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The Journal of Aesthetics & Protest

Issue 5 is now online:

Arguably, today the act of social networking is commodified more visibly and materially than ever before…This commodification shoudn't hinder us to work in relationship to one another and in a social and political context. Social memory with a sense of history and political demands seems to have undergone an accelerated and profound erasure. This rapid memory loss is facilitated by media consolidation and the plundering of public education programs to fund global mercenary actions.

Eclectic and dense (in a good sort of way). Here's a bit from Stevphen Shukaitis' "Affective Composition and Aesthetics: On Dissolving the Audience and Facilitating the Mob":

The concept of affective composition is formed by bringing together notions of affect with the autonomist notion of class composition. The concept of affect has been developed in a submerged history of philosophy stretching from Spinoza to Gilles Deleuze and Félix Guattari (and further developed by such thinkers as Antonio Negri and Genevieve Lloyd) to indicate an increased capacity to affect or to be affected by the world. For Deleuze and Guattari, artistic creation is the domain of affective resonance, where imagination shifts through the interacting bodies. Composition is used here, borrowing from the autonomist Marxist notion of class composition, to indicate the autonomous and collective capacities to change the world through social resistance. As forms of collective capacity and self-organization are increased, strengthened by the circulation of struggles and ideas, the capitalist state attempts to find ways to disperse them or to appropriate these social energies for their own workings. Thus the cycles of the composition, decomposition, and re-composition of struggles are formed. A key insight of autonomist thought is the argument that the struggle itself and the forms of social cooperation it engenders determine the direction of capitalist development. To consider affective composition by examining street or performance art is to examine the capacities they create, and how they contribute to the development of forms of self-organization; this is what the Infernal Noise Brigade describes as “facilitat[ing] the self-actualization of the mob.”

[via Rhizome.org]

Comments

not that dense. pretty nicely done, and, dare i say, a bit obvious? i like it ;)

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