Appearances may seem immediate and self-evident, yet the conditions under which we appear, are perceived, and are recognized are anything but. Who appears, for whom, and under what conditions is always already shaped by social, aesthetic, and political forces.
From a philosophical perspective, the term appearances can not only refer to the immediate, sensory facets of our world but can also be taken to be crucial to our existence as political beings. Appearance in this sense is that which grounds our existence in the world and makes clear the plurality of human perspectives and experiences (Hannah Arendt). From the singular concept of appearance, we approach the topic itself in the plural, drawing upon our interdisciplinary backgrounds to develop an understanding of the role of appearances within democratic life.
Additionally, appearances are heavily mediated – not only through the everyday, direct interaction, but through increasingly present forms of media. Film and media studies have long discussed the ways and effects of appearing (on screen) from a variety of perspectives, most notably through the gendered dynamics of the gaze (Laura Mulvey), the simulacral logic of contemporary image culture (Baudrillard), and theories of cultural representation (Stuart Hall). Yet, the sensory field mediating social life is never purely visual. The gaze is as much activated by sound (and invisible space) as by sight (W.J.T. Mitchell). In an era of ubiquitous social media, these questions have become prevalent in public and academic discourse alike.
To appear can also be understood as making, or being made, visible, and the interplay between visibilities and invisibilities create complex spaces of appearances. According to traditional Chinese aesthetics, crucial aspects of calligraphy and gardens are shaped by the invisible. Here, visibility and invisibility complement each other (Yolaine Escande). The visible shows a resemblance, whereas the invisible parts remain unfinished and thus infinite, depicting movement that the visible form cannot capture (ibid.). Meaning therefore emerges both from what is present, and what is omitted or lingers in the unseen. Creative audiences (Noel Carroll) or patient dwellers become active participants in this process, sensing and interpreting what is not there.
Thus, by taking appearances as our starting point, we aim to explore questions of representation and spectatorship in a manner which recognizes the foundational role that aesthetic and sensorial elements play in the creation of our shared political world.
Members: Elena Heller, Luna Vega, Martha Crowe, Martin Saar
