Pub Date : 2023-04-01DOI: 10.1177/14704129231173797
David Riley, DeForrest Brown, Madison Moore, Alexander G. Weheliye
This conversation is excerpted from a panel which followed Black Vibrations, a performance by DeForrest Brown Jr. and madison moore at the Institute for Contemporary Art at VCU (ICA at VCU, Richmond, Virginia) on 25 March 2022. Black Vibrations was the first of the ICA’s Test Pattern series, inspired by the legacy of visionary public-access TV programs and alternative video movements in the US. The series invites artists to turn the ICA auditorium into an experimental production studio for week-long residencies, during which they collaborate with members of the local community to create a live performance and internet broadcast. Black Vibrations considered the history of Detroit techno, and the potential of ‘vibrational technologies’ as an instrument and a weapon. madison moore presented a DJ set as a performative lecture, while Deforrest Brown Jr. performed live using tablets and other haptic technology, building upon his work as a cultural theorist and his musical output under the moniker Speaker Music. The performance transformed the ICA’s auditorium into a club environment, complete with subwoofers, dancefloor, hazers, and flashing lights. Video projections pulled from the archives of the Detroit Historical Society – b-roll of assembly lines, auto trades shows, and early ‘80s computer classes – as well as late-night footage from WGPR Detroit, America’s first Black-owned TV station, which helped to launch techno with the popular programs The Scene and The New Dance Show. Following the performance, DeForrest and madison were joined by scholar Alexander Ghedi Weheliye for a discussion about techno: its Black and working class origins, its connection to Queer dance music innovators, and the connection between protest and the dancefloor.
{"title":"Black Vibrations: Techno as Queer Insurrectionist Sonics","authors":"David Riley, DeForrest Brown, Madison Moore, Alexander G. Weheliye","doi":"10.1177/14704129231173797","DOIUrl":"https://doi.org/10.1177/14704129231173797","url":null,"abstract":"This conversation is excerpted from a panel which followed Black Vibrations, a performance by DeForrest Brown Jr. and madison moore at the Institute for Contemporary Art at VCU (ICA at VCU, Richmond, Virginia) on 25 March 2022. Black Vibrations was the first of the ICA’s Test Pattern series, inspired by the legacy of visionary public-access TV programs and alternative video movements in the US. The series invites artists to turn the ICA auditorium into an experimental production studio for week-long residencies, during which they collaborate with members of the local community to create a live performance and internet broadcast. Black Vibrations considered the history of Detroit techno, and the potential of ‘vibrational technologies’ as an instrument and a weapon. madison moore presented a DJ set as a performative lecture, while Deforrest Brown Jr. performed live using tablets and other haptic technology, building upon his work as a cultural theorist and his musical output under the moniker Speaker Music. The performance transformed the ICA’s auditorium into a club environment, complete with subwoofers, dancefloor, hazers, and flashing lights. Video projections pulled from the archives of the Detroit Historical Society – b-roll of assembly lines, auto trades shows, and early ‘80s computer classes – as well as late-night footage from WGPR Detroit, America’s first Black-owned TV station, which helped to launch techno with the popular programs The Scene and The New Dance Show. Following the performance, DeForrest and madison were joined by scholar Alexander Ghedi Weheliye for a discussion about techno: its Black and working class origins, its connection to Queer dance music innovators, and the connection between protest and the dancefloor.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":"22 1","pages":"25 - 46"},"PeriodicalIF":1.4,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43065032","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-01DOI: 10.1177/14704129221146494
Mirjam Brusius, T. Rico
This article critically engages with photographs, the institutions that archive and curate them, and the uses to which they are put in the work of heritage preservation, with particular attention paid to the ways in which these have been mobilized in Middle Eastern heritage debates. Photographs, often depicting uninhabited rather than populated heritage landscapes, in effect weaponize heritage preservation, ignoring the fact that individuals and communities have always had their own ways of preserving and engaging with the material past. The authors therefore seek to reconsider the disciplinary genealogies embedded in a photographic archive shaped by instruments of Western ideology and power – archaeological fieldwork, surveys and museum-building – to question the uncritical use of photography for the assessment of heritage significance, the construction of heritage value and management of heritage assemblages today. They argue that identifying and creating counter-archives is necessary to contribute to more inclusive narratives fostering heritage justice, including a deeper engagement with archaeology’s long-standing entanglements with exploitative labour.
{"title":"Counter-archives as heritage justice: photography, invisible labor and peopled ruins","authors":"Mirjam Brusius, T. Rico","doi":"10.1177/14704129221146494","DOIUrl":"https://doi.org/10.1177/14704129221146494","url":null,"abstract":"This article critically engages with photographs, the institutions that archive and curate them, and the uses to which they are put in the work of heritage preservation, with particular attention paid to the ways in which these have been mobilized in Middle Eastern heritage debates. Photographs, often depicting uninhabited rather than populated heritage landscapes, in effect weaponize heritage preservation, ignoring the fact that individuals and communities have always had their own ways of preserving and engaging with the material past. The authors therefore seek to reconsider the disciplinary genealogies embedded in a photographic archive shaped by instruments of Western ideology and power – archaeological fieldwork, surveys and museum-building – to question the uncritical use of photography for the assessment of heritage significance, the construction of heritage value and management of heritage assemblages today. They argue that identifying and creating counter-archives is necessary to contribute to more inclusive narratives fostering heritage justice, including a deeper engagement with archaeology’s long-standing entanglements with exploitative labour.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":"22 1","pages":"64 - 92"},"PeriodicalIF":1.4,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47515118","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-01DOI: 10.1177/14704129231170524
Henry Powell
As an academic and artist working at the intersection between architecture, visual culture and digital technology, Laura Kurgan presents an intriguing socio-historic account of the development of satellite imagery, GPS navigation and the spatial revolution ushered in by these technologies. Today, maps dominate our social landscape. They are incorporated into nearly every piece of digital hardware from Smart watches to Smart phones to computers and tablets to the dashboards of millions of vehicles worldwide. Getting lost has never been so difficult. Yet, for Kurgan, the notion of the map is far more expansive and ideological than this might suggest. She notes that ‘the spaces that maps try to describe can be ideal, psychological, virtual, immaterial, or imaginary – and they are never just physical’ (p. 16). Thus, it is through the optics of satellite imagery (specifically those images derived from a militaristic or logistic worldview) that Kurgan examines how we might critically examine the complex relations between ‘technologies of spatial representation’ and the ‘space they represent, beyond simply representing them’ (p. 13).
{"title":"Laura Kurgan, Close Up at a Distance: Mapping, Technology, and Politics","authors":"Henry Powell","doi":"10.1177/14704129231170524","DOIUrl":"https://doi.org/10.1177/14704129231170524","url":null,"abstract":"As an academic and artist working at the intersection between architecture, visual culture and digital technology, Laura Kurgan presents an intriguing socio-historic account of the development of satellite imagery, GPS navigation and the spatial revolution ushered in by these technologies. Today, maps dominate our social landscape. They are incorporated into nearly every piece of digital hardware from Smart watches to Smart phones to computers and tablets to the dashboards of millions of vehicles worldwide. Getting lost has never been so difficult. Yet, for Kurgan, the notion of the map is far more expansive and ideological than this might suggest. She notes that ‘the spaces that maps try to describe can be ideal, psychological, virtual, immaterial, or imaginary – and they are never just physical’ (p. 16). Thus, it is through the optics of satellite imagery (specifically those images derived from a militaristic or logistic worldview) that Kurgan examines how we might critically examine the complex relations between ‘technologies of spatial representation’ and the ‘space they represent, beyond simply representing them’ (p. 13).","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":"22 1","pages":"115 - 118"},"PeriodicalIF":1.4,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47880776","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-01DOI: 10.1177/14704129231170523
Kyle Sossamon
In proposing ‘to write the history of a modernity that, in forever reinventing prehistory, constantly invents itself’, Maria Stavrinaki set herself the goal of ‘immersing’ herself in the ‘structuring themes’ and ‘revelatory moments’ constitutive of Modernism’s own complicated historicity (p. 17). An historicity constituted by contradictory polarities that have refused to yield to clean dialectical sublations: progress and regression, doubt and certainty, deceleration and acceleration, the longue durée and histoire événementielle, and so on (p. 18). Speaking art-historically, this historicity has unearthed the significance of some hitherto neglected or misunderstood element, which henceforth provided a putative skeleton key for unlocking the hidden motivations and problems of our shared and disorienting aesthetic past in the West. Conversely, Stavrinaki’s text marks a singular occurrence in recent attempts to grapple with the complicated temporal structure of prehistory and its ab/uses in artistic, art-historical, and theoretical production (see Foster, 2020; Rasula, 2020).
{"title":"Maria Stavrinaki, Transfixed by Prehistory: An Inquiry into Modern Art and Time","authors":"Kyle Sossamon","doi":"10.1177/14704129231170523","DOIUrl":"https://doi.org/10.1177/14704129231170523","url":null,"abstract":"In proposing ‘to write the history of a modernity that, in forever reinventing prehistory, constantly invents itself’, Maria Stavrinaki set herself the goal of ‘immersing’ herself in the ‘structuring themes’ and ‘revelatory moments’ constitutive of Modernism’s own complicated historicity (p. 17). An historicity constituted by contradictory polarities that have refused to yield to clean dialectical sublations: progress and regression, doubt and certainty, deceleration and acceleration, the longue durée and histoire événementielle, and so on (p. 18). Speaking art-historically, this historicity has unearthed the significance of some hitherto neglected or misunderstood element, which henceforth provided a putative skeleton key for unlocking the hidden motivations and problems of our shared and disorienting aesthetic past in the West. Conversely, Stavrinaki’s text marks a singular occurrence in recent attempts to grapple with the complicated temporal structure of prehistory and its ab/uses in artistic, art-historical, and theoretical production (see Foster, 2020; Rasula, 2020).","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":"22 1","pages":"111 - 114"},"PeriodicalIF":1.4,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44572352","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-01DOI: 10.1177/14704129231166845
Jianqing Chen
This article studies the popular bullet-titling practice in contemporary China – typing and sending a layer of horizontally scrolling comments superimposed onto moving images. It first explicates bullet-titling practice as a retaliatory action against the tactile effects of moving images, reconceptualizing cinema’s tactile quality and recovering its association with bullet-like intensity through the notion of tacti(ca)lity. Tracing the changed perception of touch in relation to the emergence of the touchscreen interface, the author then delineates the transformation of bullet-titles from offensive weapons against the optical attacks of moving images to a venue for real-time conversation and communication among spectator-cum-bullet-titlers. The article ends with a discussion of bullet-titles’ construction of pseudo-real time, which constitutes a viewing community of ‘diachronic simultaneity’ that assimilates all temporally and geographically dispersed spectators into the unfolding ‘now’ of video playback. This ‘nowness’ reconciles contemporary media consumption’s contradictory demands for globalized simultaneity and individualized flexibility, obliterating us anew.
{"title":"Bullet-titling in twenty-first century China: bullet-like tactility, soft touch and diachronic simultaneity","authors":"Jianqing Chen","doi":"10.1177/14704129231166845","DOIUrl":"https://doi.org/10.1177/14704129231166845","url":null,"abstract":"This article studies the popular bullet-titling practice in contemporary China – typing and sending a layer of horizontally scrolling comments superimposed onto moving images. It first explicates bullet-titling practice as a retaliatory action against the tactile effects of moving images, reconceptualizing cinema’s tactile quality and recovering its association with bullet-like intensity through the notion of tacti(ca)lity. Tracing the changed perception of touch in relation to the emergence of the touchscreen interface, the author then delineates the transformation of bullet-titles from offensive weapons against the optical attacks of moving images to a venue for real-time conversation and communication among spectator-cum-bullet-titlers. The article ends with a discussion of bullet-titles’ construction of pseudo-real time, which constitutes a viewing community of ‘diachronic simultaneity’ that assimilates all temporally and geographically dispersed spectators into the unfolding ‘now’ of video playback. This ‘nowness’ reconciles contemporary media consumption’s contradictory demands for globalized simultaneity and individualized flexibility, obliterating us anew.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":"22 1","pages":"3 - 24"},"PeriodicalIF":1.4,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47343869","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-01DOI: 10.1177/14704129231170525
Alice Tremea
The V&A is one of the few museums in the UK with a dedicated hall for fashion exhibitions. This unnamed, circular room may not be as expansive as other stages in the same museum, but it makes up for its lack of square footage with an also circular mezzanine. This space has recently hosted shows about Mary Quant and Dior, and recently presented Africa Fashion curated by Christine Checinska. The exhibition focuses on notable designers from the continent, traditional and new techniques, the importance of fashion in 20th-century African and diasporic cultural politics, and contemporary trends. Checinska’s curatorial voice is evident throughout, especially when she criticizes the lack of African self-representation in the V&A museum until very recently (Checinska, 2022a). The exhibition covers a respectable seven decades, taking the independence movements of the 1950s–1960s as a starting point. Africa Fashion is a celebration of freedom that rejects European colonial standards by some of the most brilliant and capable designers in contemporary fashion and art. It is not only a long overdue effort in decolonialism by the V&A, but also a beautifully curated exhibition on a par with the shows of Western designers the museum has presented.
{"title":"Christine Checinska, Africa Fashion Exhibition","authors":"Alice Tremea","doi":"10.1177/14704129231170525","DOIUrl":"https://doi.org/10.1177/14704129231170525","url":null,"abstract":"The V&A is one of the few museums in the UK with a dedicated hall for fashion exhibitions. This unnamed, circular room may not be as expansive as other stages in the same museum, but it makes up for its lack of square footage with an also circular mezzanine. This space has recently hosted shows about Mary Quant and Dior, and recently presented Africa Fashion curated by Christine Checinska. The exhibition focuses on notable designers from the continent, traditional and new techniques, the importance of fashion in 20th-century African and diasporic cultural politics, and contemporary trends. Checinska’s curatorial voice is evident throughout, especially when she criticizes the lack of African self-representation in the V&A museum until very recently (Checinska, 2022a). The exhibition covers a respectable seven decades, taking the independence movements of the 1950s–1960s as a starting point. Africa Fashion is a celebration of freedom that rejects European colonial standards by some of the most brilliant and capable designers in contemporary fashion and art. It is not only a long overdue effort in decolonialism by the V&A, but also a beautifully curated exhibition on a par with the shows of Western designers the museum has presented.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":"22 1","pages":"119 - 122"},"PeriodicalIF":1.4,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46551142","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-04-01DOI: 10.1177/14704129231161952
Isadora Bratton-Benfield
This article articulates the continuity between past and present infrastructural development in Las Vegas by focusing upon the materiality and visual cultural expression of the Google Henderson NV data center. The political implications and interstate dynamics at play in the development of this data center are historicized, focusing on large-scale tech and military projects that characterize the region’s development. Google’s promise that a data-driven future would be accompanied by social and economic benefits for the Las Vegas community lies in stark contrast to the reality of its data center’s function. The strategic adoption of Google’s vision by key local and state officials, alongside the data center’s material embodiment as visually abstract and camouflaged, allows the facility to avoid scrutiny and teaches us about the evolving position of labor in a post-Fordist economy, particularly with regard to housing and employment.
{"title":"Strategic visibility: architectures of data colonialism in Las Vegas","authors":"Isadora Bratton-Benfield","doi":"10.1177/14704129231161952","DOIUrl":"https://doi.org/10.1177/14704129231161952","url":null,"abstract":"This article articulates the continuity between past and present infrastructural development in Las Vegas by focusing upon the materiality and visual cultural expression of the Google Henderson NV data center. The political implications and interstate dynamics at play in the development of this data center are historicized, focusing on large-scale tech and military projects that characterize the region’s development. Google’s promise that a data-driven future would be accompanied by social and economic benefits for the Las Vegas community lies in stark contrast to the reality of its data center’s function. The strategic adoption of Google’s vision by key local and state officials, alongside the data center’s material embodiment as visually abstract and camouflaged, allows the facility to avoid scrutiny and teaches us about the evolving position of labor in a post-Fordist economy, particularly with regard to housing and employment.","PeriodicalId":45373,"journal":{"name":"Journal of Visual Culture","volume":"22 1","pages":"47 - 63"},"PeriodicalIF":1.4,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45386085","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-03-21DOI: 10.1177/14704129231161947
S. Cornford
This article uses the resolutional relationship between digital image and planetary surface in satellite remote sensing as a lens through which to view the reliance of visual culture on mineral resources. While most studies of resolution in satellite imaging have focused on visibility and invisibility, the author argues that the equivalence between pictorial and geographic space in its cm/pixel specification offers an opportunity to consider the physical relationship between the two. The proposed inversion enables the satellite and its transmitted images to be understood as contingent upon an unsustainably extractive industrial model. The article then traces the material trajectory in geophysical prospecting applications of remote sensing, identifying a recursive loop in which images are used to produce minerals that are used to produce images. The potential geopolitical impact of this circularity is then assessed with regard to an example of future remote sensing emissions governance. In this, and many other climate-critical applications, remote sensing potentially plays a vital role, yet its instrumental gaze tends to shape the earth as an informational resource whose mineral reserves should be capitalized upon. Ultimately, the author’s aim is not to denounce earth observation as ecologically untenable, but to propose that we find a measure with which to assess the planetary impact of the various aspects of industrialized visual culture. Conceiving of resolution not as a measure of pictorial space but of the terrestrial cost of producing, consuming, distributing and permanently storing digital images might enable a more relational understanding of image and ground, pixels and planet. Accounting for the inverse resolution of an image could bring the deep temporal costs of digital visual culture into focus.
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Pub Date : 2022-12-01DOI: 10.1177/14704129221144985
Joseph M. Sussi
In Staying with the Trouble, Donna Haraway (2016: 31) describes ‘tentacular thinking’ through the arachnid’s sprawling ‘feelers’ that seem to stretch and entangle in mysterious and emergent ways, feeling in dark corners and wrestling with ‘a host of companions in sympoietic, threading, felting, tangling, tracking, and sorting’. In A People’s Atlas of Nuclear Colorado (2021, henceforth referred to as Atlas), a ‘tentacular’ nuclear history is constructed that ‘feels out’ the lives ‘lived along’ the ‘nets and networks’ of the U.S. Nuclear Industrial Complex (p. 32). The Atlas is a remarkable digital book edited by the interdisciplinary artist Sarah Kanouse and the cultural geographer Shiloh Krupar. Kanouse, Krupar, and the over 40 contributors – including geographers, artists, anthropologists, and individuals directly impacted by the legacy of nuclear Colorado – unpack the sprawling history of nuclear development that has seismically and ecologically shaped Colorado as well as the mobilization of a labor force to implement the equally ‘tentacular’ administrative effort to mass produce the atomic bomb.
Donna Haraway（2016:31）在《与烦恼同行》一书中描述了这种蛛形纲动物通过其庞大的“触角”进行的“触手思维”，这些触角似乎以神秘而突现的方式伸展和纠缠，在黑暗的角落里感受，并与“一大批同伴进行交感、穿线、毡接、纠缠、追踪和分类”。在《科罗拉多核电站人民地图集》（2021，以下简称《地图集》）中，构建了一个“触手可及”的核历史，“感受”了美国核工业综合体“网络和网络”中的生活（第32页）。《地图集》是一本杰出的数字图书，由跨学科艺术家Sarah Kanouse和文化地理学家Shiloh Krupar编辑。Kanouse、Krupar和40多位贡献者，包括地理学家、艺术家、人类学家，以及直接受到科罗拉多核武器遗产影响的个人——揭示了科罗拉多州在地震和生态方面形成的庞大核发展历史，以及动员劳动力实施大规模生产原子弹的同样“临时”的行政努力。
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Pub Date : 2022-12-01DOI: 10.1177/14704129221142494
Emilia Sawada
A year ago, President Joe Biden announced that the United States had withdrawn its troops from Afghanistan after 20 years, supposedly ending the longest war in US history. In Insurgent Aesthetics, however, Ronak Kapadia insists that the US has been waging a ‘long war’ throughout history, including the last century, and furthermore, that it is not simply ‘at war’, but is war itself (p. 5). Moreover, he proposes that contemporary South Asian, Middle Eastern, and diasporic multimedia artists resist the violence of the US empire by inspiring alternative ways of knowing and feeling, beyond the forever wars of US security statecraft. Kapadia redeploys the term forever war to critically describe, not only the United States’ global war on terror in the aftermath of 9/11, but also its domestic war on crime and, by extension, drugs (p. 5). While the US empire – the machine behind these affiliated wars – has often projected itself as borderless, monolithic, and everlasting, the artists of Insurgent Aesthetics demonstrate that even empire fails to last forever, that ultimately the powers of the US security state are evanescent. These artists’ embodied practices of opposition, refusal, and escape in the realms of installation, performance, photography, painting, video, literature, and new media shed light on their insurgent aesthetics, the book’s titular concept. Kapadia proposes that the artists’ insurgent aesthetics constitute a relational, collective aesthetic praxis that enables them to rearticulate the subjugated knowledges of Arab, Muslim, and South Asian populations and, in so doing, craft a queer calculus of the forever war. A queer calculus, Kapadia suggests, troubles dominant knowledges about the forever war; it renders intimate, sensuous, or affiliated what has been estranged, disappeared, or divided by US technologies of abstraction, such as aerial surveillance or statistical calculation; and it envisions new ways to inhabit the world, if not new worlds entirely.
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