In this paper, I invoke various matterings of felt in order to generate a practice of writing that engenders bodily difference that is affective, moving, and wooly. In attending to ‘how to write as felt,’ as a touching encounter, I consider how human and nonhuman matter composes. This co-mingling that felt performs enacts what Alaimo calls transcorporeality. Connecting felt with theories of touch and transcorporeality becomes a way to open up and re-configure different bodily imaginaries, both human and nonhuman, that (...) are radically immanent and intensive; as an assemblage of forces and flows that open bodies to helices and trans connections :27–58, 2017b). My contribution to this collection on ‘humanity in a posthuman age’ is experimental and performative. Felt is activated not as a metaphor but rather poses questions about what writing does at the interstices between research and creation. (shrink)

This paper draws on data undertaken with very young children within the context of Norwegian kindergartens. Specifically, the paper focuses on non-human and human movements. Mine included, that are undertaken in time and space. Following I argue that as the researcher I am always already entangled in inquiry and that there is no beginning. As a consequence, I cannot offer an account concerning movements that are predicated on humanist notions of linearity. Moreover, by immersing myself in process ontology, my efforts (...) are not directed at using a presumed mastery where I both recognize and use a priori categories in order to render data intelligible and/or to reduce data to common sense. Rather, by paying careful attention to human and non-human bodies, and by being sensitive to and immersing myself within affect and movement, I draw attention to elements within the kindergarten which while, present are very often ignored by researchers and in so doing I disrupt traditional approaches to qualitative research. By effectively positioning myself in a post-human logic both the researcher and the research are open to different potentialities, potentialities where through thinking-feeling the peculiarities and differences of the empirical can be taken into account. (shrink)

The rapid spread of electronic fingerprinting not only creates new regimes of surveillance but compels users to adopt novel ways of performing their bodies to suit the new technology. This ethnography uses two Indian case studies – of a welfare office and a workplace – to unpack the processes by which biometric devices become effective tools for determining identity. While in the popular imaginary biometric technology is often associated with providing disinterested and thus objective evaluation of identity, in practice ‘failures (...) to enrol’ and ‘false rejects’ frequently cause crises of representation. People address these by tinkering with their bodies and changing the rules, and in the process craft biometric bodies. These are assembled bodies that link people and objects in ways considered advantageous for specific identity regimes. By using assemblage theory, the article proposes an alternative interpretation of new surveillance regimes as fluid practices that solidify through the agency of multiple actors who naturalize particular power/knowledge arrangements. (shrink)

This article thinks the place of the body, agency and movement in politics through the body of the asylum-seeker. Asylum-seekers do not have ample space to politically voice their experiences, but their bodies and ways of taking agency are fluid. The Agambenian idea of exceptional space and bare life privileges the power of the sovereign, leaving little space for agency for its subjects. It leads to an impasse, as it offers no viable option of thinking the possibilities of opposing sovereign (...) rule. We have resorted to Jean-Luc Nancy’s philosophy in order to read to the contrary: to sketch the potential of the body to move beyond the reach of sovereign power and to communicate itself and its relations to others. The untenability of the sovereign subject pointed to by Nancy’s ontology of bodies allows seeing the asylum-seeker’s body as expressive and moving body that reorganizes its relations to others and turns it to an active agent from which events of the body politic emerge. With its focus on crisscrossing movement of the body and between bodies, the notion of choreography assists us in envisioning that the space for political agency and community do not pre-exist, but are articulated through bodies’ movements. We argue that either purely textual analysis or focus on administrative rationality is bound to leave possible expressions of political agency aside, and thus to ignore the challenge the bodily choreographies of asylum-seekers pose to political theory. We illustrate our argument with vignettes from Fernand Melgar’s 2008 documentary film The Fortress. (shrink)

In Esther Bick’s psychoanalytic theory, the infant’s relation to the world is mediated by the skin’s capacity to serve as a container for experience. As the infant develops, containment increasingly expresses cohesion of self, as fostered by the continued interaction with the caretaker. Through an emphasis on particular forms of interaction — forms that specifically involve skin-to-skin touch — an infant is given the receptacle necessary for eventual interactive self-sufficiency. But what if the skin were not a container? What if (...) the skin were not a limit at which self begins and ends? What if the skin were a porous, topological surfacing of myriad potential strata that field the relation between different milieus, each of them a multiplicity of insides and outsides? This article explores these questions through Daniel Stern’s account of infancy. (shrink)

Noël Carroll has suggested that scary films scare because our emotions are structured by the disgusting and dangerous properties of the films’ monsters. By contrast, this essay argues that some scary films scare through more direct means than can be explained by entertaining in thought, say, the impure properties of Count Dracula. It is the film itself that disgusts and frightens, by ‘taking over’ the spectator so that their consciousness of the film is ‘contaminated’ by the ‘spirit’ of horror. In (...) this essay, I discuss this state of ‘being done by disgust-horror through Roman Polanski’s Repulsion (1965). In my reading, Repulsion is about ultrasensitivity to the world and the subsequent, insane fear of intimacy that the film itself directly induces in its spectator. The spectator is threatened with possession in a fashion analogous to the way in which Carole’s apartment (her own mind) keeps her captive in her own disgust. This disgust that Carole feels is not merely disgust towards men, but disgust towards the world in general. The effect of this is the devastating, disgusting, schizophrenic terror of being unable to trust one’s own senses. (shrink)

This paper presents a phenomenology of affect and discusses its relevance for organizational life-worlds. With Merleau-Ponty, affects are interpreted as bodily and embodied inter-relational phenomena, which have specific pathic, ecstatic and emotional qualities. Relationally, they will be situated as “inter-affection” that are part of the inter-corporeality of the “Flesh” of wild be(com)ing. Affect and inter-affectivity are then related to organizational life-worlds, through a critical exploration of different phenomena and effects generated by positive, negative and ambiguous dimensions. Finally, the potentials of (...) affects and affection as part of the nexus of an embodied responsive responsibility and sustainability are discussed and critical perspectives on affective becoming outlined. (shrink)

This article proposes that the propagation of vibrations could serve as a better model for understanding the transmission of affect than the flow, circulation or movement of bodies by which it is most often theorized. The vibrations (or idiomatically ‘vibes’) among the sound system audience (or ‘crowd’) on a night out on the dancehall scene in Kingston, Jamaica, provide an example. Counting the repeating frequencies of these vibrations in a methodology inspired by Lefebvre’s rhythmanalysis results in a Frequency Spectrogram. This (...) ranges from the sociocultural frequencies of nightly, weekly and seasonal cycles and circulations of musical style and fashion, to the material frequencies of the amplitudes and timbres of sound itself, with reggae’s signature low-pitched bass-line, to the corporeal frequencies of the flesh and blood of the dancehall ‘crowd’, pulsating with heartbeats and kinetic dance rhythms. The vibration model then addresses the intensities of affect in terms of auditory amplitudes, as with sonic dominance; feelings as frequencies; and the distinctive meaning of affect as timbre. This aims to encourage the radical impulse of the idea of affect to abandon the traditional envelope of the autonomous, self-consistent, rational individual. The meaning of affect is thus located in the ratio, proportions and patterning of vibrations, that is, outside the discourse of emotions or representation of feelings. (shrink)

The contemporary international regime of law and politics regarding human migration largely follows Immanuel Kant’s contradictory approach, supporting the cosmopolitical rights of humans to move and expect hospitality while privileging the rights of sovereign states to assert territorial security against movement. International Relations scholars informed by Jacques Derrida’s ethical theory argue that one may press this tension to positive dynamics through affirmation of the aporia that a secured home is a requirement for the possibility of the hospitality that might undo (...) conflict between migrants and emplaced citizens. Yet, the attraction of Derrida’s critical Kantianism and this revival of hospitality depends on asserting the primacy of habitation to how citizen subjects stand with respect to foreigners who move. It depends on neglecting how any assumption of home is not based on a given home but, rather, on movements to impose the boundaries and bounty of a home. No one faces the movement of others who seek to make home from the position of home but only also in movements of homemaking. Both the citizen and the migrant move in forms of imposition. And it is only in a politics of imposition that rights to move can be affirmed and gain respect. (shrink)

This article takes a genealogical approach to the problem of affective communication that we find coalescing around the phenomenon of ‘affective transfer’ identified in experiences such as voice-hearing, telepathy and hypnotic suggestion. These experiences breach the boundaries between the self and other, inside and outside, and material and immaterial, and make visible some of the central issues that are important in re-thinking affect, relationality and embodiment. The article will attempt to re-engage the problematic of subjectivity by asking what a turn (...) to affect entails within such technologies of listening and attention. This is particularly important when such turning or opening to affect engenders a conversation with traumatic memories, albeit a conversation that does not occur primarily in a verbal register. The key focus will be on the marginalized status of telepathic modalities of affective transfer throughout the histories of the development of the psychological sciences. The article uses this as a platform to consider the connections between what is occluded or excluded from the psychological sciences, and what is being silenced within work on affect taking form across the humanities. Taking us back to the practice of telepathy in the 19th century and the problem of hypnotic suggestion in the mid 20th century (the Macy Conferences), the article discloses how both function as carriers of what is being overlooked and silenced in the engagement by many affect scholars with the knowledge-practices of the psychological and neurosciences. (shrink)

DEFINING THE LIMITS OF THE FIELD. Because 'consciousness and the body' is central to so many philosophical endeavors, I cannot provide a comprehensive survey of recent work. So we must begin by limiting the scope of our inquiry. First, we will concentrate on work done in English or translated into English, simply to ensure ease of access to the texts under examination. Second, we will concentrate on work done in the last 15 years or so, since the early 1990s. Third, (...) we will concentrate on those philosophers who treat both consciousness and the body together. Thus we will not treat philosophers who look at body representations in culture, nor philosophers who examine socio-political bodily practices with minimal or no reference to consciousness. Finally, even with the philosophers we choose to treat, we cannot be comprehensive and will instead make representative choices among their works. With that being said, we will have a fairly liberal definition of continental philosophy, operationally defined as that which makes (non-exclusive) reference to the classic phenomenology of Husserl, Heidegger, and Merleau-Ponty. Thus we will include the radical.. (shrink)

This review has already been published in Theory, Culture and Society, June 17, 2015. We gratefully thank Paola Crespi for the permission to reproduce it. Eleni IKONIADOU, The Rhythmic Event. Art, Media, and the Sonic, Cambridge, MIT Press, 2014, 117 pages. A much-needed contribution to the field of media philosophy, sound and digital studies, this book is petit and extremely dense. Part of Brian Massumi and Erin Manning's Technologies of Livedion series with MIT Press, - Recensions.

This paper draws on artistic explorations of territorial and spatial forces through analysis of projects set in the natural landscape, in a specific indoor site or at the threshold between the two. Specific attention is given to the artistic processes at play in the transformation of materials created/collected in the natural environment when shaped for presentation in an indoor location. What is the relation between being and becoming in this liminal space? According to Erwin Straus, the impetus to this process (...) is the pathic moment of sensation, a moment which evolves in two dimensions: as an unfolding of the world and of the self. Louis Schreel argues that in Deleuze and Guattari, artistic practice activates a process in which «the work ‘captures’ forces at work in the world and renders these sensible. Its effects are above all real and not merely imaginary: the image is not a mental given but a concrete, existing reality». Here, Deleuze distinguishes between the percept – landscape in the absence of man – and affect, the non-human becomings contained in the artwork. This paper wishes to unpack these processes through a study of two concrete instances of artistic practice, aiming to create immediate interaction between musician and environment, in which either of the two authors took part. (shrink)