ABSTRACT
Protestors across the world use aesthetics in order to communicate their ideas and ensure their voices are heard. This book looks at protest aesthetics, which we consider to be the visual and performative elements of protest, such as images, symbols, graffiti, art, as well as the choreography of protest actions in public spaces. Through the use of social media, protestors have been able to create an alternative space for people to engage with politics that is more inclusive and participatory than traditional politics. This volume focuses on the role of visual culture in a highly mediated environment and draws on case studies from Europe, Thailand, South Africa, USA, Argentina, and the Middle East in order to demonstrate how protestors use aesthetics to communicate their demands and ideas. It examines how digital media is harnessed by protestors and argues that all protest aesthetics are performative and communicative.
TABLE OF CONTENTS
chapter |20 pages
Introduction: The Aesthetics of Global Protest: Visual Culture and Communication
part I|110 pages
Performance, Art and Politics
chapter 3|17 pages
81Maybe, We Will Benefitfrom Our Neighbour's Good Fortune: An Exhibition on Collectivity, Community, and Dialogue in Turkey
chapter 4|22 pages
Political Street Art in Social Mobilization: A Tale of Two Protests in Argentina
chapter 5|19 pages
Archiving Dissent: (Im)material Trajectories of Political Street Art in Istanbul and Athens
chapter 6|6 pages
The Introvert's Protest: Handwriting the Constitution and the Performance of Politics
part II|117 pages
Visual Activism and Digital Culture
chapter 7|19 pages
Photography and Protest in Israel/Palestine: The Activestills Online Archive
chapter 9|20 pages
Bearing Witness to Authoritarianism and Commoning through Video Activism and Political Film-making after the Gezi Protests
chapter 11|14 pages
The Activist Chroniclers of Occupy Gezi: Counterposing Visibility to Injustice
chapter 12|19 pages
When Twitter Got #woke: Black Lives Matter, DeRay McKesson, Twitter, and the Appropriation of the Aesthetics of Protest
part III|25 pages
Conclusion
