We introduce the working concept of “affective arrangement.” This concept is the centerpiece of a perspective on situated affectivity that emphasizes relationality, dynamics, and performativity. Our proposal relates to work in cultural studies and continental philosophy in the Spinoza–Deleuze lineage, yet it is equally geared to the terms of recent work in the philosophy of emotion. Our aim is to devise a framework that can help flesh out how affectivity unfolds dynamically in a relational setting by which it is at (...) the same time modulated in recurring ways. With this orientation, this article contributes to the interdisciplinary study of situated affectivity and to the theoretical and conceptual unification of distinct strands of research from several disciplines. (shrink)

In this article, I would like to take a somewhat closer look at the politics of hashtags surrounding wave of street actions known as Black Protest, held nation-wide in Poland on October 2016. Analysing the use of social media as the form of digital activism, I strive at both mitigating the fallacy of digital dualism and demystifying the notion of ‘Twitter revolutions’. The term was popularized by over-enthusiastic accounts of the social movements between 2009 and 2011. I propose to see (...) the employment of social media platforms as the form of weak opposition and to some extent, to explain its efficiency by the ability to reclaim and mobilize the narrative power of hashtags. ‘Weak’ here means everyday, often mundane, and hence under-recognized acts as opposed to activity considered ‘heroic’ and placed in the spotlight, with all gender-based ideological and interpretative undercurrents associated with such a juxtaposition. (shrink)

Recent years have brought enormous growth in the number of women-only art exhibitions. These exhibitions are accompanied by discussions that concentrate on curatorial feminist activism. In this text, I propose a different perspective by taking into consideration all exhibitions where the participants were determined by social category and which were organized in one country during one year. This perspective not only allows us to remark on and analyse activities that otherwise remain unnoticed but also encourages us to extend our understanding (...) of politics behind women-only initiatives. These exhibitions are generally intended to increase the capital of women artists, and to shift forces within the art and social fields in favour of women. However, as my analysis demonstrates, the organizers of different exhibitions occupy different places both in the art field and in the social field, and it is their position that determines, to a large extent, what changes they envision, what objectives they – in consequence – have and how they formulate their politics. This text also offers a reflection on whether the objectives behind organizing women-only shows has been constant or if they are a result of the current situation of women. (shrink)

The ArgumentIn 1787 an anonymous student of the Perth Academy spent countless hours transforming his rough classroom notes into a beautifully inscribed notebook. Though this was an everyday practice for many Enlightenment students, extant notebooks of this nature are extremely rare and we know very little about how middle class children learned to inscribe and visualize knowledge on paper. This essay addresses this lacuna by using recently located student notebooks, drawings, and marginalia alongside textbooks and instructional literature to identify the (...) graphic tools and skills that were taught to Scottish children in early modern classrooms. I show that, in addition to learning the facts of the curriculum, students participated in educational routines that enabled them to learn how to visually package knowledge into accessible figures and patterns of information, thereby making acts of inscription and visualization meaningful tools that benefitted both the self and society. (shrink)

The flâneur has remained little more than a hazy, nostalgic figure since first described in detail by Baudelaire in 19th-century Paris. Here, the work of Walter Benjamin, who did more than any other to advance the notion of flânerie post-Baudelaire, is considered alongside that of his friend and critic Theodor Adorno, in an attempt to conceive of a modern-day version of the type. The many critical exchanges between Adorno and Benjamin are envisioned as a moving dialectic: a constant interplay between (...) anticipation and suspicion. What results is a concept of flânerie that mingles a tentatively optimistic Benjamin with a perpetually sceptical Adorno, in order to conjure up an image of the individual strolling and wandering about the margins of contemporary urbanity, balanced on the cusp of hope and hopelessness. (shrink)

This paper examines the competing ‘languages’ of line in Julie Mehretu’s series, Grey Area and elaborates on the implications these lines have for theories of space, bodies and, in particular, the relationship between the two. Grey Area explores what Mehretu describes as a grey and in-between space. The series is composed of seven large abstract canvases covered in an assortment of gestural tracings and neatly traced rational lines. The juxtaposition of these competing linely narratives not only creates a grey space (...) visually, but compels viewers to stretch their bodies across the canvases and between the lined layers thus, facilitating a brief inhabitance of grey space. Building from this analysis, the paper reflects on the relevance of the lines and the stretching they elicit for examining the complexities of contemporary modes of inhabitation that often extend across multiple geographical sites and temporal modes. Thus, engaging with Mehretu’s lined abstractions draws attention to the importance of space in the production of bodily boundaries, what I call geographical and temporal bodily outlines. In addition to contributing to body-space theories, the paper also demonstrates the valuable insights gained by attending to the unique social-aesthetic analyses of visual art and artists. (shrink)