The Principle of Unrest

There is no such thing as rest. The world is always on the move. It is made of movement. We find ourselves always in the midst of it, in transformations under way. The basic category for understanding is activity – and only derivatively subject, object, rule, order. What is called for is an ‘activist’ philosophy based on these premises. The Principle of Unrest explores the contemporary implications of an activist philosophy, pivoting on the issue of movement. Movement is understood not simply in spatial terms but as qualitative transformation: becoming, emergence, event. Neoliberal capitalism’s special relation to movement is of central concern. Its powers of mobilization now descend to the emergent level of just-forming potential. This carries them beyond power-over to powers-to-bring-to-be, or what the book terms ‘ontopower’. It is necessary to track capitalist power throughout its expanding field of emergence in order to understand how counter-powers can resist its capture and rival it on its own immanent ground. At the emergent level, at the eventful first flush of their arising, counter-powers are always collective. This even applies to movements of thought. Thought in the making is collective expression. How can we think this transindividuality of thought? What practices can address it? How, politically, can we understand the concept of the event to emergently include events of thought? Only by attuning to the creative unrest always agitating at the infra-individual level, in direct connection with the transindividual level, bypassing the mid-level of what was traditionally taken for a sovereign subject: by embracing our ‘dividuality’

The Principle of Unrest

There is no such thing as rest. The world is always on the move. It is made of movement. We find ourselves always in the midst of it, in transformations under way. The basic category for understanding is activity – and only derivatively subject, object, rule, order. What is called for is an ‘activist’ philosophy based on these premises. The Principle of Unrest explores the contemporary implications of an activist philosophy, pivoting on the issue of movement. Movement is understood not simply in spatial terms but as qualitative transformation: becoming, emergence, event. Neoliberal capitalism’s special relation to movement is of central concern. Its powers of mobilization now descend to the emergent level of just-forming potential. This carries them beyond power-over to powers-to-bring-to-be, or what the book terms ‘ontopower’. It is necessary to track capitalist power throughout its expanding field of emergence in order to understand how counter-powers can resist its capture and rival it on its own immanent ground. At the emergent level, at the eventful first flush of their arising, counter-powers are always collective. This even applies to movements of thought. Thought in the making is collective expression. How can we think this transindividuality of thought? What practices can address it? How, politically, can we understand the concept of the event to emergently include events of thought? Only by attuning to the creative unrest always agitating at the infra-individual level, in direct connection with the transindividual level, bypassing the mid-level of what was traditionally taken for a sovereign subject: by embracing our ‘dividuality’

The principle of unrest: Activist philosophy in the expanded field

There is no such thing as rest. The world is always on the move. It is made of movement. We find ourselves always in the midst of it, in transformations under way. The basic category for understanding is activity – and only derivatively subject, object, rule, order. What is called for is an ‘activist’ philosophy based on these premises. The Principle of Unrest explores the contemporary implications of an activist philosophy, pivoting on the issue of movement. Movement is understood not simply in spatial terms but as qualitative transformation: becoming, emergence, event. Neoliberal capitalism’s special relation to movement is of central concern. Its powers of mobilization now descend to the emergent level of just-forming potential. This carries them beyond power-over to powers-to-bring-to-be, or what the book terms ‘ontopower’. It is necessary to track capitalist power throughout its expanding field of emergence in order to understand how counter-powers can resist its capture and rival it on its own immanent ground. At the emergent level, at the eventful first flush of their arising, counter-powers are always collective. This even applies to movements of thought. Thought in the making is collective expression. How can we think this transindividuality of thought? What practices can address it? How, politically, can we understand the concept of the event to emergently include events of thought? Only by attuning to the creative unrest always agitating at the infra-individual level, in direct connection with the transindividual level, bypassing the mid-level of what was traditionally taken for a sovereign subject: by embracing our ‘dividuality’

The Art of The Relational Body: From Mirror-Touch to The Virtual Body

Mirror neurons are specialized neurons which echo the movements perceived in another's body in incipient movements in one's own body, in a kind of involuntary kinesthetic empathy. Their discovery has given rise to a far-reaching reassessment in cognitive science, the arts, and the humanities of the role of empathy and the self-other relation in the constitution of the sense of self. Mirror-touch synesthesia (when a perceived touch to another's body elicits in the perceiver the sensation of being similarly touched) is one of the forms this "empathy" takes. This article takes mirror-touch synesthesia as a jumping-off point to reconsider synesthesia as a whole, and in particular its relation to empathy, and the relation of empathy to movement. It is argued that the usual vocabulary used to analyze these issues -- identi cation, body image, defect or "confusion" in the body's spatial schema -- are vitiated by a cognitivist bias which carries presuppositions that obscure the complexity of the emergent organization of experience. A philosophical rethinking is necessary as a corrective. The article undertakes this project with the aid of process-oriented philosophers C.S. Peirce, Henri Bergson, and A.N. Whitehead, proposing a framework centering on the notion of a "virtual body" composed of the integral mutual inclusion of potential qualities of experience which are selectively "composed" in movement. The emphasis on the performative self-composition of experience involves replacing the prevailing model of cognition with a fundamentally aesthetic model

Affect and Immediation: An Interview with Brian Massumi

Brian Massumi is the author of numerous works across philosophy, political theory, and art theory. His publications include 99 Theses on the Revaluation of Value: A Postcapitalist Manifesto (University of Minnesota Press, 2018), Semblance and Event: Activist Philosophy and the Occurrent Arts (MIT Press, 2011) and Parables for the Virtual: Movement, Affect, Sensation (Duke University Press, 2002)

Digital afx: digital dressing and affective shifts in Sin City and 300

In Sin City (Robert Rodriguez, 2005) and 300 (Zack Snyder, 2006) extensive post-production work has created stylised colour palettes, manipulated areas of the image, and added or subtracted elements. Framing a discussion around the terms ‘affect’ and ‘emotion’, this paper argues that the digital technologies used in Sin City and 300 modify conventional interactions between representational and aesthetic dimensions. Brian Massumi suggests affective imagery can operate through two modes of engagement. One mode is embedded in a meaning system, linked to a speci?c emotion. The second is understood as an intensi?cation whereby a viewer reacts but that reaction is not yet gathered into an alignment with meaning. The term ‘digital afx’ is used to describe manipulations that produce imagery allowing these two modes of engagement to coexist. Digital afx are present when two competing aesthetic strategies remain equally visible within sequences of images. As a consequence the afx mingle with and shift the content of representation

Introduction: Risking Feeling: Alice Munro’s Fiction of “Exquisite Shame”

This introduction places the volume in the context of previous scholarship on Munro and anchors the collection in the wealth of affect and ethical theory that has informed recent cultural studies. We argue that these new essays, taken together, offer us an Alice Munro who is not the kindly Canadian icon reinforcing small-town verities who was celebrated and perpetuated in acts of national teaching with her Nobel Prize win; they ponder, instead, an edgier, messier Munro whose fictions of affective and ethical perplexities disturb rather than comfort

Bodies Moving and Being Moved: Mapping affect in Christian Nold's Bio Mapping

In A History of Spaces (2004), John Pickles observes that one of the less well-known representational norms of mapping is its focus on ‘natural and physical objects rather than developing universal conventions dealing with symbol, affect and movement.’ New media artist Christian Nold's work has dealt explicitly with two of these cartographic blindspots, grafting new and old technologies that both, in different ways, create bodily traces – the GPS trace of movement and the GSR (galvanic skin response) trace of arousal, often taken as an index of emotional response. Although Nold's socially engaged practice can be placed within the ‘locative media’ genre it also taps into the technological imaginaries around physiological sensors and intimate data. This paper considers Nold's Bio Mapping (2004-) projects in the context of his longstanding concern with social collectives and public space as a field of social relations. Looking at particular maps from Nold's Bio Mapping project, it considers the implications of blending the traces of the body's internal states with the traces produced by locomotive movement, and the relationship between the individuals thus traced and the collectives that Nold seeks to represent. Concurrent with Nold's practice there has been a wave of interest in affect and emotion (and the distinction between them) within the humanities. This paper brings Nold's work into contact with the Deleuzian/Spinozan concept of affect employed in one strand of this writing, drawing in particular on the work of Brian Massumi. Rather than using theory to simply illustrate Nold's practice, it follows the implications of Deleuze's cartographic model of individuation, the logic of which ultimately problematises the very distinction between the two bodily phenomena traced by Nold's device

Mediated Habits: Images, Networked Affect and Social Change

While many people remain hopeful that particular images of injustice will have the power to catalyse progressive transformation, there is also widespread belief in the inevitability of ‘compassion fatigue’. Bringing philosophers of habit into conversation with contemporary scholars of affect, visual culture and digital media, this article argues for a more nuanced understanding of the links between images and change – one in which political feeling and political action are complexly intertwined and repeated sensation does not necessarily lead to disaffection. When affect acts as a ‘binding technique’ compelling us to inhabit our sensorial responses to images, I suggest, we may become better attuned to everyday patterns of seeing, feeling, thinking and interacting – and hence to the possibility of change at the level of habit. This article thus contends that thinking affect and habit together as imbricated may enable us to better understand the dynamics of both individual and socio-political change today