Hochschule der Künste (ZHdK). She is currently working on a book project about the "migration of form" (together with Roger M. Buergel) and a research project exploring the relationship between social practices and design in global modernity.
The journey to this book started when we, now the four editors of this volume, met in conferences and seminars driven by our interest in "artivism." Artistic activism appeared to be a practice of engaging with collective orders in a mode of creativity, sensation, and affect-rather than rational argumentation and interest bargaining. What interested us was how, in artivism, art, and politics come together and what effects this generates.Starting to read our way into and around the subject, and discussing possible ways to conceptualize and study artivism as a combined practice of art and politics, we soon recognized that we would have to frame the topic more broadly. In particular, we quickly found aesthetic modes of engaging with collective orders also in protest and alternative lifestyle initiatives featuring sensory and affective strategies. There are, for example, the songs of political protest, special choreographies of street protest, the design of posters, agitative speeches... Furthermore, we found that sensory and affective modes are not limited to attempts at disrupting and renewing collective orders-but are also widespread in strategies to build, stabilize, protect, and expand already dominant orders. Here we come across governmental public relations, party campaigns and sensorily oriented strategies of steering human behavior. Also, private corporations work with the senses and affects to generate acceptance and support for products, technologies, brands, policies, and broader visions of collective life and progress.We found that aesthetic practices are obviously as much a means of stabilization, control, and governance as they are of disruption, emancipation, and innovation. At this point, artivism seemed to reflect a broader issue: a hitherto not much studied aesthetic dimension of governance and innovation. Thus, we became interested in all the different ways collective ways of living are shaped in the dimension of sensory experience and affect-and with how this relates to politics, that is with how we usually think of the shaping of collective orders: through the articulation of interests, collective strategies, norms, and rules.This is what led us to publish a call for such studies and organize a workshop to bring them together. Wary of the limits of translating sensory experience into words, we invited not only academic contributions but also artistic performances
He did his doctorate at the department of science, technology and policy studies of the University of Twente. His research is located at the intersection of sociology, political science, and science and technology studies (STS), focusing on the intertwining of epistemic, political, and aesthetic practices in late modern process of innovation and governance. Nora Rigamonti is a research associate in the project "Taste! Qualitative-sensoric ʻcitizen scienceʼ on the practice and aesthetics of eating" at the chair of Sociology of Politics and Governance at Berlin University of Technology. In her PhD, she focused on different entanglements of political and aesthetic practices and related in(ter)ventive democratic practices at the interdisciplinary DFG Graduate School "Innovation Society Today", where she was a research associate from 2015 to 2018 and is now an associate member. Marcela Suárez (Dr.) received her PhD in political science from Freie Universität Berlin (FU) and is an associate researcher and lecturer at the Lateinamerika-Institut at FU. She investigates the socio-political dynamics of governance, asymmetries of knowledge, techno-scientific feminisms and digital culture. Since 2018 she has been part of the research group DiGiTal Transformation where she is working on the project "Feminist politics and the fight against violence in the era of digitalization".
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