By Britta Timm Knudsen, Carsten Stage
The gathering proposes artistic study innovations for the examine of the affective and fluctuating dimensions of cultural lifestyles. It offers stories of nightclubs, YouTube memes, political provocations, history websites, running a blog, schooling improvement, and haunting thoughts.
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Additional info for Affective Methodologies: Developing Cultural Research Strategies for the Study of Affect
The three meta-strategies for producing data could be the first obvious principle for combining and selecting chapters. Focusing more on content, readers with an interest in political affect could focus on To’s, Møhring Reestorff’s and Kølvraa’s articles, while memory and heritage is pivotal in Watson & Waterton’s, Trivelli’s, Blackman’s and To’s contributions. One can also focus on conceptual trajectories such as the concepts of excess (Kølvraa, Rytter, To), conflictuality (Staunæs and Kofoed), assemblage/montage (Bøhling, Møhring Reestorff, To), rhythm (Bøhling and Gibbs) and hauntology (Blackman, Trivelli, To, Watson and Waterton).
Why had a cut taken place in which psychology separated itself from its psychic precursors, tearing apart a rich history of entanglements (inside and outside, self and other, material and immaterial, human and technical, past and present), creating a tear that would forever require policing by skeptics? This was a moment of haunting, in which one temporality clashed with another and in which the differentiations that kept them apart returned. This haunting I felt cast a nonpresent presence in relation to psychology and spoke to the sense I had felt in studying psychology, that there was more to say: that the version of psychology I was taught was not fit for purpose or requirements.
As well as specific Singeri communities and their ‘place stories’ (and oral histories), she is also interested in how Singeri is imagined in demographics, architecture, festivals and celebrations, traditions, manners, and customs, as well as in more immaterial processes, such as atmospheres, ambiences, structures of feeling, and consciousness, for example. She argues that, in order to investigate this ‘placeness’, one needs to assemble an archive of ‘intersecting, shifting, mediated and material expressions’ (p.