Non-representational theory

About: Non-representational theory is a research topic. Over the lifetime, 75 publications have been published within this topic receiving 9810 citations.

Parables for the Virtual: Movement, Affect, Sensation

Abstract: Although the body has been the focus of much contemporary cultural theory, the models that are typically applied neglect the most salient characteristics of embodied existence—movement, affect, and sensation—in favor of concepts derived from linguistic theory. In Parables for the Virtual Brian Massumi views the body and media such as television, film, and the Internet, as cultural formations that operate on multiple registers of sensation beyond the reach of the reading techniques founded on the standard rhetorical and semiotic models. Renewing and assessing William James’s radical empiricism and Henri Bergson’s philosophy of perception through the filter of the post-war French philosophy of Deleuze, Guattari, and Foucault, Massumi links a cultural logic of variation to questions of movement, affect, and sensation. If such concepts are as fundamental as signs and significations, he argues, then a new set of theoretical issues appear, and with them potential new paths for the wedding of scientific and cultural theory. Replacing the traditional opposition of literal and figural with new distinctions between stasis and motion and between actual and virtual, Parables for the Virtual tackles related theoretical issues by applying them to cultural mediums as diverse as architecture, body art, the digital art of Stelarc, and Ronald Reagan’s acting career. The result is an intriguing combination of cultural theory, science, and philosophy that asserts itself in a crystalline and multi-faceted argument. Parables for the Virtual will interest students and scholars of continental and Anglo-American philosophy, cultural studies, cognitive science, electronic art, digital culture, and chaos theory, as well as those concerned with the “science wars” and the relation between the humanities and the sciences in general.

Cultural geography: the busyness of being 'more-than-representational'

Abstract: © 2005 Edward Arnold (Publishers) Ltd 10.1191/0309132505ph531pr I Parameters, definitions and themes This is the first of three reports I will write covering an emergent area of research in cultural geography and its cognate fields. During recent years, ‘non-representational theory’ has become as an umbrella term for diverse work that seeks better to cope with our self-evidently more-than-human, more-than-textual, multisensual worlds. In as much as nonrepresentational work allows it, these reports will sketch out common themes of interest, and assess impacts, critics and potentials, variously conceptual, methodological and empirical. Of late, non-representational theorists have asked difficult and provocative questions of cultural geographers, and many others in the discipline, about what is intended by the conduct of research (Thrift and Dewsbury, 2000). What has been identified as deadening effect – the tendency for cultural analyses to cleave towards a conservative, categorical politics of identity and textual meaning – can, it is contended, be overcome by allowing in much more of the excessive and transient aspects of living. Given the scope and force of the original non-representational arguments, it is unsurprising that this theory has been subject to fulsome response. In fact, non-representational theory has become a particularly effective lightning-rod for disciplinary self-critique. Commentaries have emerged from within cultural, feminist and Marxian traditions and the more recent coalition of critical geography. Notably, and anecdotally, some of the most colourful observations have been saved for bi-partisan conversation in the conference or common room. It is important (not to say appropriate) that the nature of the dialogue – variously confrontational, tribal, dogmatic, peevish and full-bodied – goes on record early. Published versions have been concerned predominantly with the theoretical conditions for disciplinary succession or progression that the term ‘non-representational’ would seem to imply and how, in relation, the concept of performance should be understood by geographers. These articles are variously structured as manifesto, critical review, restated challenge, revanchist programme and proposed reconciliation (Thrift, 1996; 1997; 2000; Nelson, 1999; Thrift and Dewsbury, 2000; Nash, 2000; Harrison, 2000; Gregson and Rose, 2000; Crouch, 2001; Dewsbury et al., 2002; Whatmore, 2002; Cresswell, 2002; Smith, 2003; Jacobs and Nash, 2003; Latham, 2003a; Castree and MacMillan, 2004).1 In this report, I would like to treat the flourishing theoretical debate as a significant Cultural geography: the busyness of being ‘more-than-representational’

Emotions and affect in recent human geography

Abstract: This paper seeks to examine both how emotions have been explored in emotional geography and also how affect has been understood in affectual geography. By tracing out the conceptual influences underlying emotional and affectual geography, I seek to understand both the similarities and differences between their approaches. I identify three key areas of agreement: a relational ontology that privileges fluidity; a privileging of proximity and intimacy in their accounts; and a favouring of ethnographic methods. Even so, there is a fundamental disagreement, concerning the relationship – or non-relationship – between emotions and affect. Yet, this split raises awkward questions for both approaches, about how emotions and affect are to be understood and also about their geographies. As importantly, mapping the agreements and disagreements within emotional and affectual geography helps with an exploration of the political implications of this work. I draw upon psychoanalytic geography to suggest ways of addressing certain snags in both emotional and affectual geography.

After or beyond feeling? A consideration of affect and emotion in geography

Abstract: Recently, geographical work on affect has made a small but noticeable emergence (e.g. McCormack 2003; Thrift 2004). In the context of diverse and emergent geographies of emotion (e.g. Anderson and Smith 2001; Wood 2002; Bennett 2004; Davidson and Bondi 2004; Thien 2005; Bondi forthcoming), this work on affect has a distinctive, intentional bent towards the 'transhuman' a state of being after or beyond human. This political move to get after or beyond humanity seeks to surpass a 'simple roman ticism of somehow maximising individual emotions' (Thrift 2004, 68). This model of affect discourages an engagement with everyday emotional subjectivities, falling into a familiar pattern of distancing emotion from 'reasonable' scholarship and simultaneously implying that the emotion of the individual, that is, the realm of 'personal' feelings, is distinct from wider (public) agendas and desirably so. In contrast, placing emotion in the context of our always intersubjective relations offers more promise for politically relevant, emphatically human, geographies. Affect has arguably been on the philosophical register for many centuries; however, as the acade mies of the twenty-first century take shape, an increasing attention to emotion is rippling through the forefront of critical thought, bringing questions of affect to the forefront. Social, cultural and feminist geographers (Bondi 1999 forthcoming; Wood 2002; Airey 2003; Bondi and Fewell 2003; Callard 2003; Thrift 2004), cultural and gender theorists (Chodorow 1999; Ahmed 2002 2004; Harding and Pribram 2002; Sedgwick 2003), philosophers (Nussbaum 2001), sociologists (Jamieson 1998; Hochschild 200

“Research, Performance, and doing Human Geography: Some Reflections on the Diary–Photograph, Diary–Interview Method”

Abstract: The past decade has seen a remarkable turn towards the cultural in human geography. This shift has been marked by a strange gap between theory and empirical practice. Radical though the turn to the cultural has been in reconstituting the ways that human geography thinks of itself as a discipline, its impact on ways that geographers actually do empirical research has been in certain respects relatively limited. Indeed, while the cultural turn has become strongly associated with a valorisation of qualitative methodologies, the actual range of methods used has been relatively narrow. Drawing on the work of Nigel Thrift and a range of other human geographers who are exploring the metaphor of performance to understand this realm of practical action, I argue that not only can social action be viewed as performance, so too is it productive to reframe the research process itself as a kind of performance. This reframing allows for a more experimental and more flexible attitude towards both the production and interpretation of research evidence. It also makes it easier to think of new ways of engaging with how individuals and groups inhabit their worlds through practical action. Drawing on my own experimentation with written and photographic research diaries, I explore a number of ways through which the performative ethos can inform and invigorate the human geographic imagination. I conclude by arguing that human geography needs to be more imaginative, pluralistic, and pragmatic in its attitude towards both (a) methodology and (b) the kinds of final research accounts it produces.