECT I
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TELEVISION: MORE A VISIBLE OBJECT O
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TELEVISION: MORE A VISIBLE OBJECT D
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TELEVISION: MORE A VISIBLE OBJECT M
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FOUCAULT’S OPTICS death and not b
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FOUCAULT’S OPTICS flesh and tissu
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FOUCAULT’S OPTICS the region that
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FOUCAULT’S OPTICS Thus armed, the
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FOUCAULT’S OPTICS its significati
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FOUCAULT’S OPTICS 15 Foucault, Th
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MANAGING ‘TRADITION’ whether th
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MANAGING ‘TRADITION’ double (at
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MANAGING ‘TRADITION’ technoscie
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MANAGING ‘TRADITION’ might stil
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MANAGING ‘TRADITION’ already th
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MANAGING ‘TRADITION’ subject to
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MANAGING ‘TRADITION’ Knowledge-
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MANAGING ‘TRADITION’ calculativ
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PHOTOGRAPHY AND MODERN VISION cinem
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PHOTOGRAPHY AND MODERN VISION class
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PHOTOGRAPHY AND MODERN VISION visio
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PHOTOGRAPHY AND MODERN VISION —th
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PHOTOGRAPHY AND MODERN VISION demon
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PHOTOGRAPHY AND MODERN VISION Poton
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PHOTOGRAPHY AND MODERN VISION the u
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PHOTOGRAPHY AND MODERN VISION to kn
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PHOTOGRAPHY AND MODERN VISION The w
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PHOTOGRAPHY AND MODERN VISION Schaf
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THREE IMAGES OF THE VISUAL empirici
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THREE IMAGES OF THE VISUAL of time.
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THREE IMAGES OF THE VISUAL we must
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THREE IMAGES OF THE VISUAL to the f
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THREE IMAGES OF THE VISUAL attitude
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THREE IMAGES OF THE VISUAL (inadver
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THREE IMAGES OF THE VISUAL what pai
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THREE IMAGES OF THE VISUAL rather i
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THREE IMAGES OF THE VISUAL If I ins
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THREE IMAGES OF THE VISUAL mechanic
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THREE IMAGES OF THE VISUAL When art
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Bauhaus 19 Bauman, Z. 148 Bausinger
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formalism 6-7, 24, 89, 124, 239, 24
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Mayhew, H. 158 Meckel, Johann Fried
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Ruscha, Edward 100, 101-2, 111 Rutt
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witchcraft, anthropology of 79 Witt
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