affect

animal politics

autonomy of affect

biogram

emotion

event-primed stadium

incitatory operation

infrastructure

micro-shock

mimesis

nonsensuous similarity

ontopower

resemblance

shock to thought

simulacrum

simulation

subjectless subjectivity

superiority of the analog

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Canadian

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is not a personal feeling. It is a prepersonal intensity corresponding to the passage from one experiential state of the body to another and implying an augmentation or diminution in that body's capacity to act.

AFFECT/AFFECTION. Neither word denotes a personal feeling (sentiment in Deleuze and Guattai). L'affect (Spinoza's affectus) is an ability to affect and be affected. It is a prepersonal intensity corresponding to the passage from one experiential state of the body to another and implying an augmentation or diminution in that body's capacity to act. L'affection (Spinoza's affection) is each such state considered as an encounter between the affected body and a second, affecting, body (Massumi, Plateaus xvi)

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is openness whereby affect is autonomous to the degree to which it escapes confinement in the particular body whose vitality, or potential for interaction, it is.

The autonomy of affect is its participation in the virtual. Its autonomy is its openness. Affect is autonomous to the degree to which it escapes confinement in the particular body whose vitality, or potential for interaction, it is. Formed, qualified, situated perceptions and cognitions fulfilling functions of actual connection or blockage are the capture and closure of affect. Emotion is the most intense (most contracted) expression of that capture-- and of the fact that something has always and again escaped. Something remains unactualized, inseparable from but unassimilable to any particular, functionally anchored perspective. That is why all emotion is more or less disorienting, and why it is classically described as being outside of oneself, at the very point at which one is most intimately and unshareably in contact with oneself and one's vitality. If there were no escape, no excess or remainder, no fade-out to infinity, the universe would be without potential, pure entropy, death. Actually existing, structured things live in and through that which escapes them. Their autonomy is the autonomy of affect.

is neither form nor matter but a contingent potentiality of form/matter through duration and process.

neither form nor matter but a contingent potentiality of form/matter through duration and process. The biogrammatic is 'a space that does not exist IN the world but in the intersticial realm of vision-object... a peripersonal world an dliminal space'. (2002:

is sociolinguistic, personal content that is subjectively owned and recognized.

An emotion is a subjective content, the sociolinguistic fixing of the quality of an experience which is from that point onward defined as personal. Emotion is qualified intensity, the conventional, consensual point of insertion of intensity into semantically and semiotically formed progressions, into narativizable action-reaction circuits, into function and meaning. It is intensity owned and recognized (Massumi 2002:28)

is the insertion of intensity into conventional, consensual, narativizable action-reaction circuits, into function and meaning. Emotion is intensity owned and recognized.

]Emotion is qualified intensity, the conventional, consensual point of insertion of intensity into semantically and semiotically formed progressions, into narativizable action-reaction circuits, into function and meaning. It is intensity owned and recognized (Massumi 2002:28)

is the conscious contribution to the actual emergence of a threat in order to make it visible and thus confrontable.

incitatory operation: militaries consciously contributing to the actual emergence of the threat they are purportedly there to pre empt. 'Since the threat is proliferating in any case, your best option is to help make it prolifer ate more.' (in Eyal Weizman)

is the material forms that allow for exchange over space.

the material forms that allow for exchange over space' and the institutions 'that facilitate the flow of goods in a wider cultural as well as physical sense'

 is felt without registering consciously. It registers only in its effects.

something that is felt without registering consciously. It registers only in its effects' (Massumi 2008: 4)

is defined such that an insect mimics a leaf not to meld with its surrounds, but to reenter the higher realm of predatory animal warfare on a new footing.

Resemblance is a beginning masking the advent of whole new vital dimension. This even applies to mimickry in nature. An insect that mimics a leaf does so not to meld with the vegetable state of its surrounding milieu, but to reenter the higher realm of predatory animal warfare on a new footing. (Massumi 1987 : pdf).

is a similarity wherein 'nothing actually given to our senses corresponds to what our bodies and the heavens have imitably in common.

a similarity wherein 'nothing actually given to our senses corresponds to what our bodies and the heavens have imitably in common (Massumi 2011: 105)

is a changing ecology of power pivoting on the idea of preemption.

Ontopower does not replace prior powers. Rather, it reorganizes and reintegrates them around the new fulcrum of preemption, changing their object and mode of operation in the process. Ontopower designates a changing 'ecology of powers.' The way in which this ecology of powers pivots on preemption brings new urgency to what can only be called metaphyscial problems. Preemption is a time concept. It denotes acting on the time before: the time of threat, before it has emerged as a clear and present danger. What is this time of the before' How can it be acted upon' How can that acting upon already constitute a decision, given the ungraspability of that which has yet to eventuate and may yet take another form' ' (Massum)i 2015: 1)

is a beginning masking the advent of a whole new vital dimension.

is a copy of a copy such that the relation is so weak that it is no longer a copy.

A common definition of the simulacrum is a copy of a copy whose relation to the model has become so attenuated that it can no longer properly be said to be a copy. It stands on its own as a copy without a model. Fredric Jameson cites the example of photorealism. The painting is a copy not of reality, but of a photograph, which is already a copy of the original.9 (Massumi 1987 'realer than real' pdf).

is a process that produces the real -simulation comes out of stable entities that are themselves simulacra.

The alternative is a false one because simulation is a process that produces the real, or, more precisely, more real (a more-than-real) on the basis of the real. 'It carries the real beyond its principle to the point where it is effectively produced.'17 Every simulation takes as its point of departure a regularized world comprising apparently stable identities or territories. But these 'real' entities are in fact undercover simulacra that have consented to feign being copies.(Massumi 1987: pdf)

Brian Massumi

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