Geographical contributions to understanding contemporary Islam: current trends and future directions

In recent years, geographers have been giving increasing attention to religion—and Islam in particular—yet such work is rarely referred to within the broader social science literature about Islam and Muslims. This paper seeks to promote interdisciplinary dialogue, discussion and debate by highlighting the contributions that human geographers are making to understandings of contemporary Islam. In particular, I draw upon research within urban, social, cultural and feminist geographies to review current trends within geographical scholarship about Muslims individuals and communities. I then use this paper to suggest ways in which interdisciplinary research—in collaboration with human geographers—might seek to advance contemporary understandings of the social and spatial experiences of Muslim families and communities. I propose that a focus upon households, nations and intersections offer potential avenues for future research, whilst also highlighting the importance of thinking critically about the methodological issues involved in understanding contemporary Islam     

Equal Opportunity Objectification? The Sexualization of Men and Women on the Cover of <Emphasis Type="Italic">Rolling Stone</Emphasis>

A number of journalists and scholars have pointed to the sexual objectification of women and men in popular media to argue that Western culture has become “sexualized” or even “pornified.” Yet it is not clear whether men or women have become more frequently—or more intensely sexualized—over time. In a longitudinal content analysis of images of women and men on more than four decades of Rolling Stone magazine covers (1967–2009), we begin to answer such questions. Using a unique analytical framework that allows us to measure both the frequency and intensity of sexualization, we find that sexualized images of men and women have increased, though women continue to be more frequently sexualized than men. Yet our most striking finding is the change in how women—but not men—are sexualized. Women are increasingly likely to be “hypersexualized,” but men are not. These findings not only document changes in the sexualization of men and women in popular culture over time, they also point to a narrowing of the culturally acceptable ways for “doing” femininity as presented in popular media.     

Media making Muslims: the construction of a Muslim community in Germany through media debate

This article focuses on the ways in which Muslims actively participate in media debates about Islam and Muslims in Germany, and how they challenge or reinforce representations of themselves. It questions the narrative of powerlessness versus dominant actors in media and politics. Even though they were already perceived as part of a Muslim community, several prominent individuals in the German cultural and political sphere took an explicit position as Muslims—some insisting on their distance to religion. This paper aims at describing the various reasons and reflections accompanying this decision and argues that media images of Muslims steered individuals, who are not members of Islamic organizations let alone representatives of them, to become active or change their self-representation and act as Muslims. By demanding recognition as active members of German society, prominent Muslim individuals are creating new images of Muslims beyond an imaginary that is reducing them to their (alleged) religiosity and positioning them outside German national identity.     

‘Repentant’ artists in Egypt: debating gender, performing arts and religion

This article explores the emergent public sphere in Egypt in the early 1990s by analysing the debates about the ‘repentant’ artists. Many artists, mostly women but also a few men, stepped down from art for religious reasons. Some of them even started to preach against art because they considered their former profession haram. The ‘repentance’ of so many famous performers led to fierce contestations in the media. Art became an issue par excellence for debating notions of the ‘common good’ and the ‘good Muslim.’ Media were intensively used by secularists, conservative Muslims, Islamists, the regime and repentant artists to publicise their version of Islam. The different voices in the debate are analysed to investigate whether they constitute a counterpublic.

Schizotypy and creativity in visual artists

‘Every work of art is an uncommitted crime ’ Adorno (1951) . Cited in Julius (2002) . Given the putative relationship between creativity and schizotypy/psychoticism, the current study set out to investigate differences in scores on a range of personality and creativity measures between visual artists and non‐artists. Results found that the visual artists group scored higher on measures of positive‐schizotypy, disorganized‐schizotypy, asocial‐schizotypy, neuroticism, openness and divergent thinking (uniqueness) than did the non‐artist group and lower on agreeableness. These findings lend support to other studies reporting higher schizotypy scores in artistic and creative cohorts, although provide some of the first evidence of higher unusual experiences and impulsive nonconformity scores on the Oxford‐Liverpool Inventory of Feelings and Experiences (O‐LIFE) in visual artists. The relationship between creativity and schizotypy is discussed in terms of unusual ideas and a propensity to endorse socially undesirable responses.     

Object and spatial imagery: distinctions between members of different professions

In the current research, we took a new approach to examining individual differences in mental imagery that relied on a key distinction regarding visual imagery, namely the distinction between object and spatial imagery, and further examined the ecological validity of this distinction. Object imagers consistently prefer to construct colorful, pictorial, high-resolution images of individual objects and scenes, and spatial imagers prefer to use imagery to schematically represent spatial relations among objects and can efficiently perform complex spatial transformations. To examine the ecological validity of the object versus spatial imager distinction, we examined the object and spatial imagery preferences and skills of groups of professionals.Visual artists, scientists, architects, and humanities professionals completed two types of imagery tests: spatial imagery tests assessing abilities to process spatial relations and perform spatial transformations, and object imagery tests assessing abilities to process literal appearances of objects in terms of color, shape, and brightness. A clear distinction was found between scientists and visual artists: Visual artists showed above average object imagery abilities but below average spatial imagery abilities; whereas, scientists showed above average spatial imagery abilities but below average object imagery abilities. Visual artists tended to be object imagers, and scientists tended to be spatial imagers. Thus, even though both groups use visual imagery extensively in their work, they in fact tended to excel in only one type of imagery.Furthermore, we interviewed the groups of professionals about imagery characteristics and imagery processes that they typically use when work, we had them interpret kinematics graphs and abstract art, and we monitored their eye-movements as they engaged in various perception and imagery tasks. The data revealed various qualitative differences between the professional groups. Both visual artists and scientists reported using imagery in their work. However, visual artists preferred to use object imagery, but scientists preferred to use spatial imagery for their work. Humanities professionals, however, reported less use of imagery. Additionally, visual artists reported that their images were more likely to come as a whole, but scientists reported that their images were generated part-by-part. Visual artist’s images were more persistent, less intentional, and had multiple meanings as compared to scientist’s images. Furthermore, visual artists and scientists interpreted kinematics graphs and abstract art qualitatively differently. Visual artists tended to interpret graphs literally (graphs-as-pictures), but scientists tended to interpret graphs schematically, in abstract way. However, visual artists tended to interpret the abstract art as abstract representations, but scientists tended to interpret abstract art literally, in a concrete way.The finding that professional domain, where work involves extensive use of object or spatial imagery, differentially predicted object and spatial imagery abilities and approaches in processing visual information provides ecological validation of the distinction between object and spatial imagers. Furthermore, these results provide support for the idea of a trade-off between object and spatial imagery abilities (i.e., a person being more effective at using one type of imagery and then tending to use this type of imagery more frequently than and at the expense of the other type of imagery).     

Practice makes perfect: the effect of dance training on the aesthetic judge

According to Hume, experience in observing art is one of the prerequisites for being an ideal art critic. But although Hume extols the value of observing art for the art critic, he says little about the value, for the art critic, of executing art. That is, he does not discuss whether ideal aesthetic judges should have practiced creating the form of art they are judging. In this paper, I address this issue. Contrary to some contemporary philosophers who claim that experience in creating art is irrelevant to one’s ability to judge that art form, as well as to some dance critics who see dance training as possibly even detrimental to one’s aesthetic judgment, I suggest that having practiced dancing makes one a better observer of certain aesthetic qualities of dance. Dance training, I argue, can facilitate a kinesthetic experience upon watching dance without which some aesthetic aspects of a dance performance—such as grace, power, and precision, as perceived kinesthetically—may go unnoticed.     

DOUGHNUTS AND DICKIE

In this paper, I assess Dickie's institutional theory of art. I compare the earlier and later forms of the theory, and I point to various problems of detail with these accounts. I then proceed by arguing that Dickie's definition excludes Krispy Kreme doughnut boxes from possessing the status of being works of art, and it excludes those who made them from possessing the status of being artists. The intention is not to offer a counter example to Dickie's account. Rather, the complaint is that there could be no philosophical point or interest in a concept of art which excludes these doughnut boxes. The best way to see this is by contrast with a concept of art that includes them. Thus I outline what I call a ‘creative’ account. What we want is a concept of art which helps us understand a certain phenomenon in the world – the phenomenon that we call ‘art’. In this light, I argue that Dickie's institutional theory tells us nothing about why people want to make art and nothing about why they want to experience it. By contrast, the creative theory, which embraces both doughnut boxes and things in galleries, is more explanatory.     

The ‘Passes-For’ Fallacy and the Future of Critical Thinking

In this paper, I characterize Susan Haack’s so called “passes-for” fallacy, analyze both what makes this inference compelling and why it is illegitimate, and finally explain why reflecting on the passes-for fallacy—and others like it—should become part of critical thinking pedagogy for humanities students. The analysis proceeds by examining a case of the passes-for fallacy identified by Haack in the work of Ruth Bleier. A charitable reconstruction of Bleier’s reasoning shows that it is enlightening to regard the passes-for fallacy as an abuse of the application conditions of the concept of bias, rather than as an egregious case of Hasty Generalization.     

Women’s porn sites—Spaces of fissure and eruption or “I’m a little bit of everything”

The historically significant but superficial divide between public and private spaces and identities has shaped women’s lives, subjectivities, and sexualities. In this article, I analyze women’s self-sponsored and self-published porn sites. Specifically, I focus on sites that demonstrate complex articulations of identity and subjectivity—sites that can be read as identity projects that appropriate cultural expectations of sexuality. To foreground this analysis, I first explore past work analyzing the public/private dichotomy and suggest that computers and virtual spaces are used to reinforce the flimsy separation between public and private. Using these discussions as scaffolding, I then read a selection of women’s porn sites, arguing that these women Web authors are inserting their embodied subjectivities into public space, and forcing a remapping of the lines of the public and private in ways that rupture public representations of sexuality. ‘Scarlet collar’ workers are the feminists of the modern age, say psychologists, free from coercion and the dangers of the traditional, male dominated business. In the past two years they have moved away from traditional activities such as prostitution and lap dancing to become the majority of cyberporn owners. —Cherry Norton, 2000, online The woman’s duty, as a member of the commonwealth, is to assist in the ordering, in the comforting, and in the beautiful adornment of the state. —J. Ruskin,Free and Ennobled, 1983, p. 291     

Living in a Dissonant World: Toward an Agonistic Cosmopolitics for Education

As a flashpoint for specific instances of conflict, Muslim sartorial practices have at times been seen as being antagonistic to “western” ideas of gender equality, secularity, and communicative practices. In light of this, I seek to highlight the ways in which such moments of antagonism actually might be understood on “cosmopolitical” terms, that is, through a framework informed by a critical and political approach to cosmopolitanism itself. Thus, through an “agonistic cosmopolitics” I here argue for a more robust political understanding of what a cosmopolitan orientation to cultural difference can offer education. The paper moves from a focus on harmony to agonism and from cosmopolitanism to the cosmopolitical, and within each I discuss the questions of democracy and universality, respectively. Drawing on, the work of Chantal Mouffe, Judith Butler and Bonnie Honig, I discuss the basis upon which our agonistic interactions can inform education in promoting better ways of living together. This requires, in my view, nothing less than a clear understanding of the very difficulties of pluralism and a questioning of some of the ways we often reflect on the political dimension of these difficulties. I offer some reflections on what an agonistic cosmopolitics has to offer the debates surrounding the wearing of various forms of Muslim dress in schools in the conclusion. My overall claim is that cosmopolitanism as a set of ideas that seek more peaceful forms of living together on a global scale is in need of a theoretical framework that faces directly the difficulties of living in a dissonant world.     

Population thinking as trope nominalism

The concept of population thinking was introduced by Ernst Mayr as the right way of thinking about the biological domain, but it is difficult to find an interpretation of this notion that is both unproblematic and does the theoretical work it was intended to do. I argue that, properly conceived, Mayr’s population thinking is a version of trope nominalism: the view that biological property-types do not exist or at least they play no explanatory role. Further, although population thinking has been traditionally used to argue against essentialism about biological kinds, recently it has been suggested that it may be consistent with at least some forms of essentialism—ones that construe essential properties as relational. I argue that if population thinking is a version of trope nominalism, then, as Mayr originally claimed, it rules out any version of essentialism about biological kinds.     

A developed nature: a phenomenological account of the experience of home

Though “dwelling” is more commonly associated with Heidegger’s philosophy than with that of Merleau-Ponty, “being-at-home” is in fact integral to Merleau-Ponty’s thinking. I consider the notion of home as it relates to Merleau-Ponty’s more familiar notions of the “lived body” and the “level,” and, in particular, I consider how the unique intertwining of activity and passivity that characterizes our being-at-home is essential to our nature as free beings. I argue that while being-at-home is essentially an experience of passivity—i.e., one that rests in the background of our experience and provides a support and structure for our life that goes largely unnoticed and that is significantly beyond our “conscious” control—being-at-home is also a way of being to which we attain. This analysis of home reveals important psychological insights into the nature of our freedom as well as into the nature of the development of our adult ways of coping and behaving.     

What Exactly is the Explanatory Gap?

It is widely agreed among contemporary philosophers of mind that science leaves us with an ‘explanatory gap’—that even after we know everything that science can tell us about the conscious mind and the brain, their relationship still remains mysterious. I argue that this agreed view is quite mistaken. The feeling of a ‘explanatory gap’ arises only because we cannot stop ourselves thinking about the mind–brain relation in a dualist way.     

Hey stud: Race, sex, and sports

This article is an examination of how the intersection of sport and race plays out in the sexualization of the sporting role of African American male athletes. Further, the article is an examination of the multiple roles the media, sport, and race play as these impact the public persona of African American male athletes in high-profile sports. The article concludes with a number of recommendations for ending the negative images of African American male athletes. To the white public, we are athletes, rappers, preachers, singers—and precious little else. We are also robberts, rapists, mentally deficient and sexually well endowed. —Ellis Cose, The Envy of the World: On Being a Black Man in America (2002; New York: Washington Square Press, 3–4) First of all, let me say good after ... good late afternoon. Because of the HIV virus I have attained, I will have to announce my retirement from the Lakers today. I just want to make clear, first of all, that I do not have the AIDS disease, because I know a lot of you want to know that, but the HIV virus. My wife is fine, she’s negative, so no problem with her. I plan on going on, living for a long time, bugging you guys like I always have. So you’ll see me around. I plan on being with the Lakers and the league—hopefully [Commissioner] David [Stern] will have me for a while—and going on with my life. I guess now I get to enjoy some of the other sides of living—that [were missed] because of the season and the long practices and so on. I just want to say that I’m going to miss playing. And I will now become a spokesman for the HIV virus because I want people, young people, to realize they can practice safe sex. And, you know, sometimes you’re a little naive about it and you think it could never happen to you. You only thought it could happen to, you know, other people and so on and on. And it has happened. —Magic Johnson—Press Conference at L.A. Lakers Compound Washington Post, November 9, 1991     

Assessing Socially Engaged Art

The last twenty‐five years have seen a radical shift in the work of politically committed artists. No longer content to merely represent social reality, a new generation of artists has sought to change it, blending art with activism, social regeneration projects, and even violent political action. I assess how this form of contemporary art should lead us to rethink theories of artistic value and argue that these works make a convincing case for an often‐dismissed position, namely, the pragmatic view of artistic value. However, the pragmatic view, when properly applied, sets the bar high indeed—art that tries to change society should be considered good art only when it succeeds in making a tangible difference.     

(Re)presenting: Muslims on North American television

This article describes and analyzes the portrayal of Muslims on several North American television shows. Greatest detail is given to the two seasons of Sleeper Cell, the first show on American television created to deal with Muslim lives post 9/11. I deal briefly with Muslim characters on Oz for a look at portrayals of Muslim life pre 9/11. I also mention Muslim characters in Lost and 24 as well as some films to add further insights to my argument. These television dramas are compared with two comedies, Aliens in America as well as Little Mosque on the Prairie, the first Canadian television show to examine Muslim lives. The conclusion is that in dramas, Muslims are not recognized on American television as citizens of their own country, but instead are portrayed as dangerous immigrants with a religion that is both alien and wicked. Moreover, the religion as it is lived out on the television drama is one of violence—there seems to be no other substantive practice that embodies Islamic faith. The case is very different with regard to the television comedy.     

Conditions in Which British Artists Achieve Their Best Work

The conditions in which artists produce, or think they produce, their best work seem to have attracted little systematic study, and public support for the visual arts in the United Kingdom is relatively meager. In this study we have tried to identify issues, by means of semistructured interviews, which particularly concerned a sample of 20 professional painters. Their names were taken from lists supplied by the heads of 2 schools of fine art and of an art charity. The material was analyzed according to a form of thematic analysis into themes and subthemes. The results showed great individual differences, but the following were mentioned most often: loneliness, isolation, the toxicity of paints, dyes and solvents, backache, the lack of recognition by the media and fellow artists, depression, and artist's block, which can be prolonged. Suggested remedies included means of having contact with other artists by, for example, more studio complexes and artists' societies; wider access to information on dealing with health hazards; and strategies for overcoming depression and artist's block, such as meditation, dreaming, and looming deadlines for commissions and exhibitions. More research into these and other concerns might eventually help artists to maximize their artistic potential.     

Education,Conflict and the Political: Introduction to the Special Issue

In recent years the French philosopher Jacques Rancière has addressed the predicament of artists and curators who, in their eagerness to convey a critical message or engage their viewers in an emancipatory process, end up predetermining the outcomes of the experience, hence blocking its critical or emancipatory potential. In this essay I consider Rancière’s writing on this topic and draw out the parallels with the predicament of teachers and curriculum designers who have critical and emancipatory objectives. The risk of education that strives for emancipation is that it can become so directive in steering students to the “right” outcomes that it does not leave these students any intellectual room. Rancière’s work is helpful in reminding us that teachers and curricula with explicitly critical, political, emancipatory objectives can defeat their own purposes and become stultifying if they do not leave the student room to use her or his own intelligence.