This special issue on posthumanist perspectives on affect seeks to create a platform for thinking about the intersection of, on the one hand, the posthumanist project of radically reconfiguring the meaning of the “human” in light of the critiques of a unified and bounded subjectivity and, on the other, the insights coming from recent scholarship on affect and feeling about the subject, sociality, and connectivity. Posthumanism stands for diverse theoretical positions which together call into question the anthropocentric assertion of the (...) human as a distinctive, unique and dominant form of life – in turn, the concept of affect has been linked with ideas of increasing and decreasing energetic intensities, which underlie, but for some also precede, processes of individuation and subjectivation.The contributors to this issue consider critically the vistas opened by affect studies and by posthumanism. Coming from diverse disciplinary traditions, including literature, philosophy, critical sociology, visual arts, and heritage studies, the articles contribute to the four thematic idioms of this issue in an attempt to structure a dialogical space on posthumanist perspectives on affect and on affect-based politics. Questions of environmental governance, the critique of speciesism, the formation of cross-species solidarity, the politics of the “inhuman”, biopolitics and necropolitics form the intellectual mosaic of this issue. Finally, we pose the question of “academic affects”, in circulation in the researcher's encounter with her others – humans, insects, ghostly presences or inanimate objects – and we ask how these affects, including anger and mourning, but also joyful affirmation, are brought to bear on the process of writing. (shrink)

In the last 20 years the institution of the museum has gone through a period of redefining its role and its functions in society, its forms of representation, its authority in discourses on the past and its objects. The stated aim of many of the ‘memory museums’ which were established during this period is to invite reflection on the aestheticization of memory and on the fact that the exhibition is seen as a narrative which is challenging conventional codes of perception. (...) By granting a voice to what has been left out of the dominant discourses of history and of everyday experience, they try to integrate diversified and sometimes even incompatible narratives – a mode of representation that has so far been the domain of art and specifically literature. This contribution argues that it is not only between the museum and the memorial that distinctions between different memory media are getting blurred: examples such as Libeskind's Jewish Museum, which wants to be read as a text, and W.G. Sebald's novel Austerlitz, which he described as an alternative Holocaust museum, indicate that aspects of intermediality gain importance in the contemporary memorial landscape. (shrink)

In the vicinity of the work we were suddenly somewhere else than we usually tend to be.In “the age of commemoration” (Stone 2010), it is ironic that we have developed such an affective immunity to the commemorative artifacts that fill our cities. In downtown Washington, Boston, or Philadelphia, many pedestrians stroll past a dozen or more memorials in a single afternoon, usually failing to pay much attention to the specific historical calling they make. Outside the ritualistic and consumptive settings where (...) tourists encounter a city’s most popular monuments, many artifacts of public memory simply blend into the mundane architectural atmosphere that surrounds them. As John Berger has pointed out, works of art—and .. (shrink)

Is there a dominant global image—call it a world picture—that links the Occupy movement to the Arab Spring? Or is there any single image that captures and perhaps even motivated the widely noticed synergy and infectious mimicry between Tahrir Square and Zuccotti Park?

This study analyses of the Living Memorial: a counter-monumental installation located since 2014 in the highly contested Szabadság (‘Liberty’) Square in central Budapest, Hungary. The focus on the LM allows showcasing it as a unique type of commemorative installation that not only contests the current Hungarian top-down, hegemonic narrations and practices of memory but also counteracts the country’s politicised and ideologised narrations of the past. The LM is explored as a dialogical ‘nexus’ of, on the one hand, individual, lived experiences (...) of the Holocaust in Hungary in 1944–45 and, on the other, of the wider historical and contemporary socio-historical narratives as well as commemorating practices. Presented in the article – and set against the wider input from memory and commemoration research – the systematic, discourse-ethnographic analysis of the Living Memorial links its discursive and visual as well as spatial aspects with the exploration of various types of spectator engagement. In doing so, the article connects the wider context of memory and commemoration in the national and city spaces – and specifically in the often strongly politicised capital milieus – to the specific, localised contexts of ‘commemorative battlegrounds’ wherein ‘official’ displays of memory clash with, and are opposed by, their bottom-up, counterhegemonic contestations. (shrink)

This paper examines the emergence and trajectory of a vernacular femicide memorial tree at Mount Gravatt (Meanjin/Brisbane) which is juxtaposed with established and regulated official commemorative placemaking practices in this social geography. The paper explores the implicit rules about marking gender in official publics of commemoration, arguing that they perform or conversely risk a doubling of women’s invisibility through assimilation into symbols and aesthetic conventions of seemingly settled history and settled subjects. They can become barely noticeable for the kinds of (...) messages they may seek to publicly speak and breakthrough in encounter. Conventional commemoration of violence against women also risks positioning women as ‘victims’ by not unsettling that position through passive, familiar and assimilationist design forms and narrative tropes. Importantly, memorials that address violence against women and intimate femicide should contest ‘active forgetting’ by insisting that this is a public facing, collective issue of responsibility against resistant effacements, disavowal, and sequestration into the private sphere and personal life. (shrink)

Recent years have seen various forms of honorific public art – statues, monuments, and the like – brought under renewed moral scrutiny. This scrutiny has resulted in some high-profile removals, some defacement and additional contextualization to augment existing objects, and some cases of the status quo prevailing. Scholarly treatment of the issues has similarly resulted in arguments that articulate competing values that support removal, modification or preservation. I bring the insights of these arguments to bear on specifically military commemorations, where (...) I argue that they have ample application, but where they do not exhaust the moral complexity to be confronted. This is true first because military commemoration introduces a novel moral concern of militarism, and second because military commemoration frequently has a distinctively normative function of expressing gratitude. Both these points are most powerfully observed in collections of commemorations, rather than individual monuments, a distinction that deepens ongoing discussions about problematic commemorations. (shrink)

The weathered stone, collapsed lintels and hollow roofs of the ruin have long evoked a sense of pathos, standing as monuments to the disastrous contours of history and the possibility of alternative futures. In this article, I ask: What is the meaning of the ruin in the postcolonial context of the Caribbean? There are few physical ruins in the Caribbean, resulting in a feeling of lack: the architectural landscape fails to speak to the catastrophes of slavery and colonialism. Dub, a (...) subgenre of Jamaican reggae, responds to this sense of deprivation. The dub producers of the 1970s decomposed reggae songs, creating ruinous constructions where crucial elements of the original version are missing. Fragmented dub compositions act as icons of the traumatic history of the Caribbean and a utopian pique to the imagination, forcing the listener to fill in the gaps and imagine the world remade. (shrink)

This article examines the contending redefinitions of national identity in contemporary Germany's memorial culture, focusing particularly on the ensemble of monuments and parade fields known as the former Nazi Party rally grounds in Nuremberg. In a detailed case study, I analyse the recent conversion of one of the physical remnants of National Socialism – Albert Speer's transformer station – into a fast-food restaurant and interpret this conversion as a novel contribution to the discourse on German nationhood. I argue that the (...) provocative commercial reutilisation of the former Nazi monument gives expression to a renewed self-confidence that Germany has gained from displaying a willingness to face up to its past as perpetrator nation. While the intervention thus deviates from the self-indicting spirit that had been characteristic for Germany's memorial culture after World War II, an ironic note is conspicuous in this act of commemorative politics that indicates a way of dealing with the fascist legacy that is, surprisingly in some respects, superior to more conventional memory strategies. (shrink)

In the last 20 years the institution of the museum has gone through a period of redefining its role and its functions in society, its forms of representation, its authority in discourses on the past and its objects. The stated aim of many of the ‘memory museums’ which were established during this period is to invite reflection on the aestheticization of memory and on the fact that the exhibition is seen as a narrative which is challenging conventional codes of perception. (...) By granting a voice to what has been left out of the dominant discourses of history and of everyday experience, they try to integrate diversified and sometimes even incompatible narratives – a mode of representation that has so far been the domain of art and specifically literature. This contribution argues that it is not only between the museum and the memorial that distinctions between different memory media are getting blurred: examples such as Libeskind's Jewish Museum, which wants to be read as a text, and W.G. Sebald's novel Austerlitz, which he described as an alternative Holocaust museum, indicate that aspects of intermediality gain importance in the contemporary memorial landscape. (shrink)

In the Parthenon frieze, the time of mortals and the time of gods seem to merge. Dipesh Chakrabarty has argued that with the advent of the Anthropocene the times of human history and of the Earth are similarly coming together. Are humans entering the ‘monumental time’ of the Earth, to stand alongside the Olympian gods of the other geological forces? This article first looks at the cultural shifts leading to the modern idea of separate human and Earth histories. It examines (...) the changing use of monuments to mediate between human and other temporalities. It explores the use of ‘stratigraphic sections’ as natural monuments to mark transitions between the major time units of Earth history, and the erection of intentional monuments nearby. It suggests that the Anthropocene, as a geological epoch-in-the-making, may challenge the whole system of monumental semiotics used to stabilize our way of thinking about deep time. (shrink)