Deploying Black feminist and queer of color critique in pursuit of an interdisciplinary method to consider the co-workings of aesthetics, affect and materiality, So Moved: Ferment, Intoxication, Jelly, Rot is structured in five chapters.
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The first chapter looks at the political aesthetics of the Food and Drug Act of 1906 focusing on the production of “civility” as the primary affective form of administrative violence; the second chapter discusses fomentative fermentation;
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the third chapter studies white intoxication as a form of racial terror; the fourth chapter takes up gelatinousness and revolutionary persistence; the fifth chapter thinks about rot, putrefaction and survival.
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My argument is this: to theorize art and aesthetics without or beyond a political dimension is to leave the aesthetic work of politics in the sense of that which is political and a capital-P politics defined as the coworking of the State and Capital, untouched and uncritiqued.
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A defense of aesthetics without politics, I argue, by which I do not mean a relation btwn aesthetics and politics that is simple, deterministic or totally historically bound is a defensive investment in the terms of the political present & its ethically burdened past (whiteness)
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