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If Laurie Gries investigates the ways in which the Obama Hope image “reassembles the social” and acts as a catalyst for change, I want to consider the ways in which Shepard Fairey’s “We the People” images, created as a new visual trajectory of hope for the Women’s March in 2017, have circulated with a certain rhetorical velocity to affect change in revisualizing an urgency for inclusion and unity. The visual rhetorics of the posters revise notions of visibility, reinscribing who it is that makes up dominant public spheres, and moreover who the people are who should be protected by instead of excluded from the rights of the constitution. Gries posits that in today’s increasingly participatory culture, visual rhetorics are especially important in accounting for material artifacts’ influences on people’s beliefs, actions, and senses of collectivity. Important to Gries’ new materialist methodology for visual rhetorics is studying how “vital actants are productive of space,” and how “circulating things reassemble collective life via multiplicity of associations.” I hope to present research showing how the rhetorical velocity of the “We the People” images has worked to reconstitute public spheres and has been productive of spaces in which women’s voices, as the posters state, are greater than fear, work to protect each other, and defend each other’s dignity.

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-Chapters 6-9, how image has influenced cultural, political, "reassembled the social"
-how rhetoric of images transform with circulation, enter into different associations
-how material can constitute/reconstitute collectives
-question of how images become a movement
-how she follows image through its "divergent" movements

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Commonplaces:

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Visual Topoi:

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The Women’s March that Welcomed the Hijab as a Sign of Dissidence

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The Women’s March that Welcomed the Hijab as a Sign of Dissidence

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Laurie Gries, Circulation as an Emergent Threshold Concept

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Laurie Gries, Circulation as an Emergent Threshold Concept