The meaning of affect is thus located in the ratio, proportions and patterning of vibrations, that is, outside the discourse of emotions or representation of feelings. This aims to encourage the radical impulse of the idea of affect to abandon the traditional envelope of the autonomous, self-consistent, rational individual. The vibration model then addresses the intensities of affect in terms of auditory amplitudes, as with sonic dominance feelings as frequencies and the distinctive meaning of affect as timbre. This ranges from the sociocultural frequencies of nightly, weekly and seasonal cycles and circulations of musical style and fashion, to the material frequencies of the amplitudes and timbres of sound itself, with reggae’s signature low-pitched bass-line, to the corporeal frequencies of the flesh and blood of the dancehall ‘crowd’, pulsating with heartbeats and kinetic dance rhythms. Counting the repeating frequencies of these vibrations in a methodology inspired by Lefebvre’s rhythmanalysis results in a Frequency Spectrogram. The vibrations (or idiomatically ‘vibes’) among the sound system audience (or ‘crowd’) on a night out on the dancehall scene in Kingston, Jamaica, provide an example.
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This article proposes that the propagation of vibrations could serve as a better model for understanding the transmission of affect than the flow, circulation or movement of bodies by which it is most often theorized. Hence, the WOW-affect is a particular reaction to the experience of movement.
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The notion of the WOW-affect, combining the utterance with a specific affective impact, is closely linked to the vaudeville show aesthetics of using an intensely spectacular movement series at the end of a routine to 'stop the show' by stunning the audience and suspending their reaction for a brief moment in time. The WOW as an utterance in relation to the athletic/virtuosic screen bodies and their affective impact gives voice and physical expression to the excess of intensities as a not-yet-cognitive suspended response. In this sense, affect can be located in the gap between the impact of a stimulation on the skin-surface and a more coherent, cognitive response to this stimulation. I use the term 'affect' to indicate the relationship between screens, athletic/virtuosic bodies, sound, and movement as one of excessive stimulation, resulting in intensities, or affects, which are circulated between screens and bodies as particular moments of suspense.
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In this article I argue that the television dance franchise So You Think You Can Dance fosters and encourages what I call affective viewing practices and communities of affective spectatorship, which are specifically related to the "WOW-affect" created by its affective bodies.