Censorship Through Explanation: The Corrective Agency of Visibility in Panoramic Perspective and the Panopticon Prison Plan

Tipene, L

Censorship Through Explanation: The Corrective Agency of Visibility in Panoramic Perspective and the Panopticon Prison Plan

Tipene, L

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Publisher:: SAGE PUBLICATIONS INC
Publication Type:: Journal Article
Citation:: SPACE AND CULTURE, 2022, 25, (3), pp. 379-397
Issue Date:: 2022-07-06

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Field	Value	Language
dc.contributor.author	Tipene, L https://orcid.org/0000-0003-0928-3839
dc.date.accessioned	2022-08-02T09:35:09Z
dc.date.available	2022-08-02T09:35:09Z
dc.date.issued	2022-07-06
dc.identifier.citation	SPACE AND CULTURE, 2022, 25, (3), pp. 379-397
dc.identifier.issn	1206-3312
dc.identifier.issn	1552-8308
dc.identifier.uri	http://hdl.handle.net/10453/159494
dc.description.abstract	This essay argues that historical parallels exist between Australian colonial image production and early-19th-century prison design in England. It compares similarities in the compositional arrangement of a panoramic perspective from the Van Diemen’s Land colonial frontier in 1835, by minor artist John Richardson Glover, and Jeremy Bentham’s 1791 plan for the Panopticon prison. Richardson Glover’s predilection for censoring the unknown environment in his drawings with rational explanations is associated with the cultivation of spectatorship since 1793 in the popular visual media of the Panorama Rotunda at Leicester Square. The influence of spectatorship is argued to parallel the instrumentality of inspection in the Panopticon plan and together reflect a social rationale that equated biblical references to universal rationalism and anoints visibility as a secular, Enlightenment mode of moral reformation. Spectatorship and inspection in panoramic perspective and the Panopticon plan are shown to operate as corrective forces to govern British imperial interests at home and abroad.
dc.language	English
dc.publisher	SAGE PUBLICATIONS INC
dc.relation.ispartof	SPACE AND CULTURE
dc.relation.isbasedon	10.1177/12063312221104192
dc.rights	info:eu-repo/semantics/closedAccess
dc.subject.classification	Geography
dc.title	Censorship Through Explanation: The Corrective Agency of Visibility in Panoramic Perspective and the Panopticon Prison Plan
dc.type	Journal Article
utslib.citation.volume	25
pubs.organisational-group	/University of Technology Sydney
pubs.organisational-group	/University of Technology Sydney/Faculty of Design, Architecture and Building
pubs.organisational-group	/University of Technology Sydney/Faculty of Design, Architecture and Building/School of Architecture
utslib.copyright.status	closed_access	*
pubs.consider-herdc	true
dc.date.updated	2022-08-02T09:35:05Z
pubs.issue	3
pubs.publication-status	Published
pubs.volume	25
utslib.citation.issue	3

Abstract:

This essay argues that historical parallels exist between Australian colonial image production and early-19th-century prison design in England. It compares similarities in the compositional arrangement of a panoramic perspective from the Van Diemen’s Land colonial frontier in 1835, by minor artist John Richardson Glover, and Jeremy Bentham’s 1791 plan for the Panopticon prison. Richardson Glover’s predilection for censoring the unknown environment in his drawings with rational explanations is associated with the cultivation of spectatorship since 1793 in the popular visual media of the Panorama Rotunda at Leicester Square. The influence of spectatorship is argued to parallel the instrumentality of inspection in the Panopticon plan and together reflect a social rationale that equated biblical references to universal rationalism and anoints visibility as a secular, Enlightenment mode of moral reformation. Spectatorship and inspection in panoramic perspective and the Panopticon plan are shown to operate as corrective forces to govern British imperial interests at home and abroad.

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http://hdl.handle.net/10453/159494