Download E Snap

The modular containment is what appealed about snaps and [we] can see it will be a lot more flexible. Starting with snaps is easy and the resources that are provided are clean and structured which aids adoption.

The Snap Assist tool will automatically appear once you have snapped your first window. Snap Assist will display all other open windows as thumbnails so you can choose which windows you would like to add to the selected layout.

Download E Snap

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Snap is often used to indicate a sudden break or a quick movement. Snap can be used to refer to a sharp sound. Say you hear the sound of a twig snapping. You might not have noticed the twig before; you might have not noticed the pressure on the twig, how it was bent, but when it snaps, it catches your attention. You might hear the snap as the start of something. A snap is only the start of something because of what you did not notice, the pressure on the twig. You might hear someone when she shouts, because she shouts; at that moment a voice can break through over the sound of everything else. It does not mean she starts off by shouting.

A bond can be what you are asked to preserve; an invitation can become a requirement. And a bond can be to a person, to friends, to family, as well as to some we or another. Snapping a bond can be something you do as a consequence of something else you are doing. If pointing out sexism or racism means being judged as snapping a bond, as cutting yourself off from a family, say, it does not mean that your aim was to snap the bond. But your experience of being judged as snapping teaches you about that bond; how it comes with conditions. We often learn conditions by failing to meet them. You realize that sustaining a bond might mean not saying certain things, not doing certain things. So even if you did not aim to snap a bond, when a bond snaps as a consequence of what you say or do, snap can become what you are willing to cause. Think of Faith, she has to leave not just because she snapped at her friends but because of how her bond with her friends was broken; she realizing that bond required overlooking violence, overlooking racism, overlooking, even, herself.

To hear snap, one must thus slow down; we also listen for the slower times of wearing and tearing, of making do; we listen for the sounds of the costs of becoming attuned to the requirements of an existing system. To hear snap, to give that moment a history, we might have to learn to hear the sound of not snapping. Perhaps we are learning to hear exhaustion, the gradual sapping of energy when you have to struggle to exist in a world that negates your existence. Eventually something gives. This is why snapping is not always planned. Indeed snapping can get in the way of the best-laid plan. Snapping can be about the intensity of a situation; when you can no longer do something you have done before. In the end, it can be something little that ends up being too much. A snap can be a story of how you get to the point when it is too much. When you snap you are snapping not only at what is in front of you, but what is behind you; that history of what you have put up with. A snap can be experienced as a delayed snap, once it happens, you can wonder with frustration what took you so long. A snap can tell us when it is too much, after it is too much, which is how snap can becomes a scene of our feminist instruction.

When a snap is what is noticed so much is not noticed: exhaustion, pressure, harassment, work, not being willing; refusal; resistance. What happens after snap? Sometimes we ask this question before we snap: what will happen if I come out with it? Sometimes we do not come out with it in fear of the consequences. Unless snap is accidental, something that happens without you realising what is happening, snapping can feel like a leap into the unknown. I have learnt from that leap. After I shared my reasons for my resignation, many people shared with me their own stories, their own institutional battles; feminist snap as data collection. By snapping we become feminist ears; we become willing to receive. A feminist ear can provide a release of a pressure valve. Just loosening the screw a little bit, a tiny little bit, and you have an explosion. We need more feminist explosions. Of course that is why professional norms of conduct are about keeping a lid on it; institutional loyalty as silence in case of institutional damage. Sexual harassment is treated (even by some professional feminists) as dirty laundry: what should not be aired in public. Racism too: racism is so often privatized, a problem you have with an organization as a problem with you.

We hear you. We will not let you go; let it go. Feminist snap is required to counter the story by raising the sound of protest, making audible what is being done to her; a singular her, many hers. We have to gather to tell another story of what happened to her; to give an account of her death as murder; to count her death as murder. Feminist vigilantism translates into a feminist vigil. A vigil: to stay awake with a person who is dying; to mark or to mourn, to make a protest, to pray; to count our losses, to count her as loss, or, to borrow the name of a recent campaign in response to police violence against black women, can I acknowledge here the important work of Kimberl Crenshaw and Andrea Ritchie, to say her name.

So much violence does not become visible or knowable or tangible. We have to fight to bring that violence to attention. Feminist snap might be how we tell a counter-story, the story that we must tell still; a story that if it is to be told requires sharp and sudden movements to get through or to get out because of what is still; how willfulness is still used by the state to justify death. Feminist snap can be rethought not only as an action but as a method for distributing information. It might involve what the film depicts: taking over media channels and interrupting an official broadcast (remember, interrupt comes from rupture: to break) or using pirate channels. Snap is a method for getting information out because sometimes what we have to get out would compromise a source if traced to a source. We might have to cut a message off from a body. When speaking out is too risky, we have to find other ways for the violence to become manifest. We might need to use guerrilla tactics, and we have a feminist and queer history to draw upon; you can write names of harassers on books; graffiti on walls, turn bodies into art (1). Or to evoke a recent action by feminist direction group Sisters Uncut, we can put red ink in the water so that the center of a city seems flooded by blood. They cut, we bleed. It is a snappy slogan. ff782bc1db