Why Should We Still Be Hopeful?

As dispositif, power has to make itself aesthetics in three planes: desire, body, and space. Firstly, desire makes mobilization possible in which power is constituted, whether it is regarded as a deficiency or as a production-machine of socius. Secondly, space provides publicity and timelessness to power. Finally, the omnipresence ability of power is revealed by the body. Actualizing of power come in sight throughout the synchronic relationality of these three planes. So, the aestheticization and actualization of power are the same processes. Therefore, power is in need of organization of images and feelings. This is what aestheticization of power is. So, the study is based on the claim that the aesthetics of power and the aesthetics of resistance are immanent. Within the framework of the theoretical analyses, the chapter discusses whether aestheticizations of power and resistance will provide opportunities for hopefulness.

Voice, Silence, and Quiet Resistance in Percival Everett's Glyph

This article investigates how the refusal to speak becomes a resonant expression of protest in Percival Everett's novel Glyph (1999). It offers a reading of Everett's experimental work as generating a literary soundscape of the quiet voice to reflect on the functions of sonic absence in the politics and aesthetics of resistance. With Kevin Quashie's work The Sovereignty of Quiet (2012) and Fred Moten's writings on the significance of sound in black radical aesthetics as conceptual bridges, it seeks to establish that Glyph explores the boundaries and possibilities of black self-determination in the American socio-political context as it pitches the acoustics of silence and voice against the mute textuality of the book. Along these lines, the explicit refusal of a voice to speak in Glyph simultaneously reveals and complicates the dynamics of racialization in literary imaginations and reading practices.

Indigeneity, Intermediality, and the Haunted Present of Will I See?

Candida Rifkind and Jessica Fontaine analyze how the multimodal narrative (comic, animated video, and vocal recording) of the tragic murders of Tina Fontaine and Faron Hall create an alternative history and aesthetics of resistance; that the violence against Indigenous youth necessitates the creating of such multimodal narratives to enact a “politicized practice of empathetic witness.”

“Making Sense”

This article engages with the activities of the alternative international media centre FC/MC which was established and operated during the 2017 G20-summit in Hamburg. Rather than following established narratives on alternative media or mobilising discourses on aesthetics of resistance in the arts, the specific operational logics of affective and preemptive politics of perception define the main scope of developing what is termed “activist sense” and the emergence of potential “aesthetic counterpowers” as part and parcel of an affective politics of perception. Drawing on the conception of affect in social media studies and on the notions of field and information in the works of Gilbert Simondon, the FC/MC will be analysed as a building block in the overall infrastructure of affective resistance against dominant and platform-based narratives of violence and threat amplified by mainstream media. Through a field-based conception of affect and perception, the question of “making-sense” takes on a pervasive yet potentially more inclusive and activating dimension of future forms of media-infused modes of resistance.