journal of visual culture https://doi.org/10.1177/1470412918783841 journal of visual culture [journals.sagepub.com/home/vcu] SAGE Publications (Los Angeles, London, New Delhi, Singapore, Washington DC and Melbourne) Copyright © The Author(s), 2018. Article reuse guidelines: sagepub.com/journals-permissions Vol 17(2): 207–222 DOI 10.1177/1470412918783841 Affective Architectures: Photographic Evidence and the Evolution of Courtroom Visuality Kelli Moore 783841VCU 0 0 10.1177/1470412918783841Journal of Visual CultureMoore research-article 2018 Abstract This article examines the courtroom situation, focusing on courtroom spectatorship, architecture, and visuality in US trials. Visual evidence is situated within the architectural apparatus of the courtroom to examine how affect unfolds between a testifying witness and courtroom audience members. The movement of photographic evidence during judicial proceedings is linked to the disruption of temporal and spatial equilibrium. The idea is introduced that a feeling of vertigo is produced in the testifying witness and audience participants. Following Sianne Ngai’s conception of the ‘minor affects’, it is proposed that disconcertion and confusion are characteristics of witness testimony and thus important political affects to note in analyses of the relationship between vision and the discovery of justice in legal spectatorship. Keywords chiasmus domestic violence legal spectatorship minor affects photographic evidence proprioception vertigo Introduction In a 2016 themed issue of the journal of visual culture devoted to architecture, editors Jae Emerling and Ronna Gardner propose that contemporary architecture has failed to address ‘the full complex of issues engaged by visual culture studies’ (Emerling and Gardner, 2016: 296). Martino Stierli (2016: 313, 314), in his contribution to this issue, considers ‘how a building serves as an apparatus for the production and display of an image’, and places the