Radical interiors: Cindy Sherman's ‘Sex pictures’ and Kathy Acker's 'My mother: demonology'

In 1989, the American visual artist Cindy Sherman produced her ‘Sex Pictures’, a number of photographic images of two medical mannequins whose bodies had been dismembered and reconstructed to form abstract configurations that alluded to pornographic poses. Sherman's series was a response to the National Endowment for the Arts controversy, in which American artists such as Andres Serrano and the late Robert Mapplethorpe, whose work was considered obscene by the Republican Congress, were censored. Many artists in the culture-war period had their grants rescinded. The American avant-garde writer Kathy Acker published My Mother: Demonology in 1993. A prominent concern of Acker's in the work is what she termed her ‘writing freedom’ in a climate of cultural expurgation by the Republican elite. In particular, Acker was worried that she was ‘internalizing certain censorships’. This article addresses Sherman's and Acker's work in a comparative context to explore, through the theoretical work of Julia Kristeva, the ways in which their responses to a climate of political censorship can be read as forms of intimate revolt. Kristeva's notion of ejection—the act of placing something beyond the scope of the possible—transpires as ‘a condition of art's creation’ in Sherman's and Acker's work. Acker and Sherman use the pornographic reference in their work to disrupt and dislocate the narrative and image from convention in order to de-eroticize the body, against heteronormativity's terms, and empower the female sex organs. Eversion—that is, in Sherman's and Acker's works, the act of turning the institutional and maternal body inside out—emerges as a mode of resistance to the danger of the writer and the artist internalizing cultural restrictions. The everted body creates a site of radical interiority which becomes the (impossible) site for the radical (re-)embodiment of the feminine subject.

Places and preferences: a longitudinal analysis of self-selection and contextual effects

Contextual theories of political behaviour assert that the contexts in which people live influence their political beliefs and vote choices. Most studies of political assimilation, however, rely on cross-sectional data and fail to distinguish contextual influence from self-selection of individuals into areas. This paper advances understanding of this longstanding controversy by tracking thousands of individuals over an 18-year period in England. We observe individual-level left-right position and party identification before and after residential moves across areas with different political orientations. We find evidence of both non-random selection into areas and assimilation of new entrants to the majority political orientation. However, these effects are contingent on the type of area an individual moves to and, moreover, contextual effects are weak and dominated by the larger effect of self-selection into areas.

Reassessing the impact of yesterday's men

This special seminar to explore the controversy surrounding the Yesterday's Men programme of 1971, and its subsequent significance in the history of British political documentaries, was held at the Institute of Historical Research, London, on 26 January 1994. The seminar opened with a re‐screening of the programme, which featured interviews with Harold Wilson, the then leader of the opposition to Edward Heath's new Conservative government, front bench opposition spokesmen including Roy Jenkins, Tony Crosland and Denis Healey, and the political correspondent Peter Jenkins. The discussion was introduced by Dr Jean Seaton and chaired by Professor Peter Hennessy. The principal participants were Joe Haines (Chief Press Secretary to Harold Wilson 1969–76), Brian Wenham (editor, Panorama 1969–71, Head of BBC Current Affairs Group 1971–78) and John Grist (Head of BBC Current Affairs Group 1967–71, Controller, BBC English Regions 1972–77), with further contributions from Philip Whitehead, Professor Ben Pimlott, Peter Rose, David Benn, Professor Colin Seymour‐Ure, Joanna Kayford, Rosaleen Hughes, Hugh Purcell, Murray Weston and Chloe Miller.

Imaginative Mislocation: Hiroshima’s Genbaku Dome, Ground Zero of the Twentieth Century

The controversy that erupted in March over the publication of Charles Pellegrino’s account of the atomic bombings of Japan, The Last Train from Hiroshima, suggests that the historical legacy of the first military use of atomic weaponry is still fiercely contested in the USA. The spat is merely the latest conflict in a long war over the significance of the bombings, which resurfaces with each new book, exhibition or programme that appears. When the ruins of the Genbaku (Atomic Bomb) Dome – formerly the Hiroshima Prefectural Commercial Exhibition Hall – were nominated as a UNESCO World Heritage Site in 1995, the United States objected on the basis of concerns over a ‘lack of historical perspective’, arguing that the ‘events antecedent to the United States’ use of atomic weapons to end World War II are key to understanding the tragedy of Hiroshima’. The appeal to historical facts by both US diplomats and, more recently, military veterans contrasts with the dehistoricized emphasis of other Western cultural responses to Hiroshima. But what both kinds of reception share is an occlusion of the prehistory of capitalist liberalism, colonialism and imperialism which produces Japanese modernity,a prehistory which is itself built into the Genbaku Dome’s concrete structure, and an afterlife of nuclear pacification which produces the global context of terrorism as the continuation of war by other means.

Data Visualisation Does Political Things

In this paper I advance the theory of critical communication design by exploring the politics of data, information and knowledge visualisation in three bodies of work. Data reflects power relations, special interests and ideologies that determine which data is collected, what data is used and how it is used. In a review of Max Roser’s Our World in Data, I develop the concepts of digital positivism, datawash and darkdata. Looking at the Climaps by Emaps project, I describe how knowledge visualisation can support integrated learning on complex problems and nurture relational perception. Finally, I present my own Mapping Climate Communication project and explain how I used discourse mapping to develop the concept of discursive confusion and illustrate contradictions in this politicised area. Critical approaches to information visualisation reject reductive methods in favour of more nuanced ways of presenting information that acknowledge complexity and the political dimension on issues of controversy.