The perception of racism in ambiguous scenarios

Recent theorising on the nature of racism suggests that over the last few decades it has come to be expressed in more subtle and ambiguous ways because while many Whites proclaim egalitarian values, their cognitions and behaviour are influenced by prejudices that are buried deep in their psyche. This leads to the possibility that those who perpetrate and those who experience racism may have different interpretations of events that involve racism. Essed (1991) has suggested that because they are exposed to racism systematically, those who experience racism are in a good position to detect it if they have both knowledge of normal behaviour for particular situations, and a general knowledge of racism. Using Essed's model of the assessment of racist events, the descriptions of six videotaped ambiguously racist scenarios given by 40 Caucasian students and 40 Asian students were analysed to determine whether situational or general knowledge of racism was evident. Contrary to expectations, the Asian students, who belong to a group targeted with racism in Australia, were less likely to see racism in the scenarios. Finding the scenarios to be acceptable indicated a lack of situational knowledge and, hence, an inability to use general knowledge of racism if it exists. The role of cultural values in the application of situational knowledge is discussed, and further empirical investigations of Essed's model are proposed.

Still plucking figures out of the air? Markarian and the affirmation of the instinctive synthesis

The High Court of Australia recently had the opportunity to reconsider the appropriate sentencing methodology to be adopted in the sentencing of offenders under Australian criminal law in the case of Markarian v The Queen. The High Court had to decide whether to continue with the instinctive synthesis approach to sentencing or a process that exposed in greater clarity the basis upon which sentencing was to occur. Ultimately, a majority of the Court favoured the continuance of the instinctive synthesis approach to sentencing in criminal cases. The article will consider the decision in Markarian and the implications that it will have for the sentencing of offenders in the States and Territories of Australia.

Memory, photography, and the politics of abuse : the ambiguous nature of photography

Critical commentary on Australian artist Bill Henson’s work including the series Untitled 1994-1995 which represented Australia at the Venice Biennale is frequently framed within the discourse of the ‘white cube’. Its contextualisation in predominantly art historical and formalist perspectives tends to operate as a mechanism that denies affective and embodied dimensions of meaning making. Much the same could be said of the work of Marian Drew who uses road kill in her photographic still life works. However, the ‘distancing’ in these works is also achieved through historical allusion, which at the same time reactivates the fl ow of emotional empathy and desire. In this paper, I ask the question: “What distinguishes the work of these two artists with media images of torture?”

My attempt to address this question will involve a narrative re-reading of selected works of Henson and Drew incorporating notions of affect, identification, memory and desire as processes which operate non-discursively, but which are inseparable from memory and lived experiences. This will permit a double exposure of the work of these artists. Within a psychoanalytical context, my re-reading will be used to extend an understanding of the now familiar press and Internet images of the torture of Iraqi prisoners.

As a metaphor for desire and ideology, photography operates within manifest and latent registers. I will argue that certain forms of photographic practice may be understood in terms of a politics of abuse — instantiating an uneven differentiation of power between actants, the winning (forcefully or otherwise) of consent or complicity, the silencing of refusal of resistance and/or the incriminating of the ‘victim’ — whilst at the same time upholding the claim of verisimilitude and aesthetic or ethical intent. Critical engagement with such practices is crucial to an understanding of the relationship between institutional discourses, trauma and abuse in contemporary society.

The ambiguous politics of teachers in the reconstruction of Iraq

The opportunity to rebuild community after conflict requires rapid responses to reinstall key institutions. This paper examines the role of educators in the reconstruction of educational systems and in the rebuilding of community through a case study of Iraq. While ongoing conflict continues in Iraq, reconstruction efforts persist through large scale infrastructure and institutional rebuilding that aims to bring stability to political, legal and financial systems. The interim Iraqi government, given sovereignty on June 28, 2004, continues to support the road map underpinning rebuilding efforts in Post-Saddam Iraq.1 The restructuring of education systems is a cornerstone of rebuilding efforts since an intact and functioning education system complements other social and economic transformations, rebuilds social relations and instigates a routine normalcy to post conflict communities . The paper problematises rebuilding efforts through critical policy analysis that questions the nature of policy, how assistance is constructed and the ambiguous political role of educators in educational rebuilding.

An ambiguous national iconography : Humphrey Jennings' Family Portrait

Family Portrait, made by Humphrey Jennings for the 1951 Festival of Britain, negotiates the complexity of national identity within and through a productively ambiguous iconography. Simultaneously, future political directions for the nation and speculation on the coming social condition of the ‘national family’ are offered in the film. Family Portrait, often overlooked in critical assessments of Jennings' film-making career which typically focus on his wartime films, emerges as a central work within the Jennings' canon, one which frames national identity within a particular moment within modernity in Britain.

Deriving ambiguous spatial relations

Qualitative and relational representations of space offer a new and powerful approach to reasoning. This type of approach introduces ambiguity where there would be none in quantitative methodologies. This paper provides mechanisms for coping with ambiguity and gives examples of using these mechanisms for reasoning about space.

Interpretation of ambiguous interoceptive stimuli in panic disorder and nonclinical panic

Cognitive bias in the misinterpretation of ambiguous interoceptive stimuli has been demonstrated in panic disorder. This study investigated whether this cognitive bias also occurs in people with nonclinical panic who are at risk of developing panic disorder. The responses of 25 people with nonclinical panic were compared to those of 20 people with panic disorder and 69 nonpanic controls on a measure of interpretive bias, the Brief Body Sensations Interpretation Questionnaire. There was evidence for interpretive cognitive bias for ambiguous interoceptive stimuli among the nonclinical panickers which did not differ from that of the people with panic disorder, but which differed from the nonpanic controls. High anxiety sensitivity predicted interpretive bias toward both interoceptive and external stimuli. Results therefore suggest that interpretive cognitive bias for ambiguous interoceptive stimuli may be a risk factor for the development of panic disorder.

The impact of masculinity on anger arousal in ambiguous situations

This study aimed to investigate the influence of sex and gender role identity on anger experience at varying levels of provocation in a sample of 585 Australian students. Participants viewed videotaped vignettes of a potentially anger-triggering event where the intent of another person was either ambiguous or unambiguous. Measures of self-predicted anger, trait anger, and gender role identity were then completed. Results supported the hypothesis that it is gender role identity rather than sex that is more closely related to angry emotion. There was, however, no support for the hypothesis that anger arousal would be greater in circumstances in which the intention behind a provoking event is ambiguous when the respondent identifies with a masculine gender role. The implications of these findings for the development of anger management programs are discussed.