Project MUSE®: Cultural Politics - Latest Articles
https://muse.jhu.edu/journal/548
Project MUSE®: Latest articles in Cultural Politics.daily12026-05-16T00:00:00-05:00text/htmlen-USVol. 1 (2005) through current issueLatest Articles: Cultural PoliticsTWOProject MUSE®Cultural Politics1751-74351743-2197Latest articles in Cultural Politics. Feed provided by Project MUSE®Deregulatory Folkways of Health: Disruption, Aspiration, Awakening
https://muse.jhu.edu/article/981204
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Health is a framework that tells us how to live. Dominant ideas about health guide ways of living: how to maximize life’s potential and the living body’s vital forces (Rose 2007: 11; Cooper 2008). This article situates the ethical function of health within contemporary imaginaries and practices of deregulation. It broadly considers the stories of health enabled by anti-regulatory discourse, and the way deregulation, as a broad governing logic, enables new regulatory mechanisms of health focused on the individual and entrepreneurial freedom. I develop the framework of deregulatory folkway to underscore the way deregulation in health (1) stratifies the population, as a means of generating value and profits; and (2)
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/548/image/coversmallDeregulatory Folkways of Health: Disruption, Aspiration, Awakening2026-01-31text/htmlen-USDeregulatory Folkways of Health: Disruption, Aspiration, Awakening2026-01-312026TWOProject MUSE®1323692026-05-16T00:00:00-05:002026-01-31Light Trap for Bruce Nauman: The Holographic Image and Expanded 3D Imaging
https://muse.jhu.edu/article/981205
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A young man’s face hovers in midair beyond a plate of glass, glowing a lurid green (fig. 1). The room around him is dark, and his head is tilted back. With one hand he jabs a finger, too deeply, into the soft tissue just beneath his jaw. With the other he tugs at the flesh of his cheek so that his mouth gapes open. When I move to the left, the fingers that tug at his cheek are obscured by his profile, and when I move to the right they are exposed again. The luminous three-dimensional image levitates in the room before me.Bruce Nauman, Hologram B from First Hologram Series: Making Faces (A–K) (1968). Holographic image on glass, 20.3 × 25.4 × 0.64 cm. Emanuel Hoffmann Foundation, gift of the president, 2013, on
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/548/image/coversmallLight Trap for Bruce Nauman: The Holographic Image and Expanded 3D Imaging2026-01-31text/htmlen-USLight Trap for Bruce Nauman: The Holographic Image and Expanded 3D Imaging2026-01-312026TWOProject MUSE®885722026-05-16T00:00:00-05:002026-01-31A Vision of Air
https://muse.jhu.edu/article/981206
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How can we see and understand the air around us when in its pure form human vision alone cannot detect it? There are two meanings of the word vision, first, the ability to use our eyes, to physically see; and second, to have a vision, to have the capacity to imagine a future and plan accordingly. In many instances the second meaning is triggered by the first: seeing is understanding. Air can be rendered visible through a range of human interventions, running across the disciplines of science and technology, public health, art practice, architecture, and engineering, and emerging through experimentation, illustration, conceptualization, measurement, and datafication. When we encounter such visualizations of air —
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/548/image/coversmallA Vision of Air2026-01-31text/htmlen-USA Vision of Air2026-01-312026TWOProject MUSE®971802026-05-16T00:00:00-05:002026-01-31Contrapuntal Imagining and Reparative Remembrance in Pia Arke’s Art Research Stories from Scoresbysund
https://muse.jhu.edu/article/981207
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In the 1990s and early 2000s, the Danish-Greenlandic artist Pia Arke (1958–2007) dedicated a series of projects to the history and legacies of northeastern Greenland’s colonization and settlement, including the artworks Dummy (1997–2003), Walrus Bay (2001–3), Soil for Scoresbysund (1998), Telegraphy (1996), Nature Morte (1994), and Legend I–V (1999). In her art research project Stories from Scoresbysund: Photographs, Colonisation, and Mapping, Arke sought to excavate and collect the dispersed archives of the founding and settlement of the outpost of Ittoqqortoormiit (Scoresbysund) in 1925–24. The outpost was populated by a group of Inuit settlers, transferred primarily from the town of Ammassalik (Tasiilaq) located
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/548/image/coversmallContrapuntal Imagining and Reparative Remembrance in Pia Arke’s Art Research Stories from Scoresbysund2026-01-31text/htmlen-USContrapuntal Imagining and Reparative Remembrance in Pia Arke’s Art Research Stories from Scoresbysund2026-01-312026TWOProject MUSE®1124652026-05-16T00:00:00-05:002026-01-31Dark Revenge: Nighttime Leisure as Radical Unproductivity
https://muse.jhu.edu/article/981208
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In June 2020 the journalist Daphne K. Lee tweeted a phrase that would soon break the internet: “revenge bedtime procrastination.” Reporting on COVID-19 in China, she defines revenge bedtime procrastination as “a phenomenon in which people who don’t have much control over their daytime life refuse to sleep early in order to regain some sense of freedom during late night hours” (Lee 2020). From scrolling on one’s phone and playing video games, to practicing instruments, catching up on projects, or starting a new television show, revenge bedtime procrastination became a catchall for a ubiquitous nighttime social practice. Indeed, seven months later, Saman Haider (2021) would post a twenty-second TikTok explaining
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/548/image/coversmallDark Revenge: Nighttime Leisure as Radical Unproductivity2026-01-31text/htmlen-USDark Revenge: Nighttime Leisure as Radical Unproductivity2026-01-312026TWOProject MUSE®815142026-05-16T00:00:00-05:002026-01-31A Crisis to Enjoy: Property TV and the Luxury Turn in Australia
https://muse.jhu.edu/article/981209
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In the opening scenes from episode 1, season 1 of Amazon Prime Video’s reality series Luxe Listings Sydney (2021–22), the team from The Rubinstein Group (TRG) — a real estate agency that manages some of Sydney’s most expensive properties — assemble on the balcony of a property worth more than AUD$50 million in the coastal Sydney suburb of Point Piper. The camera zooms in on the three-story property from an ocean perspective, allowing the audience to take in the dramatic structure that cascades down the cliff face, including its generous top-floor balcony, sandstone exterior, infinity pool, architecturally designed garden, and steps that lead down to a private jetty onto the ocean. The camera then soars through the
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/548/image/coversmallA Crisis to Enjoy: Property TV and the Luxury Turn in Australia2026-01-31text/htmlen-USA Crisis to Enjoy: Property TV and the Luxury Turn in Australia2026-01-312026TWOProject MUSE®993332026-05-16T00:00:00-05:002026-01-31Graffiti ’til We Die: Youth Culture as Politics in Contexts of Violence
https://muse.jhu.edu/article/981210
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In the very first scene of the 2014 film Los hongos (dir. Óscar Ruiz Navia), a young Afro-Colombian man is depicted silently spraying over a wall of local election campaign posters with a thick red line, before practicing skateboard moves in his barrio.1 This is Ras, a graffiti artist who spends the majority of the film finding ways to paint with his friend, Calvin, in Cali, Colombia. As they raise funds for paint, plan their murals, and join other artists across the city, they are surrounded by the sociopolitical realities of Colombia in the 2010s at the height of uribismo. Álvaro Uribe was the president from 2002 to 2010 and is known for his belligerent anti-left discourse, conservative populism, and corruption
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/548/image/coversmallGraffiti ’til We Die: Youth Culture as Politics in Contexts of Violence2026-01-31text/htmlen-USGraffiti ’til We Die: Youth Culture as Politics in Contexts of Violence2026-01-312026TWOProject MUSE®1149962026-05-16T00:00:00-05:002026-01-31Interconnected but Fragmented: The Digital Double Bind of Opportunity and
Constraint in the Middle East
https://muse.jhu.edu/article/981211
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In an era when digital technologies permeate every surface of modern life, Digital Double Bind by Mohamed Zayani and Joe F. Khalil offers a compelling exploration of the Middle East’s complex engagement with the digital turn. This ground-breaking work navigates the cultural politics of technology in a region where rapid modernization intersects with entrenched sociopolitical norms. Through the lens of Gregory Bateson’s theory of the double bind, the authors unpack the paradoxical dynamics of digital transformation, in which opportunities for change coexist with structural constraints. The book challenges both techno-utopian narratives and Orientalist binaries, providing essential insights for scholars
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/548/image/coversmallInterconnected but Fragmented: The Digital Double Bind of Opportunity and
Constraint in the Middle East2026-01-31text/htmlen-USInterconnected but Fragmented: The Digital Double Bind of Opportunity and
Constraint in the Middle East2026-01-312026TWOProject MUSE®66132026-05-16T00:00:00-05:002026-01-31Danger! Gevaar! Ingozi!”: Fear and Belonging in Late Modern South Africa (and Beyond)
https://muse.jhu.edu/article/981212
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South Africa has an enduring relationship with the social, cultural, and political dimensions of risk, anxiety, and moral panic. During the apartheid era, white supremacist notions of “black” (svaart), “red” (rooi), and danger (gevaar) were used to impose and continuously tighten restrictions on the movement, livelihoods, and well-being of the majority Black population. As numerous scholars have shown, the white minority population has retained privileged access to material and discursive power decades after the demise of apartheid. Since the formal end of apartheid, the story of South African transformation has also been instrumentalized by right-wing international media committed to propagating racist narratives
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Project MUSE®https://muse.jhu.edu/2026-05-16T00:00:00-05:00https://muse.jhu.edu/journal/548/image/coversmallDanger! Gevaar! Ingozi!”: Fear and Belonging in Late Modern South Africa (and Beyond)2026-01-31text/htmlen-USDanger! Gevaar! Ingozi!”: Fear and Belonging in Late Modern South Africa (and Beyond)2026-01-312026TWOProject MUSE®85422026-05-16T00:00:00-05:002026-01-31