• Affect, at its most anthropomorphic, is the name we give to those forces-visceral forces beneath, alongside, or generally other than conscious knowing, vital forces insistingbeyondemotion-that can serve to drive us toward movement, toward thought and extension, that can likewise suspend us (as if in neutral) across a barely registering accretion of force-relations, or that can even leave us overwhelmed by the world's apparent intractability. Indeed, affect is persistent proof of a body's never less than ongoing immersion in and among the world's obstinacies and rhythms, its refusals as much as its invitations.
• Affect is born in in-between-ness and resides as accumulative beside-ness.
• Binsings and unbindings, becomings and un-becomings, jarring disorientations and rhythmic attunements. Affect marks a body's belonging to a world of encounters or; a world's belonging to a body of encounters but also, in non-belonging, through all those far sadder (de)compositions of mutual in-compossibilities. Always there are ambiguous or "mixed" encounters that impinge and extrude for worse and for better, but (most usually) in-between.
• "yet-ness" of a body's affectual doings and undoings.
• affect's impinging/extruded belong- ing to worlds, bodies, and their in-betweens-affect in its immanence- signals the very promise of affect theory too: casting illumination upon the "not yet" of a body's doing, casting a line along the hopeful (though also fearful) cusp of an emergent futurity, casting its lot with the infinitely connectable, impersonal, and contagious belongings to this world.
• a hyperconsciousness of the affective minimum, of the microscopic fragment of emotion... which implies an extreme changeability of affective moments, a rapid modification, into shimmer
• neutrally inflected, immanent pathos or "patho-logy" that would be an "inventory of shimmers, of nuances, of states, of changes (pathe)" as they gather into "affectivity, sensibility, sentiment:' and come to serve as "the passion for difference"
• The body becomes less about its nature as bounded substance or eternal essence and more about the body "as an interface that becomes more and more describable when it learns to be affected by many more elements"
• The aesthetically inflected moment that underlies almost any theoretical orientation toward affect. Not aesthetics in its "dominant mode" where, as Ben Highmore argues in his essay, it both moralizes and takes "satisfaction in the end form of a process"; rather this decidedly affect-driven aesthetics is interested "in the messy informe of the ongoing-ness of process."
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