Abstract When side-by-side photographs of the 2009 and 2017 U.S. presidential inauguration crowds circulated after President Trump's inauguration, few doubted what they saw: the crowd in 2017 was significantly smaller than it had been eight years earlier. Whereas popular discourse around the photo obsessed over size of the crowds, I argue that differences in contrast, color, and clarity suggest a different narrative than the logic of quantity: Trump will return an orderly, white national body, cleansed of Obama's unruly, sepia swarm. This essay re-reads a key moment of recent U.S. visual politics, turning what came to be read as either a joke or a preview of the “death of facts” as something more sinister: a visual harbinger of Trump's white supremacist program.

ABSTRACT While claiming to be a much-needed corrective to the dual disappointments of structuralism and post-structuralism, one is starting to get the sense that affect may have simply inverted, rather than resolved, the binary of form/feeling. Yet emerging within and against the affective turn is a re-turn to structure as the condition of possibility for affectivity. From this re-turn, which I'll term affective formalism, is culled the transdisciplinary exemplars reviewed here: Ruth Leys's The Ascent of Affect, Gary Genosko's Critical Semiotics, Eugenie Brinkema's The Forms of the Affects, with a nod to Eve Sedgwick's Touching Feeling. Far from caging affect, these new (and not so new) books suggest a return to form, once again, with feeling.