Zoekresultaten

‘Writing’ oneself into tragedy

Studies into affective publics often involve textual communication. However, emotive communication is increasingly visual. This study zooms in on the representation of the suffering other in seven re-workings of the Alan Kurdi photographs that resonated significantly on Instagram. Chouliaraki’s concept of post-humanitarian solidarity in The Ironic Spectator (2013) is used as a theoretical framework to analyse the content of re-worked images and their post captions. Her concept outlines how distant sufferers tend to be rendered invisible due to the self-reflexive nature of contemporary solidarity. This self-reflexivity gets in the way of solidarity for others unlike us. The study found that, although the sufferer is visually present in almost all re-worked images, the suffering is ‘replaced’ by emotions or political views of the creators. Both Chouliaraki’s ‘distant other’ as well as Markham’s similar other are ways to visually (re)construct the tragedy of Alan Kurdi and the refugee crisis in general. This study adds to this an understanding of how Instagram users, while visually constructing a similar or distant other, also write themselves – often their personal feelings – into such images. Their public, other Instagram users, engages in self-reflexivity by liking such re-workings, aligning with the communicated emotions or political views conveyed. In this way, the platform ‘like feature’ intensifies the self-reflexive nature of contemporary solidarity.

Regimes of visibility and the affective affordances of Twitter

Online social networks produce a visuality that reflects the attention economy governing this space. What is seen becomes elevated into prominence by networked publics that ‘perform’ affective expressions within platform affordances. We mapped Twitter images of refugees in two language spaces - English and Arabic. Using automated analysis and qualitative visual analysis, we found similar images circulating both spaces. However, photographs generating higher retweet counts were distinct. This highlights the impact of affective affordances of Twitter — in this case retweeting — on regimes of visibility in disparate spheres. Representations of refugees in the English language space were characterized by personalized, positive imagery, emphasizing solidarity for refugees contributing to their host country or stipulating innocence. Resonating images in the Arabic space were less personalized and depicted a more localized visuality of life in refugee camps, with an emphasis on living conditions in refugee camps and the efforts of aid organizations.

Satellite lifelines

Isabel Löfgren takes us to the Stockholm high-rise suburbs to show us how art projects and transnational media intermingle with the multicultural urban reality. In this book, she discusses the architecture of her project Satellitstaden, where her artistic interventions with the satellite dishes on façades highlight the voices of its inhabitants through participatory and co-generative artistic processes. In these peripheries, satellite subjects emerge, orbiting around multiple identifications, foregrounding the notion of spatial justice, the subaltern and the importance of grassroots movements.The book outlines a philosophy of hospitality in response to the turn in Europe against refugees, which Löfgren considers to be a crisis of hospitality, not a crisis of migration. Löfgren discusses the ethics that govern the relationship between guest and host, the self and Other. Who has the right to belong? On what terms? She argues for a hospitable turn in art, urban planning and media, in which guest-host relationships are performed, mediated and problematized.We urgently need to re-imagine the ethics of hospitality and habitability for the near future. The 2020 pandemic forces us to reassess our philosophy and practice of human contact, re-engineering how we relate to the Other, and what hospitality means in the face of a global halt.Isabel Löfgren is a Swedish-Brazilian artist, researcher and educator based in Stockholm and Rio de Janeiro. She is currently working at the Media and Communication Studies Department at Södertörn University in Sweden, next to her artistic practice. Her research interests include cultural politics, aesthetics, and the philosophy of diaspora in the fields of contemporary art, media philosophy, and media activism.

The Controversial Archive: Negotiating Horror Images in Syria

‘The Controversial Archive: Negotiating Horror Images in Syria’ is part of the upcoming INC Theory on Demand book titled The ArabArchive: Mediated Memories and Digital Flows edited by Donatella Della Ratta, Kay Dickinson, and Sune Haugbolle.

De integrale aanpak van duurzame ontwikkeling: Parktheater Eindhoven.

When Fungus punched Anthropos in the Gut: On Crap, Fish-eating Trees, Rhizomes and Organized Networks

Today’s internet has become like Deleuze’s societies of control, media scholars argue. The network’s invisible infrastructure, with near global reach, has amplified hierarchies, and is owned, exploited and surveilled by internet, advertising, and data-analytics companies, and by state security institutions. With the digital data produced by the often banal and quotidian activities of millions of internet users – or dividuals – a monopoly of a handful of Tech Giants accumulate massive amounts of wealth, and influence. The world wide web, various media scholars contend, has degenerated to a serpent’s coil. This article argues that the rhizomatic Wood Wide Web provides a basis from which to rethink today’s debate on the present and future of the internet, and challenges a predominant understanding of the societies control. Beneath our feet and beyond our perception, a subterranean meshwork of trees, mushrooms and fungi forms an ecology of trans-species solidarity, singularities, and creative, collaborative interactivity that could carry us outside the entrapments of the supposed totality of the societies of control.What can the World Wide Web learn from the Wood Wide Web?