Pub Date : 2022-08-07DOI: 10.1080/09502386.2022.2108866
Emre Keser
sion and appropriation are harmless preoccupations. In the conclusion of the book Khanna analyses Fanon’s elaboration of the disjuncture between the body and the anticolonial rhetoric of the colonized. Drawing on Fanon’s authority enables her to generalize her abstractions drawn from the fiction of the sub-Indian continent, seeking an account of decolonization elsewhere. The bodily dysfunctions explored in this literature explain the paralyzing tensions that exist among the colonized who aim less to ‘become’ but more to ‘substitute’ the settlers. The distinction here is of course critical: as Khanna argues, ‘the act of becoming’ could have ushered in a historical subject and paved the way for an alternative instantiation of decolonization. The extent that realism stifles the revolutionary ardor of eroticism or casts it as simply pornographic is a promising line of argument as proposed by the author. Indeed, Khanna indirectly asks us to rewrite the nationalist canons in order to distinguish the revolutionary from the pseudo-revolutionary arts. Here Khanna assumes that had the nationalists dwelled more on modernism instead of realism, colonial Indians or Algerians could have withstood a chance in regaining their freedom beyond the political instantiation of freedom. Differently put, realism could or could not have been an empowering mode of expression to galvanize action for the nationalist cause against colonialism, but after independence realism became a liability. Still, the logic of Visceral Logics looks like it is charging literary and cultural elites with failing to draw the kind of excitations that would somehow reverse the postcolonial dysfunction. After its perhaps demanding early chapters, students of postcolonialism will find this book exceptionally rewarding, where Khanna’s contribution will reshape literary scholarship for generations to come in the way The Country and the City (1973) by Raymond Williams or Orientalism (1978) by Edward Said have done.
{"title":"Violent spectre of ghost limbs","authors":"Emre Keser","doi":"10.1080/09502386.2022.2108866","DOIUrl":"https://doi.org/10.1080/09502386.2022.2108866","url":null,"abstract":"sion and appropriation are harmless preoccupations. In the conclusion of the book Khanna analyses Fanon’s elaboration of the disjuncture between the body and the anticolonial rhetoric of the colonized. Drawing on Fanon’s authority enables her to generalize her abstractions drawn from the fiction of the sub-Indian continent, seeking an account of decolonization elsewhere. The bodily dysfunctions explored in this literature explain the paralyzing tensions that exist among the colonized who aim less to ‘become’ but more to ‘substitute’ the settlers. The distinction here is of course critical: as Khanna argues, ‘the act of becoming’ could have ushered in a historical subject and paved the way for an alternative instantiation of decolonization. The extent that realism stifles the revolutionary ardor of eroticism or casts it as simply pornographic is a promising line of argument as proposed by the author. Indeed, Khanna indirectly asks us to rewrite the nationalist canons in order to distinguish the revolutionary from the pseudo-revolutionary arts. Here Khanna assumes that had the nationalists dwelled more on modernism instead of realism, colonial Indians or Algerians could have withstood a chance in regaining their freedom beyond the political instantiation of freedom. Differently put, realism could or could not have been an empowering mode of expression to galvanize action for the nationalist cause against colonialism, but after independence realism became a liability. Still, the logic of Visceral Logics looks like it is charging literary and cultural elites with failing to draw the kind of excitations that would somehow reverse the postcolonial dysfunction. After its perhaps demanding early chapters, students of postcolonialism will find this book exceptionally rewarding, where Khanna’s contribution will reshape literary scholarship for generations to come in the way The Country and the City (1973) by Raymond Williams or Orientalism (1978) by Edward Said have done.","PeriodicalId":47907,"journal":{"name":"Cultural Studies","volume":"37 1","pages":"539 - 542"},"PeriodicalIF":1.5,"publicationDate":"2022-08-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42653617","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-29DOI: 10.1080/09502386.2022.2104893
Rocío Cobo-Piñero
ABSTRACT The last two decades have witnessed an emergence of African queer representations in literature and the arts that have been framed as interventions in cultural politics and as expressions of dissent. In this vein, I contend that it is necessary to consider queerness and diaspora together in order to rethink Gilroy's black Atlantic. Another important pursuit since the publication of The black Atlantic (1993) has been reclaiming the place of Africa and its broad cultural production, which was largely overlooked in Gilroy's Westernized discussion of modernity. This article thus explores the growth of African queer studies in African literature and film, and goes on to focus on Nigerian-born transgender writer and visual artist, Akwaeke Emezi. Their experimental videos and photographs use Igbo traditions as part of their own expression of a gender non-binary African self in the diaspora. In their essay, ‘Transition' (2018a), Emezi challenges Western notions of gender through an African lens and reclaims their indigenous beliefs from a decolonial perspective. In defining what it means to be transgender, Emezi posits the notion that they might be an ogbanje, a spirit child found in some African pre-colonial cultures that does not conform to Western ideas of gender. Likewise, in the critically acclaimed debut novel Freshwater (2018b), the artist draws in part from their own life to tell the story of Ada, a young Igbo and Tamil woman haunted by the ogbanje, offering a poetic account of gender transition through the polyphonic voices of spirits that inhabit the protagonist. Emezi’s combination of personal experience and art makes visible multiple African, diasporic, and gender identities in the black Atlantic.
{"title":"Queering the black Atlantic: transgender spaces in Akwaeke Emezi’s writing and visual art","authors":"Rocío Cobo-Piñero","doi":"10.1080/09502386.2022.2104893","DOIUrl":"https://doi.org/10.1080/09502386.2022.2104893","url":null,"abstract":"ABSTRACT The last two decades have witnessed an emergence of African queer representations in literature and the arts that have been framed as interventions in cultural politics and as expressions of dissent. In this vein, I contend that it is necessary to consider queerness and diaspora together in order to rethink Gilroy's black Atlantic. Another important pursuit since the publication of The black Atlantic (1993) has been reclaiming the place of Africa and its broad cultural production, which was largely overlooked in Gilroy's Westernized discussion of modernity. This article thus explores the growth of African queer studies in African literature and film, and goes on to focus on Nigerian-born transgender writer and visual artist, Akwaeke Emezi. Their experimental videos and photographs use Igbo traditions as part of their own expression of a gender non-binary African self in the diaspora. In their essay, ‘Transition' (2018a), Emezi challenges Western notions of gender through an African lens and reclaims their indigenous beliefs from a decolonial perspective. In defining what it means to be transgender, Emezi posits the notion that they might be an ogbanje, a spirit child found in some African pre-colonial cultures that does not conform to Western ideas of gender. Likewise, in the critically acclaimed debut novel Freshwater (2018b), the artist draws in part from their own life to tell the story of Ada, a young Igbo and Tamil woman haunted by the ogbanje, offering a poetic account of gender transition through the polyphonic voices of spirits that inhabit the protagonist. Emezi’s combination of personal experience and art makes visible multiple African, diasporic, and gender identities in the black Atlantic.","PeriodicalId":47907,"journal":{"name":"Cultural Studies","volume":"37 1","pages":"280 - 297"},"PeriodicalIF":1.5,"publicationDate":"2022-07-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44581888","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-28DOI: 10.1080/09502386.2022.2104892
S. Naidu
ABSTRACT This article examines African noir as a literary sub-genre that attempts to articulate a revised and updated black Atlantic counterculture (1993). Using the framework provided by Paul Gilroy’s concept of a black Atlantic model of critique, African noir is shown to be transnational and intercultural in many aspects, thereby resisting racist discourses and expanding on conceptualisations of blackness and gender. Two primary texts are selected for analysis: Mukoma Wa Ngugi’s Nairobi Heat (2010) and Leye Adenle’s Easy Motion Tourist (2016). In both novels, detective figures are shown to be transnational, with local, national, or ethnic affiliations and intercultural relations which enable their detection. The article mounts a two-pronged argument. Primarily, both examples of African noir are read as texts which continue the legacy of Gilroy’s pioneering black Atlantic project of uncovering the cultural impact of colonialism and slavery on Africans on the continent and in the African diaspora. Secondarily, by examining the representation of female figures in the selected the texts, the article critically evaluates African noir’s attempt to resist the hegemonic racial and gendered representations of classic noir. To conclude, the article considers how, through the creation of intercultural and intersectional detective trios, the novels explore new black Atlantic race and gender relations, and the potential for solidarity in the face of crime.
摘要本文将非洲黑色电影作为一种文学亚流派，试图阐明一种经过修订和更新的大西洋黑人反主流文化（1993）。利用保罗·吉尔罗伊（Paul Gilroy）的黑人大西洋批判模式概念提供的框架，非洲黑色电影在许多方面都表现出跨国性和跨文化性，从而抵制种族主义话语，并扩展了黑人和性别的概念化。选择两个主要文本进行分析：Mukoma Wa Ngugi的《内罗毕热》（2010）和Leye Adenle的《轻松旅游》（2016）。在这两部小说中，侦探人物都是跨国的，具有当地、国家或种族背景和跨文化关系，这使得他们能够被发现。这篇文章提出了双管齐下的论点。首先，这两个非洲黑色电影的例子都被解读为延续了吉尔罗伊开创性的黑色大西洋项目的遗产，该项目揭示了殖民主义和奴隶制对非洲大陆和非洲侨民的文化影响。其次，通过考察所选文本中女性形象的表现，文章批判性地评价了非洲黑色电影试图抵制经典黑色电影中霸权的种族和性别表现。最后，文章考虑了通过创作跨文化和跨部门的侦探三人组，小说如何探索新的大西洋黑人种族和性别关系，以及在犯罪面前团结一致的潜力。
{"title":"How black is African Noir?: defining blackness through crime fiction","authors":"S. Naidu","doi":"10.1080/09502386.2022.2104892","DOIUrl":"https://doi.org/10.1080/09502386.2022.2104892","url":null,"abstract":"ABSTRACT This article examines African noir as a literary sub-genre that attempts to articulate a revised and updated black Atlantic counterculture (1993). Using the framework provided by Paul Gilroy’s concept of a black Atlantic model of critique, African noir is shown to be transnational and intercultural in many aspects, thereby resisting racist discourses and expanding on conceptualisations of blackness and gender. Two primary texts are selected for analysis: Mukoma Wa Ngugi’s Nairobi Heat (2010) and Leye Adenle’s Easy Motion Tourist (2016). In both novels, detective figures are shown to be transnational, with local, national, or ethnic affiliations and intercultural relations which enable their detection. The article mounts a two-pronged argument. Primarily, both examples of African noir are read as texts which continue the legacy of Gilroy’s pioneering black Atlantic project of uncovering the cultural impact of colonialism and slavery on Africans on the continent and in the African diaspora. Secondarily, by examining the representation of female figures in the selected the texts, the article critically evaluates African noir’s attempt to resist the hegemonic racial and gendered representations of classic noir. To conclude, the article considers how, through the creation of intercultural and intersectional detective trios, the novels explore new black Atlantic race and gender relations, and the potential for solidarity in the face of crime.","PeriodicalId":47907,"journal":{"name":"Cultural Studies","volume":"37 1","pages":"263 - 279"},"PeriodicalIF":1.5,"publicationDate":"2022-07-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49305495","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-28DOI: 10.1080/09502386.2022.2103165
N. Lusty, Harriette Richards
{"title":"Modern slavery legislation and the limits of ethical fashion","authors":"N. Lusty, Harriette Richards","doi":"10.1080/09502386.2022.2103165","DOIUrl":"https://doi.org/10.1080/09502386.2022.2103165","url":null,"abstract":"","PeriodicalId":47907,"journal":{"name":"Cultural Studies","volume":" ","pages":""},"PeriodicalIF":1.5,"publicationDate":"2022-07-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42669697","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-25DOI: 10.1080/09502386.2022.2103164
Reijiro Aoyama, Royce Ng
{"title":"Artificial flavors: nostalgia and the shifting landscapes of production in Sino-Japanese animation","authors":"Reijiro Aoyama, Royce Ng","doi":"10.1080/09502386.2022.2103164","DOIUrl":"https://doi.org/10.1080/09502386.2022.2103164","url":null,"abstract":"","PeriodicalId":47907,"journal":{"name":"Cultural Studies","volume":" ","pages":""},"PeriodicalIF":1.5,"publicationDate":"2022-07-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47680249","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-23DOI: 10.1080/09502386.2022.2090016
Paul G. Kelaita
{"title":"Suburban vogue and other queer survival strategies","authors":"Paul G. Kelaita","doi":"10.1080/09502386.2022.2090016","DOIUrl":"https://doi.org/10.1080/09502386.2022.2090016","url":null,"abstract":"","PeriodicalId":47907,"journal":{"name":"Cultural Studies","volume":" ","pages":""},"PeriodicalIF":1.5,"publicationDate":"2022-06-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42564854","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-20DOI: 10.1080/09502386.2022.2090017
Rolien Hoyng
{"title":"The price of speculation: fintech risk regimes in Hong Kong","authors":"Rolien Hoyng","doi":"10.1080/09502386.2022.2090017","DOIUrl":"https://doi.org/10.1080/09502386.2022.2090017","url":null,"abstract":"","PeriodicalId":47907,"journal":{"name":"Cultural Studies","volume":" ","pages":""},"PeriodicalIF":1.5,"publicationDate":"2022-06-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45803332","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-20DOI: 10.1080/09502386.2022.2088820
Hangtime melancholia, A. Dial, Michael Eric Dyson
ABSTRACT The efforts to capture and render the dunk demand a consideration of hangtime as ‘ghosts and specters’ in the machine of photography, some combination of technical production and a centuries-old visual orientation to the vertical suspension of Black bodies. This paper is divided into two sections. The first presents the dunking ability of Kareem Abdul-Jabbar and Wilt Chamberlain as being understood through the racialized and sexualized fear of Black men, literal (and corporeal) terrors in the sky. Second, if the photographic impetus for documenting hangtime in the 1960s was understood through a phallic logic of aerial invasion, the following section considers more modern iterations of hangtime where dunkers are no longer thought to be aerial invaders. Now, they are more like celestial or angelic bodies represented through visual allusions to religious iconography. With this work, my goal is exposure, to reverse engineer the technical production of hangtime and provide a long view of processes and materialities of production that foreground the positionality of bodies (who were almost always black) and the men (often white) who documented the dunk’s spectacle.
{"title":"Hangtime melancholia","authors":"Hangtime melancholia, A. Dial, Michael Eric Dyson","doi":"10.1080/09502386.2022.2088820","DOIUrl":"https://doi.org/10.1080/09502386.2022.2088820","url":null,"abstract":"ABSTRACT The efforts to capture and render the dunk demand a consideration of hangtime as ‘ghosts and specters’ in the machine of photography, some combination of technical production and a centuries-old visual orientation to the vertical suspension of Black bodies. This paper is divided into two sections. The first presents the dunking ability of Kareem Abdul-Jabbar and Wilt Chamberlain as being understood through the racialized and sexualized fear of Black men, literal (and corporeal) terrors in the sky. Second, if the photographic impetus for documenting hangtime in the 1960s was understood through a phallic logic of aerial invasion, the following section considers more modern iterations of hangtime where dunkers are no longer thought to be aerial invaders. Now, they are more like celestial or angelic bodies represented through visual allusions to religious iconography. With this work, my goal is exposure, to reverse engineer the technical production of hangtime and provide a long view of processes and materialities of production that foreground the positionality of bodies (who were almost always black) and the men (often white) who documented the dunk’s spectacle.","PeriodicalId":47907,"journal":{"name":"Cultural Studies","volume":"37 1","pages":"917 - 943"},"PeriodicalIF":1.5,"publicationDate":"2022-06-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44978683","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-15DOI: 10.1080/09502386.2022.2073459
Kate Elswit
ABSTRACT This essay develops the concept of the ‘coronasphere’ to grapple with how breath shifts the perceptible extent of the body during a pandemic, and the implications of such a radically altered sense of proximity for the choreography of public movement. Coming into being through an act of perception that is entangled with responsibility to others, the coronasphere is offered as a sensory alternative to fixed-distance models of social distancing approaches to risk, one that overrides the false dichotomy between the seeming stasis of shelter-in-place on the one side, versus ‘freedom’ of movement on the other. Redefining the extent of bodies relationally by the range of their breath has implications for understanding the uneven impacts of COVID-19 in terms of tactile entanglements and the vulnerability to uninvited touch that may violate bodies as individual and impermeable, in particular when the capacity for movement is limited. Ultimately turning to the coherence of such expanded bodies in terms of individual versus communal mobilization through a series of protests, the essay shows how the pandemic can not only reify but challenge the conflation of freedom and mobility, and the sensory ramifications of this in terms of finding new ways to rebuild public life.
{"title":"Dancing with Coronaspheres: Expanded Breath Bodies and the Politics of Public Movement in the Age of COVID-19","authors":"Kate Elswit","doi":"10.1080/09502386.2022.2073459","DOIUrl":"https://doi.org/10.1080/09502386.2022.2073459","url":null,"abstract":"ABSTRACT This essay develops the concept of the ‘coronasphere’ to grapple with how breath shifts the perceptible extent of the body during a pandemic, and the implications of such a radically altered sense of proximity for the choreography of public movement. Coming into being through an act of perception that is entangled with responsibility to others, the coronasphere is offered as a sensory alternative to fixed-distance models of social distancing approaches to risk, one that overrides the false dichotomy between the seeming stasis of shelter-in-place on the one side, versus ‘freedom’ of movement on the other. Redefining the extent of bodies relationally by the range of their breath has implications for understanding the uneven impacts of COVID-19 in terms of tactile entanglements and the vulnerability to uninvited touch that may violate bodies as individual and impermeable, in particular when the capacity for movement is limited. Ultimately turning to the coherence of such expanded bodies in terms of individual versus communal mobilization through a series of protests, the essay shows how the pandemic can not only reify but challenge the conflation of freedom and mobility, and the sensory ramifications of this in terms of finding new ways to rebuild public life.","PeriodicalId":47907,"journal":{"name":"Cultural Studies","volume":"37 1","pages":"894 - 916"},"PeriodicalIF":1.5,"publicationDate":"2022-06-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47289724","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-01DOI: 10.1080/09502386.2022.2077398
Andrew Brooks
ABSTRACT This paper considers the riots and protests that irrupted around the world in the wake of the killing of George Floyd on 25 May 2020. It examines the politics of noise and listening in relation to the growing calls for abolition, asking how we can listen to, and for, an abolitionist imperative. The paper contextualizes the riot as a form of struggle that responds to the crises produced by capitalism in its circulatory phase, specifically the production of racialized surplus populations that are subjected to intensive forms of policing. The riot is figured as a politics of immanence that suggests what Ashon T. Crawley calls ‘otherwise possibilities’. The paper tracks the historical conditions that give rise to riots and follows the noise in the street into platform media and back again in order to theorize the riot as a distinct form of struggle that is organized as well as contagious. Turning to the sonicity of the riot, the noise of this collective formation is figured in metaphysical terms as that which accounts for transformation and possibility – an originary turbulence with no single point of origin that foregrounds the relationality of the world. The paper then elaborates on listening as a crucial modality for generative collectivity and solidarity, developing an abolitionist conception of listening that attunes to relationality of noise and foregrounds anticipation and possibility.
{"title":"Anticipation, abolition, possibility: on riots, networked communication, and listening","authors":"Andrew Brooks","doi":"10.1080/09502386.2022.2077398","DOIUrl":"https://doi.org/10.1080/09502386.2022.2077398","url":null,"abstract":"ABSTRACT This paper considers the riots and protests that irrupted around the world in the wake of the killing of George Floyd on 25 May 2020. It examines the politics of noise and listening in relation to the growing calls for abolition, asking how we can listen to, and for, an abolitionist imperative. The paper contextualizes the riot as a form of struggle that responds to the crises produced by capitalism in its circulatory phase, specifically the production of racialized surplus populations that are subjected to intensive forms of policing. The riot is figured as a politics of immanence that suggests what Ashon T. Crawley calls ‘otherwise possibilities’. The paper tracks the historical conditions that give rise to riots and follows the noise in the street into platform media and back again in order to theorize the riot as a distinct form of struggle that is organized as well as contagious. Turning to the sonicity of the riot, the noise of this collective formation is figured in metaphysical terms as that which accounts for transformation and possibility – an originary turbulence with no single point of origin that foregrounds the relationality of the world. The paper then elaborates on listening as a crucial modality for generative collectivity and solidarity, developing an abolitionist conception of listening that attunes to relationality of noise and foregrounds anticipation and possibility.","PeriodicalId":47907,"journal":{"name":"Cultural Studies","volume":"37 1","pages":"944 - 968"},"PeriodicalIF":1.5,"publicationDate":"2022-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48856807","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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