In this article I analyse the extent to which there has been a shift in the cultural turn in legal scholarship and specifically from visual to what I call material jurisprudence, that is from visual to material ways of knowing law. I do so through an analysis of Desmond Manderson’s edited collection, Law and the Visual: Representations, Technologies, Critique (2018a), and Katherine Biber’s monograph, In Crime’s Archive: The Cultural Afterlife of Evidence (2018b). Inspired by the material turn in the arts and humanities I apply a material lens as defined by historians of emotions (Downes et al. 2018 ) working within this turn to these books. Using this lens, I analyse the extent to which the authors conceptualise and analyse their primary sources in material terms. In so doing it is my intention to encourage scholars of visual jurisprudence to consider the multisensorial nature of law by considering the material as a constitutive part or instead of the visual as has happened elsewhere in the arts, humanities and social sciences, as well as to do so with greater specificity and depth.

中文翻译：

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感觉事物：从视觉到物质法理学

在这篇文章中，我分析了法律学术文化转向的程度，特别是从视觉转向我所谓的物质法理学，即从了解法律的视觉方式到物质方式。我通过对 Desmond Manderson 编辑的合集《法律与视觉：表征、技术、批判》（2018a）和凯瑟琳·比伯的专着《犯罪档案：证据的文化来世》（2018b）进行分析来做到这一点。受到艺术和人文学科物质转向的启发，我将情感历史学家（Downes et al. 2018）定义的物质视角应用于这些书籍。使用这个镜头，我分析了作者概念化的程度，并从材料角度分析了他们的主要来源。