Everybody's Got a Little Light Under the Sun

Browne, Simone

doi:10.1080/09502386.2011.644573

Cited by 55 publications

(8 citation statements)

References 11 publications

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“…I now describe another genre of videos that a few relief figures, especially Nelly, made that demonstrate a “visual surplus” (Browne 2012, 551). To appeal to older donors to contribute additional funds, Nelly created elaborate “thank‐you” videos to visually amplify her reach.…”

Section: Digital Archiving As “Repertoire” and “Visual Surplus”mentioning

confidence: 99%

“…Black subjects in the 1970s resorted to creating visually performative forms of expressing themselves such as ‘graffiti’ and ‘hip‐hop laced videos (Iton 2009: 105). Analyzing this production of what Richard Iton terms ‘visual surplus’, Simone Browne states that these artistic expressions carried out a ‘performance of freedom’ (Browne 2012, 551) and were framed as a way of recalling and denouncing visually stark eighteenth century modalities of surveillance, explicit in fugitive slave posters and lantern laws. The production of such visual surplus by black subjects in 1970s New York signaled their rejection of ‘dispossession’ and erasures through categories of ‘commodity’, ‘fugitive’ and ‘slave’.…”

Section: Digital Archiving As “Repertoire” and “Visual Surplus”mentioning

confidence: 99%

“…The production of such visual surplus by black subjects in 1970s New York signaled their rejection of ‘dispossession’ and erasures through categories of ‘commodity’, ‘fugitive’ and ‘slave’. (Browne 2012, 551‐552).…”

Section: Digital Archiving As “Repertoire” and “Visual Surplus”mentioning

confidence: 99%

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Affective Activism and Digital Archiving: Relief Work and Migrant Workers during the Covid‐19 Lockdown in India

Sriraman

2022

PoLAR

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This article traces what I term the affective activism of volunteers, civil society organizations, and lorry drivers engaged in relief work to assist stranded migrant workers wanting to travel home during the first wave of the coronavirus pandemic and national lockdown in India. I define affective activism as an archival practice that is driven by relief figures' affects of fear, anger, and aspirations-in this instance, toward their legal and administrative accountability to funders. Drawing on my ethnographic work in a relief network and using independent interviews I conducted, this article critically compares two modalities of digital archiving conducted by relief figures: collecting migrant workers' Aadhaar-unique biometric number identifiers issued to Indians-and digitally archiving their relief efforts through videos, voice-notes, and WhatsApp Messenger screenshots. I argue that relief figures expressed their anxieties in the form of talismanic beliefs that records of Aadhaar and their material infrastructure would keep safe the migrant workers they were trying to help. Alternately, and sometimes, concomitantly, they performatively deployed Whatsapp artifacts to support their accountability in the face of bureaucratic and political specters. Both forms highlight the desire of relief figures to exceed paper forms and state practices in their archival impulses. [affective activism, India relief work, migrant workers, digital archiving, and visual politics]

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Section: Digital Archiving As “Repertoire” and “Visual Surplus”mentioning

confidence: 99%

Section: Digital Archiving As “Repertoire” and “Visual Surplus”mentioning

confidence: 99%

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Affective Activism and Digital Archiving: Relief Work and Migrant Workers during the Covid‐19 Lockdown in India

Sriraman

2022

PoLAR

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“…Preemption has often been described as a turn of political strategies in general (Massumi, 2009); as a result, race as an analytical category in a preemptive-driven crisis context is largely excised. In Black Surveillance Studies, Simone Browne (2012, 2015) describes how surveillance practices are linked to the tracking of escaped slaves – marking surveillance as always already racist and racialized. I understand the technological solutions provided by the EU to tackle the ‘refugee crisis’ as pertaining to this very same genealogy where race is an integral factor in managing current border systems.…”

Section: The View From Above As Racial Securitizationmentioning

confidence: 99%

‘The view from above’ at Europe’s maritime borders: Racial securitization from visuality to postvisuality

Madörin

2019

European Journal of Cultural Studies

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At a time when the European Union is currently intensifying its electronic frontier through unmanned aerial vehicles or drones, and remotely piloted aircraft and satellite remote sensing devices, it is crucial to ask what this ‘view from above’ in effect enables. Although creating enhanced visibility in the Mediterranean basin of migrants’ crossings, the technological solutions provided by the European Union do not prioritize search and rescue. In analyzing European Union policy documents regarding visibility-making at Europe’s maritime borders, as well as the rationale presented by the industry delivering the technological backbone, this article shows how the ‘view from above’ is not only constructed through data but feeds back into data-generating ‘vision machines’. The working together of the scopic/visual/ocular and the digital/algorithmic/metrical is coined ‘postvisuality’ – a term highlighting the entanglement of image and code and the subsuming of the visual under the digital, or digitality. Postvisuality is framed by Europe’s long history of racial securitization, which in this case facilitates migrants’ data doubles becoming a key locus for financialization and the generation of a surplus for the security and defense industries.

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“…The residue of this uncoupling of Blackness from the human lingers. It takes shape through the militant technologies employed to patrol and deny the Black alien at the nation's peripheries (Browne 2012). And, interminably, it appears through gestures of anti-Black racism within the quotidian sites of the city-nation that apprise Black people-such as Turner recounts -of their alienness to the humanity of nationhood.…”

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confidence: 99%

Embodying the Nonhuman, Embracing the Alien: The Hyperbolic Strangeness of Blackness

Mendes

2021

Hypatia

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Contemplating the techniques of white nationalism used to refuse Black ontology and deny Black belonging to the humanity of Canadian nationhood, this article considers how art imaginatively visualizes rebellion against the racist logics that regulate such denials. Exploring the function of hyperbole, this article examines the ways the willfully heightened strangeness of the extraterrestrial Afro-Astronaut and Black Muslim monster depicted in performance and visual art trouble racial matrixes through the dissonance provoked by the Other's unfamiliar display of excess.

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Everybody's Got a Little Light Under the Sun

Cited by 55 publications

References 11 publications

Affective Activism and Digital Archiving: Relief Work and Migrant Workers during the Covid‐19 Lockdown in India

Affective Activism and Digital Archiving: Relief Work and Migrant Workers during the Covid‐19 Lockdown in India

‘The view from above’ at Europe’s maritime borders: Racial securitization from visuality to postvisuality

Embodying the Nonhuman, Embracing the Alien: The Hyperbolic Strangeness of Blackness

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