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Which clippings match 'Kevin Hetherington' keyword pg.1 of 2
07 MAY 2009

Luthan Hotel: a woman's world in Arabia

"From the outside, the Luthan Hotel and Spa in Riyadh's diplomatic quarter looks just like any other modern hotel.

But step inside the discreet, frosted–glass building and you enter a women's world which men are forbidden to enter.

The Luthan is the Middle East's first women–only hotel, and as well as catering just for female guests, all the staff are women too."
(Stephanie Hancock, 4 March 2009, BBC News)

[The Luthan Hotel operates as a heterotopia (Michel Foucault). The hotel does so through enabling a discordant relation to exist between the specific societal ordering of the hotel and broader Saudi Arabia society. In doing so the hotel can be seen as a case of societal ordering reminiscent of the pre French Revolution Palais Royal (Kevin Hetherington).]



Simon Perkins

Urbis: capturing visitors through CCTV surveillance

"These themes are reflected in the variety of interactive exhibits on display, the centre piece of which is a room containing cctv cameras where one can see oneself being filmed and where, at a console, one can then produce one's identity card, with basic information about oneself, including likes and dislikes. These can then be stuck on the outside wall of the room and can be read by other visitors. This appears to be one of the most popular exhibits and an example of an interactive display that works. The reason for this success are that it affords absorption or immersion in an activity in ways that most of the other exhibits do not. It makes no sense here just to look, rather one needs to sit down and get involved in a hands on experience so that one can present a snapshot of oneself to others. There is often a queue to use the computers and after a year the wall outside for sticking the id cards on is filling up. Information on the id cards includes a photo taken by the cctv cameras, first name, place of residence and likes and dislikes, these mostly include foods, football teams, family members, pets and celebrities often in both categories."

(Kevin Hetherington, 2004 p.23)

Hetherington, Kevin. 1997 "The Badlands of Modernity: Heterotopia and Social Ordering", London, UK: Routledge.



big brotherCCTVdecal • identity cards • interactive exhibitKevin HetheringtonManchester • Millennium Quarter Trust • museummuseum of contemporary culture • photo id • photo identification • photoboothpublic gallerystickersurveillancetoyUK • Urbis


Simon Perkins
27 MARCH 2005

Cabinets of Curiosity: ways of knowing through similitude

"The constitution of heterogeneity as a world of objects separate and distinct from the viewing subject. The 'heterogeneous' world is identifiable with the position of the objectivised subject during the Renaissance and that identification is organised through similitude into an homology between a viewing subject and a multifarious object world. If the classical age can be said to be about anything it is, as Foucault has shown, about the move away from ways of knowing through similitude to ways of knowing through mathesis and representation (Foucault, M.1989. The Order of Things). While we might take issue with the speed and degree of completion of this epistemic shift, representation as a way of knowing, as a form of gaze, comes to be constituted through the separation of the subject from the world and the development of an idea of material heterogeneity as something Other to that subject."

(Hetherington, Kevin. 1999 p.51–73)

Hetherington, K. (1999). "From Blindness to Blindness: Museums, Heterogeneity and the Subject". Actor Network Theory And After. J. Law and J. Hassard.

[Hooper–Greenhill's (quoted in Hetherington 1999) contention is that during the Renaissance the dominant approach to understanding was informed by ways of knowing through similitude. She contrasts this approach with ways of knowing through, what Foucault calls mathesis (Foucault 2003), and representation. Hooper–Greenhill's discussion is useful for understanding Western understanding's general shift after this period towards nomological strategies and the rise of Modernism. She presents her analysis in reference to the emergence of the cabinets of curiosity during the Baroque period in Europe which became the forerunners to the Modern museum and fine art galleries.]

Foucault, M. (2003). "The Order Of Things". London, Routledge: 156–158.

Hooper–Greenhill, E. (1992)." Museums and the Construction of Knowledge". Leicester, Leicester University Press.



Simon Perkins
20 JANUARY 2004

Freemason: Emergence Of Autonomous Realm Of Individuals

Kevin Hetherington
In Habermas' account the puritan household provided modern society with its moral order, a moral order which was to shape male individuals into both accumulators of capital and moral agents within this public sphere. In the private sphere, in the patriarchal space of the home, men learned to relate reasoning skills to their economic interests, but at this point in time they were unable to develop those interests effectively because institutional power was still largely in the hands of the monarch and the landed aristocracy. By creating a public sphere outside of the household and autonomous from the already existing public authorities centred around the monarch and the court, civil society, Habermas suggests, emerged as an autonomous realm of individuals. Habermas argues that the main arenas for this public sphere were the seventeenth–century coffee–houses in London, the eighteenth–century salons prominent in France and the table societies in Germany. While the court retained some influence in terms of public displays of civility, the formal, status–bound types of interaction associated with it gave way to a more informal atmosphere that had less regard for status and rank. These new institutions were to be found in the towns, and became counter–sites to the court.



coffee-houses • freemasonheterotopiaJurgen HabermasKevin Hetherington • monarch • moralorder • puritan • salons • society
20 JANUARY 2004

Freemason: Secular Architect Shaping The World

"Freemasonry was founded around the image of the secular architect shaping the world and himself within it so as to provide both with a sense of moral order. Stonemasons, forerunners of modern architects, not only provided the symbolic tools :this reshaping process, but because of their past, particularly their association with the building of the great cathedrals in Europe, supplied the link with religious certainty and order. But it was the building of Solomon's Temple which was the central myth of freemasonry. It embodied spatially a utopic of moral order in which individuals might lead a virtuous life and come to create the social conditions of trust required in the contractual society that was emerging around them. Freemasons devoted considerable energy to seeking out their origins of their craft in the ancient world, notably associated with the great feats of architecture down the ages. Freemasons were imputed to have been involved in almost every architectural feat in history, right back to Noah and his ark and including on the way the construction of Solomon's Temple and the Tower of Babel."

(Kevin Hetherington, 1997, p.87)

Hetherington, K. (1997). "The Badlands Of Modernity: Heterotopia And Social Ordering". London: Routledge.


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