Many have commented on the perennial warmth of Stuart’s manners, which, in a lived form of the politics of affect, functioned as a complexly articulated complement to his deep intellectual seriousness (as he might perhaps have put it himself). 23 Indeed, for such a rigorous thinker, Hall displayed unusual kindness, tolerance, and generosity of spirit—but this seemingly contradictory combination was in fact central to his character. This combination of personal warmth and intellectual rigor lasted throughout his life and can be seen to telling effect in Isaac Julien’s film of the “Choreographing Capital” event. 24 In one scene in the film, from his wheelchair, Stuart engages David Harvey in public debate about the deficiencies of what he saw as Harvey’s economistic determinism, which, so far as Stuart was concerned, lacked any sense of conjunctural mediation of the manner in which economic factors might have their various effects. In the interview Stuart remains as courteous and well-mannered as ever but is nonetheless relentless in his determination to push his critique of Harvey’s position through to the ultimate conclusion of its own internal logic. At one point he apologizes to Harvey for the discomfort, saying that he recognizes that “I am perhaps pushing you further than you feel comfortable to go.” Yet his sense of intellectual responsibility will not permit him to allow their serious theoretical disagreement (about what role the economic can play in constituting an adequate explanation of events) to be fudged, simply in order to avoid a conflict he regards as intellectually and politically necessary. 25