@article{Boesel2018,
  author    = {B{\"o}sel, Bernd},
  title     = {Affect Disposition(ing)},
  series = {Media and Communication},
  volume    = {6},
  journal   = {Media and Communication},
  number    = {3},
  publisher = {Cogitatio Press},
  address   = {Lisbon},
  issn      = {2183-2439},
  doi       = {10.17645/mac.v6i3.1460},
  pages     = {15 -- 21},
  year      = {2018},
  abstract  = {The "affective turn" has been primarily concerned not with what affect is, but what it does. This article focuses on yet another shift towards how affect gets organized, i.e., how it is produced, classified, and controlled. It proposes a genealogical as well as a critical approach to the organization of affect and distinguishes between several "affect disposition(ing) regimes"—meaning paradigms of how to interpret and manage affects, for e.g., encoding them as byproducts of demonic possession, judging them in reference to a moralistic framework, or subsuming them under an industrial regime. Bernard Stiegler's concept of psychopower will be engaged at one point and expanded to include social media and affective technologies, especially Affective Computing. Finally, the industrialization and cybernetization of affect will be contrasted with poststructuralist interpretations of affects as events.},
  language  = {en}
}
@article{Haensel2018,
  author    = {H{\"a}nsel, Sylvaine},
  title     = {Material and expression - reflections on sculptures by Richard Serra and Eduardo Chillida},
  series = {Sculpture Journal},
  volume    = {27},
  journal   = {Sculpture Journal},
  number    = {3},
  publisher = {Liverpool Univ. Press},
  address   = {Liverpool},
  issn      = {1366-2724},
  doi       = {10.3828/sj.2018.27.3.5},
  pages     = {321 -- 331},
  year      = {2018},
  abstract  = {When considering artists from the second half of the twentieth century who used steel as material for their sculptures, Eduardo Chillida and Richard Serra are among the first to come to mind. Both artists are prominent in public spaces and both present large-size sculptures which challenge viewers. Both use clear geometrical patterns, and both develop their oeuvre from an intense involvement with the properties and possibilities of the material. However, their sculptures show fundamentally diverging conceptions not only in the manner of their creation, but also in their reception. Chillida and Serra have almost nothing in common; they never made reference to each other, although their sculptures often stand in neighbourly proximity. Nevertheless a comparison or more precisely a synopsis can illustrate a number of problems that rise in dealing with sculpture today. Serra's works convince mostly when they concentrate on complex formal qualities resulting from constellations of geometrical forms and given spaces. However, sculptures in public space consistently have the difficult task of creating memorial places which ideally speak for themselves. Chillida's sculptures fulfil this purpose because of their expressive pictorial potential. The material COR-TEN steel provides them with power and emphasis.},
  language  = {en}
}
@article{Ungelenk2018,
  author    = {Ungelenk, Johannes},
  title     = {Catastrophic Spectacle},
  series = {Catastrophe \& Spectacle: Variations of a Conceptual Relation from the 17th to the 21st Century},
  journal   = {Catastrophe \& Spectacle: Variations of a Conceptual Relation from the 17th to the 21st Century},
  publisher = {Neofelis},
  address   = {Berlin},
  isbn      = {978-3-95808-173-4},
  pages     = {92 -- 101},
  year      = {2018},
  abstract  = {The wood-engraving with the caption "The first sight of Paris", published in Cassell's History of the War between France and Germany 1870-1871 (1873), does not depict a spectacular catastrophe. As its title already indicates, it rather illustrates a constellation of sight. What there is to see is not so much a spectacular vista but the fact that one sees - and the way how this works. I would therefore like to use the wood-engraving to analyse the basic setting that is formative for every constellation of 'spectacle'. This prepares for the second step, which brings in the notion of catastrophe: I will argue that the spectacle of catastrophe which has gained prominence especially in the nineteenth century is not merely a phenomenon of representing catastrophe, but involves the constellation of spectacle as such. Spectacular catastrophes perform and derive their force from a catastrophe of spectacle - this is what the following will elaborate on.},
  language  = {en}
}