This volume is by no means out of place for a reader in the twenty first century as resemblances between the age of the machine and our own digital age are surprisingly numerous, particularly with reference to the patterns of intellectual response to unprecedented stimuli. The worrisome parallelisms and analogues are purposefully kept off stage for the imaginative audience to complement the plot of the real drama of the Industrial Revolution as it was witnessed by such imaginative medievalist 'knights' as (...) Carlyle, Cobbett, Southey, Pugin, Ruskin and Morris, intelligent thinkers who performed the universal 'type' rather than the subjective or egocentric in so far as their intellectual responses to the discrepancy between two dissimilar epochs was concerned. The reader is, therefore, expected to be engaged with the arguments of the 'neo-feudal', the 'moral-aesthetic' and the utopian 'social-aesthetic' arguments at the core of the book both imaginatively and intellectually. On the first level, he is requested to shuttle between two centuries separated by the length of a different century. On the second, however, he is expected not only to appreciate the artistically excellent literary works of prominent belletrists, but also to examine the clever polemics they developed as methods of treatment and persuasion aiming at a solution of the social and psychological problems that arose from the incongruity between the present and the past, with specific references to such significant concepts as those of time, history, progress and authority which are examined against the superheated touchstones of democratization, liberty, laissez-faire ethics, mechanization, poverty and social protest in the industrial city. (shrink)

Over the last decade, aesthetic and art theory has played an increasingly significant role in the way work and its organization has come to be understood. Bringing together the work of an international spectrum of academics, this collection contributes, in an overall more critical vein, to such emerging debates. Combining both empirical and theoretical material, each chapter re-evaluates the emerging relationship between art, aesthetics, and work, exploring its potential as both a medium of critical analysis, and as a site of (...) conflict and resistance. (shrink)

Art or Porn? The popular media will often choose this heading when reviewing the latest sexually explicit novel, film, or art exhibition. The underlying assumption seems to be that the work under discussion has to be one or the other, and cannot be both. But is this not a false dilemma? Can one really draw a sharp line between the pornographic and the artistic? Isn't it time to make room for pornographic art and for an aesthetic investigation of pornography? In (...) answering these questions this book will draw on insights from many different disciplines, including philosophy, feminist theory, aesthetics, art history, film studies, theatre studies, as well as on the experience of people who are actually operating in the art world and porn industry. By offering a variety of theoretical approaches and examples taken from a wide range of art forms and historical periods, the reader will gain a fuller and deeper comprehension of the relations and frictions between art and pornography. (shrink)

The arts have been almost completely marginalized - at a time when, arguably, they are more important than ever. Whether we understand by “the arts” painting, sculpture and architecture, or more broadly, the whole aesthetic realm and the arts faculties of universities concerned with this realm, over the last half century these fields have lost their cognitive status. This does not mean that there are not people involved in the arts, but they do not have the standing participants in these (...) fields once had. The arts lost the battle of the “two cultures”; science prevailed over the arts and humanities. Architecture is being redefined as an applied science rather than one of the arts. The arts were then finally routed (with hardly a fight) by economists. They have been absorbed into the advertising, entertainment, decoration and building industries, and, as universities have been transformed into transnational business corporations, arts faculties have lost their reason for existence. This paper challenges this marginalization. (shrink)

Karl Marx’s socio-economic analysis of capitalism and the conditions of industrial production are meant to imply the competitive alienation of workers in at least two important senses: Workers are alienated from their tools and materials because under capitalism they generally do not own, develop or cultivate the means of production or market for products themselves; and Workers are alienated from one another in competitive isolation prior to the evolution of assembly-line production in the classical progression of capitalist manufacturing. The present (...) essay develops two main aspects of the art of alienation in this characteristically Marxist aesthetic – directly influenced by Marx, as opposed to existential or atheistic among other kinds of alienation. Focus is placed on Marx’s PhD dissertation and Philosophical and Economic Manuscripts of 1844, as a reflection of the state of social life, philosophical perspectives on the human condition, in a time of mechanization, consumerism and godless materialism. The history of artistic developments offers independent confirmation of Marx’s thematization of alienation objectifying itself as a sign of the times in artistic production and aesthetic theory. (shrink)

This volume aims to question, challenge, supplement, and revise current understandings of the relationship between aesthetic and political operations. The authors transcend disciplinary boundaries and nurture a wide-ranging sensibility about art and sovereignty, two highly complex and interwoven dimensions of human experience that have rarely been explored by scholars in one conceptual space. Several chapters consider the intertwining of modern philosophical currents and modernist artistic forms, in particular those revealing formal abstraction, stylistic experimentation, self-conscious expression, and resistance to traditional definitions (...) of "Art." Other chapters deal with currents that emerged as facets of art became increasingly commercialized, merging with industrial design and popular entertainment industries. Some contributors address Post-Modernist art and theory, highlighting power relations and providing sceptical, critical commentary on repercussions of colonialism and notions of universal truths rooted in Western ideals. By interfering with established dichotomies and unsettling stable debates related to art and sovereignty, all contributors frame new perspectives on the co-constitution of artworks and practices of sovereignty. (shrink)

Helps individual readers to overcome procrastination and build self-esteem Reveals how to create a culture of accountability, and how to hold someone accountable Gives leaders a step-by-step process for helping team members become more self-responsible Explains commitment reluctance and how to encourage self-responsibility among team members Uncovers why we blame others and shows how to defeat a blame culture Provides an easy read with no consultant-speak In recent years, HORN Training and Consulting was awarded the distinguished Gold Medal by the (...) Canadian Society for Training and Development for its leadership development program designed for one of the world’s largest international banks; and HORN is currently executing leadership development projects on a global scale for companies in the consumer packaged goods and pharmaceutical industries. (shrink)

This scarce antiquarian book is a facsimile reprint of the original. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment for protecting, preserving, and promoting the world's literature in affordable, high quality, modern editions that are true to the original work.

This article is a response to recent revealing political attempts to set a political and social function for the Arts through the establishment of performance criteria. A long-standing feature of the historical development of government policy in the UK has been attempts to judge the effectiveness and efficiency of public activity by invidious comparison to effectiveness and efficiency in so-called ‘private’ industry. This tendency requires continuous critical scrutiny.

The situation in motion picture industry is characterized by the fact that, on the one hand, we have ever more astounding inventions, and on the other, a flood of garbage TV and movies. If art is in crisis, it is hardly the fault of science. Perhaps it is the arts, especially cinema, that have not learned to harness the power of the media.

Industrial design and the visual arts share a common aesthetic basis as demonstrated by their common use of aesthetic principles and by designers who are also visual artists. The author examines the rationale for exhibiting industrial products in art museums and the similarities and differences between industrial design and the fine arts. He argues that industrial design shares important theoretical concepts with the visual fine arts.

BackgroundCORE (Clarity and Openness in Reporting: E3-based) Reference (released May 2016 by the European Medical Writers Association [EMWA] and the American Medical Writers Association [AMWA]) is a complete and authoritative open-access user’s guide to support the authoring of clinical study reports (CSRs) for current industry-standard-design interventional studies. CORE Reference is a content guidance resource and is not a CSR Template.TransCelerate Biopharma Inc., an alliance of biopharmaceutical companies, released a CSR Template in November 2018 and recognised CORE Reference as one (...) of two principal sources used in its development.MethodsThe regulatory medical writing and statistical professionals who developed CORE Reference conducted a critical review of the TransCelerate CSR Template. We summarise our major findings and recommendations in this communication. We also re-examined and edited the Version 1 CORE Reference Terminology Table that we first published in 2016, and we present this as Version 2 in this communication.ResultsOur major critical review findings indicate that opportunities remain to refine the CSR Template structure and instructional text, enhance content clarity, add web links to referenced guidance documents, improve transparency to support the broad readership of CSRs, and develop supporting resources.The CORE Reference ‘Terminology Table’ Version 2 includes estimand as a defined term and an adaptation of the original ‘worked study example’ to incorporate the recently evolved concept of ‘estimands’.ConclusionsAs TransCelerate’s CSR Template represents an important milestone in authoring CSRs, we offer CSR authors advice and recommendations on its use, similarities, and differences with CORE Reference and advise them to consider shared interpretations between the two.RegistrationCORE Reference is registered with the EQUATOR Network. The TransCelerate CSR Template is not registered with any external organisation to the knowledge of the authors of this paper. (shrink)

Danish Modern explores the development of mid-century modernist design in Denmark from historical, analytical and theoretical perspectives. Mark Mussari explores the relationship between Danish design aesthetics and the theoretical and cultural impact of Modernism, particularly between 1930 and 1960. He considers how Danish designers responded to early Modernist currents: the Stockholm Exhibition of 1930, their rejection of Bauhaus aesthetic demands, their early fealty to wood and materials, and the tension between cabinetmaker craft and industrial production as it challenged and altered (...) their aesthetic approach. Tracing the theoretical foundations for these developments, Mussari discusses the writings and works of such figures as Poul Henningsen, Arne Jacobsen, Hans Wegner, Nanna Ditzel, and Finn Juhl. (shrink)

Adorno’s extended conception of ‘culture industry’ renders the usual criticism of his views as ‘elitist’ meaningless. The same expansion creates, however, logical strains and contradictions in his analysis of the character and function of the culture industry: a strain in its ‘psychosocial’ and ‘status compulsion’ interpretation. In his late work Adorno attempts to solve this contradiction, but at a heavy price, by creating a conceptual barrier between pleasure and happiness.

Deepfakes are highly realistic, albeit fake, audiovisual contents created with AI. This technology allows the use of deceptive audiovisual material that can impersonate someone’s identity to erode their reputation or manipulate the audience. Deepfakes are also one of the applications of AI that can be used in cultural industries and even to produce works of art. On the one hand, it is important to clarify whether deepfakes in arts and culture are free from the ethical dangers mentioned above. On the (...) other hand, there are specific ethical issues in this field of application. Deepfake technologies can be used to include the performance of deceased persons in audiovisual materials for the dissemination of cultural heritage, and to generate images or sounds in the style of real authors, but deepfakes are also potentially misleading by blurring the boundary between artwork and reality, and raise questions about the relationship between technology, artificial creativity and authorship. The answer to these problems requires an analysis of the normative foundations of copyright to accommodate the new role of AI. (shrink)

On July 19th 2021, the UK government lifted the COVID-19 restrictions that had been in place since March 2020, including wearing masks, social distancing, and all other legal requirements. The return to in-person events has been slow and gradual, showing that audiences are still cautious when they resume engaging in arts and culture. Patterns of audience behavior have also changed, shifting toward local attendance, greater digital and hybrid engagement, and openness to event format changes. As the arts and cultural (...) class='Hi'>industry recovers from the pandemic, it is important to adopt an audience-oriented approach and look at the changing patterns of engaging in arts and culture. This study aims to better understand the impact of the pandemic on the patterns of cultural and arts engagement. Eight qualitative interviews were conducted to explore the changes in arts and cultural engagement since the restrictions were lifted, focusing particularly on the audience’s experiences of returning to in-person arts and cultural events in the Liverpool City Region. Using framework analysis, three themes were identified from the data: The new normal: reframing pre-pandemic and pandemic experiences of arts and culture, Re-adjusting to in-person provision, and Moving forward: online and blended provision. The findings show that the pandemic altered the ways that people engage in arts and culture. The “new normal,” a blend of pandemic and pre-pandemic experiences, illustrates how the pandemic has highlighted and reconfigured the importance of arts and culture, in terms of personal and cultural identity. Resuming in-person engagement after a long break, participants noted that they were able to feel more like themselves again. Arts and culture were perceived to be beneficial in rebuilding personal resilience and confidence. Engaging in arts and culture, following the isolating experience of the pandemic, has also helped participants feel reconnected to others through their shared experiences. Finally, the findings suggest that online provision remains vital for many, ensuring wider inclusivity, particularly for vulnerable audiences. At the same time, it is important to acknowledge the barriers to online inclusion and the possibility of this resulting in a growing digital divide. (shrink)

Although film for Adorno is first and foremost the principal agent of culture industry, he takes on an equivocal stance towards the medium and its aesthetic potentials for reasons inherent to the medium itself. Indeed, its disinterested recording of the empirical world leads to both, a semblance of immediacy easy to instrumentalize for propaganda or advertising purposes, and a non-subjective access to the world of objects, which disclose their societal imprint. Despite (or because of) its technological basis, film is (...) inherently concerned with the society it both mediates and addresses, and has to be understood as a collective medium in either of its formats: commercial productions, because they address the masses (which they manipulate and distract from reality’s inherent antagonisms by reproducing pseudo-realistic, stereotypical representations in a totalitarian manner), independent films, because they unearth something non-identical nestled in the folds of the ideological totality, through a montage “which does not interfere with things but rather arranges them in a constellation akin to that of writing”. This article aims to deploy the complex constellation through which Adorno approaches film, its embedding in the capitalist world, its inherent aesthetic force and its complicated relation with the reality it mediates. (shrink)

Today we come across new media art projects as post-industrial art services that occur at the intersection of contemporary art, new economy, post-political politics (activism, hacktivism), technosciences and techno lifestyles. The artwork is not a stable object anymore, it is a process, an artistic software, an experience, a service devoted to solving a particular (cultural and non-cultural) problem, a research, an interface which demands from its user also the ability for associative selection, algorithmic (logical) thinking and for procedures pertaining to (...) DJ and VJ culture, such as mixing, cutting, sampling and recombination. The art service is not so much the manufacturing of things as it is a process of reshaping the thing, moving it, repurposing it, connecting it and incorporating it into new contexts and relations. The service presupposes a problem, a challenge or an order to be solved or carried out. The performer of the service is always faced with a certain task, challenged to solve it in a sequence of steps, chosen as economically as possible. The service therefore ends with a solution of the problem (or its removal) and not with the manufacturing of a finished object. The service always implies an algorithmic procedure that has to be as rational as possible, economical, divided into phases, steps, instructions needed for it to be carried out. By defining the new media art in terms of post-industrial service activity, the traditional concepts of aesthetic and autonomous art are left behind and replaced with novel theoretical devices, e.g. software, repurposing, remixing, recombination, rewriting and hybridization. (shrink)

This article provides a comprehensive synthesis of state-of-the-art approaches used by industry to improve human, social, and environmental sustainability. Currently available methods such as product stewardship, industrial eco-park design, industrial ecology, Design for Environment (DfE), and others areexplained and their contribution summarized. Particular attention is paid to practices that make the material flows of a society more circular, as in natural ecosystems, and to the idea of companies selling services rather than products. It is concluded that the widespread implementation (...) of these frontier practices are a necessary but not sufficient condition for achieving human, social, and environmental sustainability. Nevertheless, the methods synthesized in this paper reveal a largely untapped potential for improving industrial practices. (shrink)

This paper looks at the themes of nature, humanity, and military and industrial development in the nineteenth century American painter Winslow Homer through the lens of the Hegelian theory of art. Robert Pippin's After the Beautiful has recently put the Hegelian framework to very fruitful use in understanding pictorial modernism. This study of Homer follows a similar approach but argues that Homer's canvases represent a development in the modern spirt which, in many ways, goes beyond the canvases of Manet – (...) a very tight modernist contemporary of Homer's. Homer communicates a presentment of the immense and, in certain profound respects, horrifying power of humanity's growing industrialization. I trace the development of this idea over the course of his career, from this early Civil War canvases to his final seascapes and argue that an understanding of Homer's work is important for understanding the modern spirit of the nineteenth and twentieth centuries. (shrink)

Art In Its Time takes a close look at the way in which art has become integral to the everyday 'ordinary' life of modern society. It explores the prevalent notion of art as transcending its historical moment, and argues that art cannot be separated from the everyday as it often provides material to represent social struggles and class, to explore sexuality, and to think about modern industry and our economic relationships.

In this paper, I argue that the concept of culture industry developed by Max Horkheimer and Theodor W. Adorno had a decisive influence on Jean Godefroy Bidima’s critique of black African modernity. Drawing on some of his writings, I seek to demon- strate how Bidima’s philosophical endeavor inherits the concept of culture industry and applies it to the modern context of black Africa, where it is transformed into the concept of colonial industry. In both cases, the same (...) critical perspective is at play, namely to formulate a broad critique of how cultural products (artworks in Horkheimer and Adorno, and philosophy in Bidima) are deprived of their substance to align with the mystification of the masses. The critique of the culture industry, which serves in Adorno as a fundamental criticism of the production of modern art and its decadence into mass production serves, revisited in Bidima, as a critique of the modern black African philo- sophical discourse. With the light provided by this connection, I propose a rereading of Bidima’s critique of Fabien Eboussi Boulaga, the latter being presented as a promoter of a “discourse of mastery” in black African modern philosophy. (shrink)

This paper forms part of a wider study examining the history and sociology of nursing education in England between 1860 and 1948. It argues that the question of whether nursing was an art, science and/or social science has been at die ‘heart’ of a wider debate on die occupational status and disciplinary identity of nursing. The view that nursing was essentially an art and a ‘calling’, was championed by Florence Nightingale. Ethel Bedford Fenwick and her allies insisted that nursing, like (...) other professions, was a ‘scientific’ and technical enterprise. Social scientists later came to challenge nursing's claim to professionalism by analysing nursing work first within die context of industrial psychology. But they also advocated a rapprochement between nursing, health services and social science research, a challenge which we are in nursing, still striving to meet This paper argues for a strong coalition of nursing with its former nineteenth century ally, social science, in die continuing struggle for change within nursing and health care policy. Rather than searching for some rarified and purified essence of nursing knowledge, it argues that nurses need to join forces with sociologists and economists in striving to shape die agenda for health services research and provide die evidential basis for health policy transformation more generally. (shrink)

We consider what genealogical links, kinship and sociality are promised through the marketing of assisted reproductive technologies (ARTs). Using a mixed method of formal analysis of Facebook's algorithmic architectures and textual analysis of twenty-eight adverts for egg donation drawn from the Facebook Ad Library, we analyse the ways in which the figure of the ‘fertile woman’ is constituted both within the text and at the level of Facebook's targeted advertising systems. We critically examine the ways in which ART clinics address (...) those women whose eggs they wish to harvest and exchange, in combination with the ways in which Facebook's architecture identifies, and sorts those women deemed of ‘relevance’ to the commercial ART industry. We find that women variously appear in these adverts as empowered consumers, generous girlfriends, potential mothers and essentialised bodies who provide free-floating eggs. The genealogical and fertility possibility offered through ART is represented with banal ambiguity wherein potentially disruptive forms of biogenetic relatedness and arrangements of kinship are derisked by an overarching narrative of simplicity and sameness which excludes men, messy genealogies and explicitly queer forms of kinship. This rationalisation is supported by the simplicity and certainty of the Facebook targeted advertising algorithm which produces a coherent audience and interpellates users as fertile subjects whose choices are both biologically determined and only available through clinical intervention. (shrink)

Arts and Humanities in Higher Education, Volume 21, Issue 1, Page 3-20, February 2022. As graduate labour market conditions have become increasingly challenging, higher education institutions have intensified their focus on ‘employability’ via strategies such as work placements. Focusing on work placements in the media and creative industries, this article identifies and analyses three key discourses that animate the pedagogical literature in these sectors: work placements as facilitating a ‘smooth transition’ to the labour market; work placements as a place in (...) which inequalities in the labour market are produced; and work placements as a space for fostering resilience and adaptation to labour market precarity. The article argues that critiques of inequalities based on race, class or gender are marked by a transformative impulse that is largely absent in critiques of those based on worker precarity. This highlights a need to adopt pedagogies that similarly unnaturalise the economic conditions of neoliberal capitalism to discursively construct work in new, more socially just, ways. (shrink)

"Francis Klingender died young, at the age of 48. He left behind a pioneer work: Art and the Industrial Revolution, and published a stimulating and original work of art criticism entitled Goya in the Democratic Tradition. His exhibition of English political caricature marked the starting point of a long overdue reappraisal of this wealth of English political art. This was only part of his contribution to Marxist thought. The essay reprinted here was first published in 1943."--.

As the title suggests, we are here addressing the most fundamental questions: Who is man? What is art? What is the bond that unites man, nature and art? The argument at the heart of this book is that what should be common to all men and women-a natural affinity with the sacred that holds out the promise of spiritual experience in everyday life- is in fact made all but impossible by the very nature of modern society. For what the modern (...) world has set in place is nothing other than a pattern of life that prevents us from being what we truly are. The destruction of man that is part and parcel of the scientific, industrial view of our destiny cannot do otherwise than in turn destroy those values and meanings that have always been the bedrock of normal human existence. At a time when the inadequacy of modernism has become apparent, the author returns to the challenge of the English radical tradition of thought (Blake, Cobbett, Carlyle, Ruskin, Morris, Gill and others), with its critique of the industrial-now post-industrial-way of life. Through a series of highly original studies of several major English artists and craftsman, and by addressing key themes that relate to the spiritual, cultural and environmental crisis that now confronts us, the author offers a positive development of the radical perspective. Can modern man survive the process of self-mutilation he has embarked upon? In this unique study of our present predicament, the author suggests we cannot do so by turning our back on the perennial wisdom that has always informed the wisest philosophies of life, with their intuition of the sacred nature of reality. (shrink)

This book examines the complexities of the hipster through the lens of art history and cultural theory, from Charles Baudelaire's flan̂eur to the contemporary 'creative' borne from creative industries policies. It claims that the recent ubiquity of hipster culture has led many artists to confront their own significance, responding to the mass artification of contemporary life by de-emphasising the formal and textual deconstructions so central to the legacies of modern and postmodern art. In the era of creative digital technologies, long (...) held characteristics of art such as individual expression, innovation, and alternative lifestyle are now features of a flooded and fast-paced global marketplace. Against the idea that artists, like hipsters, are the 'foot soldiers of capitalism', the institutionalized networks that make up the contemporary art world are working to portray a view of art that is less a discerning exercise in innovative form-making than a social platform--a forum for populist aesthetic pleasures or socio-political causes. It is in this sense that the concept of the hipster is caught up in age-old debates about the relation between ethics and aesthetics, examined here in terms of the dynamics of global contemporary art."--Publisher's website. (shrink)

El siguiente artículo toma como punto de partida al concepto de industria cultural desde sus principales exponentes, para exponer sus usos actuales. Este nació como concepto filosófico como parte de la obra de los autores representantes de la llamada Escuela de Frankfurt, Theodor Adorno y Max Horkheimer, con valiosos aportes de Walter Benjamin. En la actualidad ha mutado su definición, siendo utilizado de manera instrumentalpor parte del Estado y organismos internacionales, para definir al grupo de sectores de producción cultural y (...) simbólica de acuerdo a sus parámetros económicos. En este sentido, desde aquél concepto de industria cultural de los años cuarenta podremos ver que hay un recorrido en el cual se van transformando las posturas acerca de lo que el arte y la cultura posibilitan. La función social del arte va escondiéndose detrás de su inmersión cada vez más visible dentro de la producción mercantil, si bien en los últimos años la cultura aparece como motor de desarrollo económico e identitario. Esta transición será ilustrada con el caso argentino, dando cuenta de los cambios en el sector. The following article takes as its starting point the concept of Culture Industry from its leading exponents, and exposes its current uses. The Culture Industry began like a philosophical concept, as part of the work of the Frankfurt School authors, Theodor Adorno and Max Horkheimer, with contributions of Walter Benjamin. Nowadays, this concept definition has mutated, being used instrumentally by the state and international organizations, to define the cultural and symbolic production according to economic parameters. In this sense, paying attention to that idea of Culture Industry, we can see that there is a path in which the possibilities of meanings of art and culture are changing. The social function of art is subordinating behind the commodity production, although in recent years the culture appears as an engine of economic development and identity. This transition will be illustrated accounting for changes in the sector in the case of Argentina. (shrink)

Marcuse suggested the alienation of art from society intrinsic to the aesthetic form represents and recollects an unreal world capable of indicting existing social arrangements while simultaneously providing a sensuous experience of another possible, liberated reality denied by established institutions. Drawing on and recasting part of Marcuse’s theory of art and the aesthetic dimension, the author puts forward several theses regarding art, alienation and abolition of the prison-industrial complex. First, art implies alienation; yet, because of that condition, art offers an (...) antidote to estrangement conducive to PIC abolition. Second, Marx explained why key components of capitalism engender alienation, but expounding upon his analysis reveals how incarceration and the concomitant punitive paradigm also reinforce and reproduce estrangement; art, understood as recollection, can aid in abolition of those institutions. Third, authentic justice implies unimpeded use of creative capacities denied and distorted by the PIC, but art can act as recuperation of those capacities in ways that transform our understanding and practice of justice. Fourth, art can offer a foretaste of liberation while anticipating, expressing and heightening our understanding of the possibilities for fuller freedom and PIC abolition, going against and beyond reformist reforms that have historically functioned to strengthen and expand the PIC. Finally, art augments the spirit of abolition and intimates a mode of being antithetical to imprisonment, the PIC and the alienated way of life associated with criminalization and State coercion. (shrink)