Pub Date : 2023-05-10DOI: 10.1177/02632764231168552
Anita Jóri, M. Hartmann
In this article, we introduce Vilém Flusser’s theoretical trajectory from the philosophy of language and multilingualism to communication and media theory. Our focus lies on his works Kommunikologie [ Communicology] and Kommunikologie weiter denken [ Thinking Communicology Further]. Kommunikologie, which was written in Flusser’s mid-career in the 1970s, but only published in the 1990s, consists of a set of articles and lectures and offers, among other notions, a great distinction between dialogue and discourse. The article takes this differentiation and explains its advantages and limitations. This leads to the introduction of the concept of algorithmic mediation as a ‘communicological’ take on current media developments. This also allows us to return to Flusser’s question about the disappearing home and the need for windows to the world. We hence offer a combination of different aspects of his work less as a tool for the analysis of current developments than as a call for action.
{"title":"Introduction: The Contemporary Relevance of Vilém Flusser","authors":"Anita Jóri, M. Hartmann","doi":"10.1177/02632764231168552","DOIUrl":"https://doi.org/10.1177/02632764231168552","url":null,"abstract":"In this article, we introduce Vilém Flusser’s theoretical trajectory from the philosophy of language and multilingualism to communication and media theory. Our focus lies on his works Kommunikologie [ Communicology] and Kommunikologie weiter denken [ Thinking Communicology Further]. Kommunikologie, which was written in Flusser’s mid-career in the 1970s, but only published in the 1990s, consists of a set of articles and lectures and offers, among other notions, a great distinction between dialogue and discourse. The article takes this differentiation and explains its advantages and limitations. This leads to the introduction of the concept of algorithmic mediation as a ‘communicological’ take on current media developments. This also allows us to return to Flusser’s question about the disappearing home and the need for windows to the world. We hence offer a combination of different aspects of his work less as a tool for the analysis of current developments than as a call for action.","PeriodicalId":227485,"journal":{"name":"Theory, Culture & Society","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-05-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116340559","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-09DOI: 10.1177/02632764221151126
Walter D. Mignolo, Fábio Santino Bussmann
It is of concern that, until now, Western and Southern theories have not been able to provide a full conceptual understanding of the complicity of the elites and states of former colonies outside the West with the political domination they suffer from their Western counterparts. Decolonial thought, by exploring global epistemic designs, can fully explain such political dependency, which, for Aníbal Quijano, results from the local elites’ goal to racially identify with their Western peers (self-humanization), obstructing local nationalization. We explore why the racially dehumanized local elites believe they can humanize themselves. Our claim is that this happens because of modernity’s pretense that everyone can become civilized and, thereby, human, hiding the fact that hu(man)s are only heterosexual men that are simultaneously Western, white and Christian. Only by focusing on the enunciation of Western knowledge, instead of on its enunciated content, can we make that argument.
{"title":"Coloniality and the State: Race, Nation and Dependency","authors":"Walter D. Mignolo, Fábio Santino Bussmann","doi":"10.1177/02632764221151126","DOIUrl":"https://doi.org/10.1177/02632764221151126","url":null,"abstract":"It is of concern that, until now, Western and Southern theories have not been able to provide a full conceptual understanding of the complicity of the elites and states of former colonies outside the West with the political domination they suffer from their Western counterparts. Decolonial thought, by exploring global epistemic designs, can fully explain such political dependency, which, for Aníbal Quijano, results from the local elites’ goal to racially identify with their Western peers (self-humanization), obstructing local nationalization. We explore why the racially dehumanized local elites believe they can humanize themselves. Our claim is that this happens because of modernity’s pretense that everyone can become civilized and, thereby, human, hiding the fact that hu(man)s are only heterosexual men that are simultaneously Western, white and Christian. Only by focusing on the enunciation of Western knowledge, instead of on its enunciated content, can we make that argument.","PeriodicalId":227485,"journal":{"name":"Theory, Culture & Society","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-05-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132470355","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-05-06DOI: 10.1177/02632764231167774
W. Atkinson
This paper engages with Manuel DeLanda’s Deleuze-inspired ‘assemblage theory’ from a perspective sympathetic to Pierre Bourdieu’s field theory. It first outlines DeLanda’s proposed new ‘philosophy of society’, focusing on his major works in this vein, and registers some scepticism as to its originality for sociology. It then introduces and responds to DeLanda’s critique of Bourdieu. Rather than simply reject assemblage theory outright, however, I draw on selected insights from DeLanda to push field theory in new directions. More specifically, I conceptualise the interplay of fields and assemblages and use notions of ‘exteriority’ and ‘possibility space’ to help conceive individual plurality of social positioning and its effects for subjectivity and practice.
{"title":"Field Theory and Assemblage Theory: Toward a Constructive Dialogue","authors":"W. Atkinson","doi":"10.1177/02632764231167774","DOIUrl":"https://doi.org/10.1177/02632764231167774","url":null,"abstract":"This paper engages with Manuel DeLanda’s Deleuze-inspired ‘assemblage theory’ from a perspective sympathetic to Pierre Bourdieu’s field theory. It first outlines DeLanda’s proposed new ‘philosophy of society’, focusing on his major works in this vein, and registers some scepticism as to its originality for sociology. It then introduces and responds to DeLanda’s critique of Bourdieu. Rather than simply reject assemblage theory outright, however, I draw on selected insights from DeLanda to push field theory in new directions. More specifically, I conceptualise the interplay of fields and assemblages and use notions of ‘exteriority’ and ‘possibility space’ to help conceive individual plurality of social positioning and its effects for subjectivity and practice.","PeriodicalId":227485,"journal":{"name":"Theory, Culture & Society","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-05-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116749565","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-27DOI: 10.1177/02632764231168582
Anke Finger
While Vilém Flusser’s writings on (media) philosophy and communication have found a wide readership across the globe, another ‘Flusser’ has been present all along, interwoven perhaps, namely that of the ‘obsessive futurologist’. Flusser, the futurologist, does not only imagine or predict media-technological universes unfolding with, among, and for us, but he, in his insistence that ‘communication is anthropology’, also imagines scenarios of possible worlds to come. In his little-known book Angenommen: Eine Szenenfolge (1989), available in English translation as What If? Twenty-Two Scenarios in Search of Images (2023), he designs sketches of an Anthropocene fraught with nightmares and wonders. What If? offers insight into the radical futures of a slipstream Anthropocene that have to do with speculative design, with Flusser’s concept of design as ‘crafty’ or slippery, and with art and the immense creative potential of failure versus reasonable, ‘good’ computing or calculability.
{"title":"Vilém Flusser’s What If? On Designing Radical Futures","authors":"Anke Finger","doi":"10.1177/02632764231168582","DOIUrl":"https://doi.org/10.1177/02632764231168582","url":null,"abstract":"While Vilém Flusser’s writings on (media) philosophy and communication have found a wide readership across the globe, another ‘Flusser’ has been present all along, interwoven perhaps, namely that of the ‘obsessive futurologist’. Flusser, the futurologist, does not only imagine or predict media-technological universes unfolding with, among, and for us, but he, in his insistence that ‘communication is anthropology’, also imagines scenarios of possible worlds to come. In his little-known book Angenommen: Eine Szenenfolge (1989), available in English translation as What If? Twenty-Two Scenarios in Search of Images (2023), he designs sketches of an Anthropocene fraught with nightmares and wonders. What If? offers insight into the radical futures of a slipstream Anthropocene that have to do with speculative design, with Flusser’s concept of design as ‘crafty’ or slippery, and with art and the immense creative potential of failure versus reasonable, ‘good’ computing or calculability.","PeriodicalId":227485,"journal":{"name":"Theory, Culture & Society","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-04-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127953874","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-25DOI: 10.1177/02632764231168576
Daniel Irrgang
The article discusses the technical image, a central concept in Vilém Flusser’s later main work Into the Universe of Technical Images (1985a). After identifying its various dimensions, the analysis frames the concept as an amalgamation of disciplines, theories, and artistic practices the cultural philosopher Flusser explored during the 1960s and especially the 1970s. In particular, the field of information aesthetics developed by Max Bense and Abraham A. Moles, among others, as well as artistic video practices in France and the United States played an important role in both Flusser’s biography and the formation of his technical image concept. At the same time, in Flusser’s cultural philosophy the technical image is the condition and result of a new kind of human imagination, which in this paper is specified as ‘projective imagination’.
本文讨论了技术图像，这是维尔姆·弗卢瑟后来的主要作品《进入技术图像的宇宙》(1985)中的一个中心概念。在确定了它的各个维度之后，分析将这个概念框架为文化哲学家弗卢瑟在20世纪60年代，特别是70年代探索的学科、理论和艺术实践的融合。尤其是Max Bense和Abraham A. mole等人发展的信息美学领域，以及法国和美国的艺术录像实践，对弗卢瑟的生平和他的技术影像概念的形成都起到了重要的作用。同时，在弗卢瑟的文化哲学中，技术形象是一种新的人类想象的条件和结果，本文将其定义为“投射想象”。
{"title":"Projective Imagination: Vilém Flussers’s Concept of the Technical Image","authors":"Daniel Irrgang","doi":"10.1177/02632764231168576","DOIUrl":"https://doi.org/10.1177/02632764231168576","url":null,"abstract":"The article discusses the technical image, a central concept in Vilém Flusser’s later main work Into the Universe of Technical Images (1985a). After identifying its various dimensions, the analysis frames the concept as an amalgamation of disciplines, theories, and artistic practices the cultural philosopher Flusser explored during the 1960s and especially the 1970s. In particular, the field of information aesthetics developed by Max Bense and Abraham A. Moles, among others, as well as artistic video practices in France and the United States played an important role in both Flusser’s biography and the formation of his technical image concept. At the same time, in Flusser’s cultural philosophy the technical image is the condition and result of a new kind of human imagination, which in this paper is specified as ‘projective imagination’.","PeriodicalId":227485,"journal":{"name":"Theory, Culture & Society","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-04-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133859111","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-24DOI: 10.1177/02632764231162251
Colin Koopman
Data increasingly drive our lives. Often presented as a new trajectory, the deep immersion of our lives in data has a history that is well over a century old. By revisiting the work of early pioneers of what would today be called data science, we can bring into view both assumptions that fund our data-driven moment as well as alternative relations to data. I here excavate insights by contrasting a seemingly unlikely pair of early data technologists, Francis Galton and W.E.B. Du Bois. Galton, well known for his contributions to eugenics, was first and foremost a tinkering technician of measure. There are numerous domains of science over which Galtonian conceptions retain considerable influence, presumably without his pride in racial inequality. A more viable, because more egalitarian, alternative for the present can be found in the early data work of Du Bois.
{"title":"From Galton’s Pride to Du Bois’s Pursuit: The Formats of Data-Driven Inequality","authors":"Colin Koopman","doi":"10.1177/02632764231162251","DOIUrl":"https://doi.org/10.1177/02632764231162251","url":null,"abstract":"Data increasingly drive our lives. Often presented as a new trajectory, the deep immersion of our lives in data has a history that is well over a century old. By revisiting the work of early pioneers of what would today be called data science, we can bring into view both assumptions that fund our data-driven moment as well as alternative relations to data. I here excavate insights by contrasting a seemingly unlikely pair of early data technologists, Francis Galton and W.E.B. Du Bois. Galton, well known for his contributions to eugenics, was first and foremost a tinkering technician of measure. There are numerous domains of science over which Galtonian conceptions retain considerable influence, presumably without his pride in racial inequality. A more viable, because more egalitarian, alternative for the present can be found in the early data work of Du Bois.","PeriodicalId":227485,"journal":{"name":"Theory, Culture & Society","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-04-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123926689","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-24DOI: 10.1177/02632764231162024
Philip Smith
The cultural turn has yet to fully reconfigure ‘class’ as a set of fictions, tropes, discourses and enduring culture-structures. Existing Durkheimian approaches have stalled at his middle period morphological reductionism. This paper constructs a more radical understanding in the late-Durkheimian idiom. It shows how class operates as a signifier in a language game of purity and pollution, virtue and vice. Taking a lead from studies of the ‘unruly’ working class, the paper opens up the more subtle pollution that attends to the mythical ‘bourgeoisie’ and its associated and imagined ‘bourgeois’ culture. As a sign system this class location is deemed inauthentic, sybaritic, and as strangely deadening to cultural vitality. Although commonly found in contexts of gentrification and commodification that involve class conflict, this critical discourse is also applied within the bourgeois milieu. Such needless auto-critique suggests a relative autonomy from determination by class struggle. The possibilities for this approach are illustrated at length with reference to a paradigm case: the highly bourgeois milieu of the composer Richard Wagner and his Bayreuth Festival.
{"title":"Class as Collective Representation: Lessons from Wagner and Bayreuth on the Discrete Harms of the Bourgeoisie","authors":"Philip Smith","doi":"10.1177/02632764231162024","DOIUrl":"https://doi.org/10.1177/02632764231162024","url":null,"abstract":"The cultural turn has yet to fully reconfigure ‘class’ as a set of fictions, tropes, discourses and enduring culture-structures. Existing Durkheimian approaches have stalled at his middle period morphological reductionism. This paper constructs a more radical understanding in the late-Durkheimian idiom. It shows how class operates as a signifier in a language game of purity and pollution, virtue and vice. Taking a lead from studies of the ‘unruly’ working class, the paper opens up the more subtle pollution that attends to the mythical ‘bourgeoisie’ and its associated and imagined ‘bourgeois’ culture. As a sign system this class location is deemed inauthentic, sybaritic, and as strangely deadening to cultural vitality. Although commonly found in contexts of gentrification and commodification that involve class conflict, this critical discourse is also applied within the bourgeois milieu. Such needless auto-critique suggests a relative autonomy from determination by class struggle. The possibilities for this approach are illustrated at length with reference to a paradigm case: the highly bourgeois milieu of the composer Richard Wagner and his Bayreuth Festival.","PeriodicalId":227485,"journal":{"name":"Theory, Culture & Society","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-04-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116889958","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-17DOI: 10.1177/02632764221151133
Christopher Haworth
Several scholars have noted parallels between the online communicative tactics of the American alt-right and those of industrial musicians in the 1970s and 1980s. This article explores these connections further by analysing the informational media that industrial musicians developed. Between the mid-1980s and 1990s, these zines, handbooks, and websites made a strenuous break with the values of democracy, egalitarianism, and grassroots authenticity that were the default ideological ‘mode’ of DIY. Where the Californian ideology would centre the summer of love and the politics of the New Left, the zines ambiguously celebrated the nihilistic, authoritarian, and occult vectors of psychedelia – tendencies that have been associated with the late 1960s fate of the counterculture rather than its earlier heyday. The article tracks these themes from Vague magazine and Rapid Eye, to the Cybernetic Culture Research Unit in the 1990s, to neoreaction and the Dark Enlightenment, asking whether communicational utopianism should be considered a blip rather than the internet’s default state.
{"title":"Post-punk, Industrial Culture Zines, and the Information Dark Age","authors":"Christopher Haworth","doi":"10.1177/02632764221151133","DOIUrl":"https://doi.org/10.1177/02632764221151133","url":null,"abstract":"Several scholars have noted parallels between the online communicative tactics of the American alt-right and those of industrial musicians in the 1970s and 1980s. This article explores these connections further by analysing the informational media that industrial musicians developed. Between the mid-1980s and 1990s, these zines, handbooks, and websites made a strenuous break with the values of democracy, egalitarianism, and grassroots authenticity that were the default ideological ‘mode’ of DIY. Where the Californian ideology would centre the summer of love and the politics of the New Left, the zines ambiguously celebrated the nihilistic, authoritarian, and occult vectors of psychedelia – tendencies that have been associated with the late 1960s fate of the counterculture rather than its earlier heyday. The article tracks these themes from Vague magazine and Rapid Eye, to the Cybernetic Culture Research Unit in the 1990s, to neoreaction and the Dark Enlightenment, asking whether communicational utopianism should be considered a blip rather than the internet’s default state.","PeriodicalId":227485,"journal":{"name":"Theory, Culture & Society","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-04-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122943183","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-10DOI: 10.1177/02632764231162027
Christiane Baier
In recent years, the post-truth phenomenon has dominated public and political discourse. This article offers a functional analysis of its mechanisms based on the category of narrative. After providing a brief definition of post-truth as a conceptual foundation, I trace the meaning of the term ‘narrative’ in the works of Jean-François Lyotard, focusing on the elusive category of small narrative. Utilizing terms and concepts of contemporary narrative theory, I propose a general definition of cultural narrative and reconceptualize Lyotard’s petit récit as a particular case of this superordinate category. Drawing on Lyotard’s phrase linguistics as set out in The Differend, I develop the category of epistemic sphere to analyze Donald Trump’s MAGA movement as an example of post-truth politics, the rise of populism and the epistemic fragmentation of society.
{"title":"Narratives of Post-Truth: Lyotard and the Epistemic Fragmentation of Society","authors":"Christiane Baier","doi":"10.1177/02632764231162027","DOIUrl":"https://doi.org/10.1177/02632764231162027","url":null,"abstract":"In recent years, the post-truth phenomenon has dominated public and political discourse. This article offers a functional analysis of its mechanisms based on the category of narrative. After providing a brief definition of post-truth as a conceptual foundation, I trace the meaning of the term ‘narrative’ in the works of Jean-François Lyotard, focusing on the elusive category of small narrative. Utilizing terms and concepts of contemporary narrative theory, I propose a general definition of cultural narrative and reconceptualize Lyotard’s petit récit as a particular case of this superordinate category. Drawing on Lyotard’s phrase linguistics as set out in The Differend, I develop the category of epistemic sphere to analyze Donald Trump’s MAGA movement as an example of post-truth politics, the rise of populism and the epistemic fragmentation of society.","PeriodicalId":227485,"journal":{"name":"Theory, Culture & Society","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-04-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133257407","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-01DOI: 10.1177/02632764221146715
Robyn Lee
Indigenous-led activism against proposed oil pipelines has relied heavily on social media, as in the #NoDAPL campaign against the Dakota Access Pipeline. This paper explores affective engagement in online activism, including the Standing Rock ‘check-in’ campaign on Facebook. Moving beyond dichotomous understandings of embodied vs digital activism, Cannupa Hanska Luger’s Mirror Shields Project employs digital media in order to support direct action at Standing Rock. Patricia Clough draws a direct link between affect and technoscientific understandings of the body in her concept of biomediated bodies. This helps explain how physical and digital activism are linked: the digital and the physical cannot be understood as independent of each other, since online engagement always has an embodied aspect as well. Luger’s Mirror Shields Project functions as a form of alterlife, in resistance to biopower, recognizing historical and ongoing harms while also creating new possibilities for resistance.
{"title":"Art, Affect, and Social Media in the ‘No Dakota Access Pipeline’ Movement","authors":"Robyn Lee","doi":"10.1177/02632764221146715","DOIUrl":"https://doi.org/10.1177/02632764221146715","url":null,"abstract":"Indigenous-led activism against proposed oil pipelines has relied heavily on social media, as in the #NoDAPL campaign against the Dakota Access Pipeline. This paper explores affective engagement in online activism, including the Standing Rock ‘check-in’ campaign on Facebook. Moving beyond dichotomous understandings of embodied vs digital activism, Cannupa Hanska Luger’s Mirror Shields Project employs digital media in order to support direct action at Standing Rock. Patricia Clough draws a direct link between affect and technoscientific understandings of the body in her concept of biomediated bodies. This helps explain how physical and digital activism are linked: the digital and the physical cannot be understood as independent of each other, since online engagement always has an embodied aspect as well. Luger’s Mirror Shields Project functions as a form of alterlife, in resistance to biopower, recognizing historical and ongoing harms while also creating new possibilities for resistance.","PeriodicalId":227485,"journal":{"name":"Theory, Culture & Society","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132028082","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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