Critical/Cultural Studies

Communication ethics concerns the creation and evaluation of goodness in all aspects and manifestations of communicative interaction. Because both communication and ethics are tacitly or explicitly inherent in all human interactions, everyday life is fraught with intentional and unintentional ethical questions—from reaching for a cup of coffee to speaking critically in a public meeting. Thus ethical questions infuse all areas of the discipline, including rhetoric, media studies, intercultural/international communication, relational and organization communication, as well as other iterations of the field.

Critical studies of humanitarian discourses involve the study of the arguments, claims, and evidence that are used to justify intervention or non-intervention in key local, regional, national, or international contexts. These discourses can take the form of arguing over whether we should practice isolationism and not intervene in the sovereign affairs of other countries, or they can take the form of deliberations over the transcend needs of populations that cope with myriad disasters. In some cases these discourses are produced by foreigners who believe that the less fortunate need to be rescued from their misery, while at other times humanitarian discourses can be used in discussions about the human rights of the disempowered. Nongovernmental organizations (NGOs), nation-states, celebrities, medical communications, and militaries are just a few of the rhetors that produce all of these humanitarian discourses.

This is an advance summary of a forthcoming article in the Oxford Research Encyclopedia of Communication. Please check back later for the full article.

Gilles Deleuze (1925–1995) was a contemporary philosopher who taught at the University of Paris, Vincennes-St. Denis. He produced a wide range of work, from commentaries on philosophers (Kant, Spinoza, Nietzsche, Bergson, Hume, Liebniz, and Foucault) to analyses of film, literature, and painting. Two of his key contributions to philosophy are The Logic of Sense and Difference and Repetition. With his collaborator, the radical psychoanalyst Félix Guattari, he wrote four influential books, including Anti-Oedipus: Capitalism and Schizophrenia and A Thousand Plateaus. Deleuze did not develop a coherent and set framework of concepts, but rather an approach to philosophy that was based on immanence rather than transcendence, becoming rather than being, and multiplicity rather than singularity. Deleuze’s work is an affirmation of life and creativity, a vitalism. “Everything I’ve written is vitalistic, at least I hope it is, and amounts to a theory of signs and events” (p. 143). Each book of Deleuze’s seems to generate a new collection of concepts to grapple with the problem at hand. Three key concepts for Deleuze are rhizome, multiplicity, and assemblage.

For Deleuze and Guattari, the guiding image of thought was that of the rhizome. The idea of the rhizome is contrasted with that of the tree or the root. In the latter, there is the singular origin, the center. A rhizome is a structure without a center; it grows by sending off shoots (like crabgrass or potatoes). You are always in the middle with a rhizome, never at the start or end. The point is to connect. Like rhizomes, multiplicities must be made, and they are made by subtracting the unique. Multiplicities and rhizomes have sections that get structured, stratified, and pinned down, but then also always have lines of flight by which to escape.

An assemblage “establishes connections between certain multiplicities” (p. 23) and “stake[s] out a territory” (p. 503). An assemblage is always territorializing (bringing together various elements in a particular arrangement) and de-territorializing (opening up onto other territories, de-organizing). In addition to this dimension of an assemblage, it is also the stratification of systems of language and systems of technology in a relation of expression and content. The former they call collective assemblages of enunciation and the latter, machinic assemblages (of bodies, “actions and passions”). An assemblage is always articulating arrangements of bodies, discourses, affects, and other elements. Crucially, assemblages are always in process and are not stable structures; they are becomings.

How then to think of communication within this conceptual context? Deleuze and Guattari reject the idea of communication as intersubjective. There is not an individual subject speaking, there is only the collective assemblage of enunciation. They speak instead of language, but a language of order words. Communication is not about representation or signification. Deleuze tends to treat communication as a form of control. Some of Deleuze’s final essays and interviews were spent explicating this new social power of control. Contrasting with Michel Foucault’s influential ideas on the rise of disciplinary society, Deleuze maps the emergence of societies of control “that no longer operate by confining people but through continuous control and instant communication” (p. 174).

For those studying communication, Deleuze’s legacy is featured in three areas: the material turn in communication studies and critical theory; the rise in theories of affect; and notions of control with regard to theories of contemporary surveillance.

Emotion has been incorporated into media effects research in multiple ways, which can be broadly summarized as considering emotion as a predictor of media selection, an outcome of media exposure, and a mediator of other psychological and behavioral outcomes resulting from media exposure. Specifically, evidence suggests that the desire for particular feeling states influences the media that people choose to consume. Much research also considers the feeling states resulting from exposure, including fright reactions and enjoyment. Finally, there are well-established lines of inquiry into how emotional responses to media influence the processing of those messages in terms of attention, processing depth, and cognitive and behavioral outcomes. More contemporary research is extending these research programs, examining how emotional media messages are socially shared with others as well as the positive emotional effects that may emerge in response to media exposure.

Michael Hardt and Antonio Negri are among the most powerful theorists of communication and social change under present-day global capitalism. In their Empire trilogy and other individual and collaborative works, Hardt and Negri argue for the fundamentally communicative nature of contemporary power. Their analyses demonstrate the ways that media technology, global flows of finance capital, and the contemporary shift to economies based on information and affective or emotional labor create new, more complex networks of oppression and new possibilities for more democratic social change. Hardt and Negri’s work, therefore, shifts the focus of critical communication and cultural theory from attaining or challenging political power within the nation-state and invites scholars to rethink sovereignty as empire: an interconnected global phenomenon appertaining to capitalism in the late 20th and early 21st centuries. They furthermore reimagine dissent as a constitutive process of resistance and mutual aid through which the multitude simultaneously withdraws from empire and composes itself through the social communication of struggles across time and space. Hardt and Negri’s work has been taken up in communication studies to theorize the materiality of communication; the labor performed in cognitive, communication, and service industries; contemporary media audiences and reception; and historical and contemporary social movements, from the Industrial Workers of the World to the Arab Spring and Occupy Wall Street.

Depending on how you approach it, economic justice is either an extremely old intellectual tradition or a relatively new one. From the first perspective, economic justice is part and parcel of classical political philosophy—Plato’s The Republic and Aristotle’s The Politics, for instance, both discuss property distribution in an ideal society, emphasizing the philosophy of justice over economic precepts. From the second perspective, the one we embrace, economic justice is a uniquely modern inquiry that emerged with the writings of Karl Marx and his revolutionary critique of the capitalist political economy. For Marx, economic justice can be understood as a critical enterprise that attempts to locate contradictions between universal and particular conceptions of human freedom and intervene politically into these contradictions with the aim of creating a more just, equitable, and egalitarian society. So conceived, economic justice liberates the collective potential of humanity from its exploitation and degradation by capitalism as well as the various legal institutions it develops to control human behavior for the purpose of extracting of surplus-value. It is this Marxist perspective and the various historical reformulations that it has authorized that influence the way rhetoricians and scholars of cultural studies conceptualize economic justice in the discipline of communication. While not all of these scholars endorse an explicitly Marxist line of thought, they all attempt to conceptualize economic justice as a normative political category that influences various models of rhetorical agency and social change.