This paper explores America’s fascination with protectionism and economic nationalism, and argues that much of Donald J. Trump’s political-economic vision as 45th president of the United States is intimately tied-up with America’s idea of itself and its role in the world. Rather, as this paper demonstrates, economic-nationalism, in its many forms, is a deeply rooted American political-economic tradition that goes back as far as the nation’s very founding, and, indeed, as such has always been a latent political force in America’s political-culture. From its earliest founding days, protectionism versus free-trade has been a matter that has always bitterly divided America, and as such, economic nationalism, in the form of a threatening exit from the WTO, a possible re-negotiation of NAFTA, and high import tariffs for Mexico and China, although perhaps a dramatic shift after years of free-trade presidents, is nothing new under the American sun.
The day comes to an end. Tired of abiding to the rules of productivity you sit back, relax and prepare yourself for some hours of dolce fare niente on your social network of choice – you log into Facebook, Twitter, Instagram and are now ready to catch up with your friends, acquaintances, family et al. An advertisement for something vaguely familiar steals your attention. And then another one. You install AdBlock but still are bombarded with friendly requests to vote on some contest which requires you to like some company's page in order to proceed, or with delicious instafood from the fast food chain down your street. Oh wait, what is this? ‘23 surprising ways M&M's make your sex life better’? What fresh hell is this? Why do you find yourself unable to relax, exhausted from all the stimulus, feeling pushed from one hyperlink to the other as if a sudden gush of digital wind unearthed you from the comfort of your sofa?
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This article introduces Gilles Deleuze and Félix Guattari’s concepts of smooth and striated space and couples these with the realms of art and technology. In doing so, and by analysing a case study, the dynamic natures and complex mixtures of art and technology are discussed. As a result, a perspective through which art and technology work together to enable new experiences opens up. The case study consists of Anja Hertenberger’s work entitled InBetween — an ongoing performance project in which she examines the reactions of people to her wearing an item of clothing which features a miniature camera on the front and a screen at the back. The article concludes by arguing that although Hertenberger’s performance concerns mediation, it mainly brings about immediate experiences that can be regarded as ‘imaginings’ rather than imaginations.
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