“…In many cases, though, it has been scholars from the humanities who have been drawn to ASMR culture. ASMR videos have been read as products of gendered affective labour (Sadowski, 2016), as ‘symptomatic of…the poverty of care within the late digital capitalist contemporary moment’ (Bjelić, 2016: 103), as exemplifying the cultural agency of algorithms (Gallagher, 2016) and as pioneering new forms of intimacy and post-human eroticism (Andersen, 2015; Waldron, 2017); work from sound studies has considered them as a means of cultivating ‘sonic intimacy’ (Pettman, 2017: 20–21) or manifesting a ‘sonic agency of the weak’ (Labelle, 2018: 129); psychoanalytic critics have interpreted them as a sign of our ‘eroticis[ation]’ of the brain (De Vos, 2016: 135) or a means of negotiating the anxiety-inducing ‘lacklessness’ of digital culture (Manon, 2018: 242).…”