On_Culture: The Open Journal for the Study of Culture

Dauerhafte URI für den Bereich

jlupub.ub.uni-giessen.de/handle/jlupub/7516
Alle Ausgaben und Fortsetzung siehe: https://www.on-culture.org/

On_Culture: The Open Journal for the Study of Culture is a biannual, peer-reviewed academic eJournal created and edited by doctoral researchers, postdocs and professors working at the GCSC. It provides a platform and forum for pursuing and reflecting on the study of culture. It investigates, problematizes and develops key concepts and methods in the field. More often than not, developing such new approaches and emerging topics is a collaborative and collective process. On_Culture is dedicated to fostering such collective processes and the cultural dynamics at work in thinking about and reflecting on culture.
The journal consists of three sections: peer-reviewed academic _Articles, _Essays and _Perspectives such as video clips, interviews and visual statements. On_Culture is the result of collaborative processes and emergent structures in the field of e-publishing. On_Culture puts new approaches and emerging topics in the (trans)national study of culture ‘on the line’ and, in so doing, fills the gap____ between ‘on’ and ‘culture’. There are numerous ways of filling the gap, and the plurality of approaches is something for which we strive with each new issue..
The journal offers numerous opportunities to contribute: calls for abstracts released biannually seek contributors of peer reviewed academic articles, while ideas for shorter pieces (textual, visual, graphic…you name it!) pertaining to any and all issue topics are welcome at any time.

URN: urn:nbn:de:hebis:26-opus-120545

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    When dinosaurs ruled the earth? Digital animals, simulation, and the return of ‘real nature’ in the Jurassic Park movies
    (2016) Fuchs, Michael
    This essay argues that the digital reanimation of dinosaurs in the Jurassic Park series not only epitomizes mankind s tortured relationship with other animal species on this planet, but also demonstrates how technology transforms animals into spectral post-animal beings. Both in its diegesis and in its production, the Jurassic Park movie franchise emblematizes humanity s compulsive desire to control the rest of the planet. This desire has culminated in the most recent addition to the series, in which anima-tronics were practically completely replaced by digital dinosaurs the filmmakers could control more easily. Yet despite the tangibility, the material reality of the animatron-ics, throughout the movie series, the spectral dinosaur bodies animated by digital tech-nologies not only seem much more alive than their mechanical counterparts, but shape viewers conceptions of what dinosaurs are and what they looked like, lending the digital animals a hyperreal quality that stands in stark contrast to their symbolic equation with material nature. In the latest movie, the mosasaurus, I will argue, ima-gines the return of real nature in the face of the artificial nature represented by the Indominus rex. However, the mosasaurus, like all other prehistoric animals roaming Jurassic Park and Jurassic World, respectively, is a genetic hybrid, like the Indominus rex. In this way, the Jurassic Park movie franchise presents a telling example of the conflicted and paradoxical interrelations between technology and spectral animal bod-ies (and, thus, nature) in the digital age.
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    Reflections on ethnography as a research method
    (2016) Wehde, Katja
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    Scenes of trash : aesthetic order and political effects of garbage in the home
    (2016) Moisi, Laura
    The article discusses the role that non-humans and simple everyday objects play in political matters. It relates ideas of political theory to recent work in discard studies by asking how certain narratives and cultural appropriations of waste shape the way that political ideas are articulated. The paper employs Jacques Rancière s understand-ing of politics as a distribution of the sensible with respect to acts of disposing of waste in the home. At issue are politically relevant distinctions such as those between private matters and public concerns, visible and invisible spheres of participation, clean and dirty work. The article explores how, on the one hand, visions of modernity and the future are expressed through the meaning of waste and how trash, on the other hand, is articulated in political terms. The approach is interdisciplinary, ranging from political philosophy and feminist thought to cultural theory, with a specific interest in phenomena that address politically relevant issues through the language and aesthetics of waste.
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    Non-Human actors and identity performance online
    (2016) Pupynina, Anastasia
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    The wisdom of crowds
    (2016) Kohle, Hubertus
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    Reflections on hunger in Burkina Faso
    (2016) Kalfelis, Melina C.
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    On_Culture, issue 1 : editorial
    (2016)
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    The trouble with emergence
    (2016) Schniedermann, Wibke
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    "Che tempo, che tempo": geology and environment in Max Frisch's Der Mensch erscheint im Holozän
    (2016) Völker, Oliver
    Critical readings of Frisch s Der Mensch erscheint im Holozän [Man in the Holo-cene] have tended to read its heterogeneous and inter-medial form as a code for the mental disintegration of its protagonist. This paper argues instead that this feature can be seen as a poetological engagement with geological and climatic timescales. Due to its hybrid form, the incorporation of a multiplicity of textual fragments and pictorial representations, the text undermines both conventional definitions of narra-tive and representations of nature. Holozän s non-linear structure establishes an aes-thetic of slowness that ushers in an awareness of the utterly different time schemes of geological and climatic processes. Furthermore, the importance of the material features, such as an interplay between text and image and the disconnected, paratac-tical arrangement of sentences mirrors the novel s focus on natural phenomena. Frisch s narrative establishes a poetics that tries to reach beyond the confinements of an anthropocentric perspective and thereby subverts the borders between culture and environment.
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    Sarah Kane's world of depression : the emergence and experience of mental illness in 4.48 psychosis
    (2016) Ovaska, Anna
    Fictional narratives of mental illnesses often focus on individual experiences of pain, anxiety and suffering. As such, narratives depict the experiences of illness in a holistic way, revealing the embodied, situated and intersubjective in other words, emer-gent nature of psychiatric disorders. They are thus able to create a different kind of understanding of mental disorders than medicalizing strands of psychiatry that tend to reduce mental illnesses to biological dysfunctions of the brain and the nervous system and thus ignore how disorders straddle the brain, the body and the environment.In this article, I discuss how the experiential world of depression is constructed and conceived of in Sarah Kane s play 4.48 Psychosis. Kane s depiction of severe, psychotic depression is in line with phenomenological accounts of the illness, in which depression is understood as an emergent phenomenon that gives rise to altera-tions in the embodied being-in-the-world of the subject. The text refers to common cognitive-affective experiences and folk-psychological understandings of the mind and employs different intertextual, narrative and poetic strategies to convey the phe-nomenal world of depression to its readers. In addition, Kane emphasizes that to treat depression a deeper understanding of this state of emergency is needed than what medicalizing psychiatry is able to provide.
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    Curating as research
    (2016) Gschrey, Raul
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    Affective bodies : nonhuman and human agencies in Djuna Barnes's fiction
    (2016) Oulanne, Laura
    Djuna Barnes s work is an intriguing example of the ways fiction makes its readers face the nonhuman as having potential for agency, and shows the entanglements be-tween human and nonhuman. In the stories, objects tend to steal the attention from the main characters and become agents in their own right. At the same time, a lot of Barnes s human characters remain unreadable, and thing-like or animal-like; as such, nonhuman themselves.This article asks why readers become engaged with such texts and how we make sense of them. Drawing on new materialist and posthumanist conceptions of distrib-uted agency and affect, I explore the entangled human and nonhuman agencies that contribute to the action of the narratives and, arguably, to their affective appeal, the two being closely intertwined. To discuss the reading processes the texts invite, I employ embodied cognitive approaches to the process of reading fiction. Based on the analysis of Barnes s novel Nightwood and her less researched short fiction, I propose that reading these texts is largely a process of affective, embodied sense-making that pertains equally to human and nonhuman fictional agents, revealing their mutual dependence and their equal capacity to affect.
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    On_Culture, issue 2 : editorial
    (2016)
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    The non-human as such: on men, animals, and barbers
    (2016) Timofeeva, Oxana
    The article investigates a dialectic that, through the work of negation, paradoxically brings the non-human as anything but human back to the human. It shows how and why, throughout the criticism of all forms of anthropocentrism, the human being still occupies a central place in the very discourse that negates him. His principal position only changed its value from а positive to а negative one. If there is something in com-mon among all possible non-human things in the world, it is their negative determi-nation with regards to the human. While being actively denied, human thus remains a main constitutive element of their identity, a kind of general equivalent, whose on-tological status is highly problematic and therefore particularly interesting.
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    Emergent emergencies in complex ecosystems : reflections on the limits of narrative cognition and a revisiting of Michael Crichton's Jurassic Park (1990)
    (2016) Scherr, Alexander
    This article argues that emergent emergencies in complex natural systems or eco-systems can be understood as the ethical consequences of cognitive failure or epis-temological error (Gregory Bateson). More specifically, I hold that complex systems display emergent behaviors, and that narrative cognition our human default way of making sense of the world is not particularly well suited for understanding emer-gence. Building on previous narratological work on the incompatibility of narrative and emergence (H. Porter Abbott, Richard Walsh), I argue further that narrative think-ing and complex systems are each characterized by distinct types of agency, or ways of conceptualizing agency. In its second half, the essay turns to Michael Crichton s classic Jurassic Park (1990), reading the novel as a fictional thought experiment which not only simulates an emergency situation, but also explores the reasons for the collapsing of the control system in the fictional theme park from the vantage of chaos theory. It will be shown that the emergent emergency staged in the novel is the result of cognitive failure on the part of the park managers, who are misled by a narrative of centralized control (Abbott) in their attempts to control the park and a reductionist conceptualization of life. Such reductionist approaches to life are contrasted with ecological frameworks in this article.1
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    Shake those methods! The art of doing research
    (2016) Krit, Alesya; Wehde, Katja; Gschrey, Raul; Trischler, Ronja
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    Design and modeling as processes of creating culture
    (2016) Trischler, Ronja