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Visuality/Materiality: Introducing a Manifesto for Practice

amongst the various calls for theoretical reorientations within the social sciences and humanities over the last twenty years, there has been an increased interest in the visual and material, evidenced by many new handbooks of visual culture aim of this contributed volume is to do something rarely done in these by-now substantial bodies of work, which is to attend to the relationships between the 'visual' and 'material', and to explore what kinds of new thinking might emerge in that intersection. the collection attempts to stage a respectful engagement with accounts of both the material and the visual, as they have emerged across a range of disciplines. rapidly emerged as a privileged term for exploring 'the visual'. As a field of study, 'visual culture' responds to the myriad of shifts in visual media and its grammars. included in the foundational lexicon of 'visual culture' are engagements with theories of Marxism, feminism, postcolonialism, identity and race, and 'visual culture' has a continuing relation to cultural studies in intellectual framing, texture and forms (compared with the Western imperial foundations of art history). this collection collates visual culture research that is reflexive about its theories, technologies and practices, and about its position as a realm of intellectual study that has experienced a set of refiguring, renewals and reincarnations such that cultural studies is no longer its only reference point. the politics of visual culture are enlivened further in this collection by including a focus on how researchers engage with theory in practice. in editing this volume we have privileged papers which delve into research as an attempt to account for the embodied politics present in the everyday material world. it is at this nexus that emergent visualities are enabling political revolutions, the 'war on terror' and fuelling the everyday geopolitical economies of cities, identities, histories, everydays and socialities. through practical technologies there is a continuing mobilisation of communicative aesthetics which refigure our encounters with space, form, time,