Monday, April 28, 2014
Thursday, April 24, 2014
digital cultures and the politics of emotion: feeling, affect and technological change
p3 Adi Kuntsman on Ahmed The cultural politics of Emotion (2004)
"Combining insights from psychoanalysis and Marxism, she notes that 'emotions work as a form of capital: affect does not reside positively in the sign or commodity, but is produced as an effect of its circulation'."
Tagg, P. "Subjectivity and Soundscape, motorbikes and music," in A. Bennet, B. Shank and J. Toynbee (eds), The Popular Music Studies Reader
Mbembe, A. (2003) "necropolitics," Public Culture, 15(1), 11-40.
p 23 Patricia Clough
In her discussion of what she calls "aesthetic capitalism," Christine Harold (2009) points to a shift in the functioning of brand from its being about representation to the aura of the circulating sign to designing objects that themselves can stir affect, promising a transformative experience in the object's use rather than in the mere possession of it. Modelling a user's future manipulation of it, the commodity is designed to sensually transmit a "creative juice" that will be transformative for its user, bringing a not-yet lived future into the present. Thus, the aura and the value of the commodity now its transmission of affect, where affect refers not to emotion but to a bodily capacity, a bodily readiness, a trigger to action, including the action of feeling an emotion. While emotions are commensurate with a subject, affect is a pre-individual and therefore a non-conscious, a-subjective potentiality. Affect is a vector of unqualified intensity seeking future actualization; it is a vehicle from one dimension of time to another. It is for its capacity to bring the future into the present that affective branding becomes useful in the graphic framing of unending war and humanitarian response to it.
Harold, C. (2009) "on Target: Aura, Affect, and the Rhetoric of 'design democracy'", public culture, no.21
This is because affective branding actually works not by giving one future possibilities but by pre-empting the future. For Luciana Parisi and Steven Goodman the pre-emptive logic of branding is a "mnemonic control" that aims to remodel long-term memory through an occupation of or the "parasiting" on the dynamics of affective potentiality in the neuro-physiological plasticity of the body-brain. Mnemonic control is something like "a distribution of memory implants", which provides one with the bodily or affective memory of an actually experience which one actually has not had, nonetheless, giving a base for the future rise of affect, the repetition of an anticipatory response. Thus, the power of mnemonic control is in this turn to affect as life's non-lived or not-yet lived potential. Mnemonic control brings life back to a non-lived potential in order to modulate affect's emerging effects.
Luciana Parisi and Steven Goodman 2011 "Mnemonic control" in Beyond Biopolitics: Essays on the Governance of Life and Death, edited by Patricia Clough and Craig Willse
p.53-54
Athina Karatzogianni
In their introduction to The Affect Theory Reader, Gregg and Seigworth identify no fewer than six approaches in relation to the emergence of affect theory, summarized briefly here according to my own understanding of their categorization: phenomenologies of embodiment and investigation into the body's capacities for extensions; the hybridization of human with non-human in bio-informatics and bio-engineering; work found in feminist studies, the Italian autonomism, and philosophically inflected culture studies; in psychoanalytic inquiries focusing on desire; political work undertaken focusing on people crushed under the thumb of normativizing power, by queer, feminist, subaltern and disability activists; and work aiming to move beyond the linguistic and representational.
"Combining insights from psychoanalysis and Marxism, she notes that 'emotions work as a form of capital: affect does not reside positively in the sign or commodity, but is produced as an effect of its circulation'."
Tagg, P. "Subjectivity and Soundscape, motorbikes and music," in A. Bennet, B. Shank and J. Toynbee (eds), The Popular Music Studies Reader
Mbembe, A. (2003) "necropolitics," Public Culture, 15(1), 11-40.
p 23 Patricia Clough
In her discussion of what she calls "aesthetic capitalism," Christine Harold (2009) points to a shift in the functioning of brand from its being about representation to the aura of the circulating sign to designing objects that themselves can stir affect, promising a transformative experience in the object's use rather than in the mere possession of it. Modelling a user's future manipulation of it, the commodity is designed to sensually transmit a "creative juice" that will be transformative for its user, bringing a not-yet lived future into the present. Thus, the aura and the value of the commodity now its transmission of affect, where affect refers not to emotion but to a bodily capacity, a bodily readiness, a trigger to action, including the action of feeling an emotion. While emotions are commensurate with a subject, affect is a pre-individual and therefore a non-conscious, a-subjective potentiality. Affect is a vector of unqualified intensity seeking future actualization; it is a vehicle from one dimension of time to another. It is for its capacity to bring the future into the present that affective branding becomes useful in the graphic framing of unending war and humanitarian response to it.
Harold, C. (2009) "on Target: Aura, Affect, and the Rhetoric of 'design democracy'", public culture, no.21
This is because affective branding actually works not by giving one future possibilities but by pre-empting the future. For Luciana Parisi and Steven Goodman the pre-emptive logic of branding is a "mnemonic control" that aims to remodel long-term memory through an occupation of or the "parasiting" on the dynamics of affective potentiality in the neuro-physiological plasticity of the body-brain. Mnemonic control is something like "a distribution of memory implants", which provides one with the bodily or affective memory of an actually experience which one actually has not had, nonetheless, giving a base for the future rise of affect, the repetition of an anticipatory response. Thus, the power of mnemonic control is in this turn to affect as life's non-lived or not-yet lived potential. Mnemonic control brings life back to a non-lived potential in order to modulate affect's emerging effects.
Luciana Parisi and Steven Goodman 2011 "Mnemonic control" in Beyond Biopolitics: Essays on the Governance of Life and Death, edited by Patricia Clough and Craig Willse
p.53-54
Athina Karatzogianni
In their introduction to The Affect Theory Reader, Gregg and Seigworth identify no fewer than six approaches in relation to the emergence of affect theory, summarized briefly here according to my own understanding of their categorization: phenomenologies of embodiment and investigation into the body's capacities for extensions; the hybridization of human with non-human in bio-informatics and bio-engineering; work found in feminist studies, the Italian autonomism, and philosophically inflected culture studies; in psychoanalytic inquiries focusing on desire; political work undertaken focusing on people crushed under the thumb of normativizing power, by queer, feminist, subaltern and disability activists; and work aiming to move beyond the linguistic and representational.
Saturday, April 12, 2014
editing suggestions
1. throw money AT advertising
2. built-in commercials
3. Sometimes it mingles with the voices on radio or TV, as if it arrives through the airwaves
4. a fad for
5. Does this mean that he approves of the defamiliarizing effect of substituting balloons for eggs?
6.To attract the attention of an audience from within a sea of information, an advertisement must break away fromwith
conventional ways of thinking.
2. built-in commercials
3. Sometimes it mingles with the voices on radio or TV, as if it arrives through the airwaves
4. a fad for
5. Does this mean that he approves of the defamiliarizing effect of substituting balloons for eggs?
6.To attract the attention of an audience from within a sea of information, an advertisement must break away from
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