In the realm of pixels and virtual spaces, the art of placemaking transcends physical confines, weaving a digital mosaic of voices and visions. Feminist digital placemaking emerges as a vibrant brushstroke on this canvas, painting online environments with the hues of inclusion, safety, and empowerment. The "Woman, Life, Freedom" movement in Iran, mirrored in the "Year of Hope" digital exhibition, showcases the transformative power of feminist digital placemaking in amplifying voices, knitting solidarity, and challenging oppressive narratives. The "Woman, Life, Freedom" (...) movement, sparked by the tragic demise of Mahsa (Jina) Amini, unfolds like a poignant narrative, with women scripting the chapters of resistance. This movement, a collage of courage and defiance, has found a digital stage in the "Year of Hope" exhibition, where each artwork tells a story, each pixel a testament to the unyielding spirit of Iranian women. (shrink)

The rejection of beauty from a political standpoint is a significant part of the legacy of avant-gardism in contemporary art. In particular, Arthur Danto signaled that artistic activism should avoid beauty simply because beauty induces the wrong perspective on whatever it is desired to have an impact upon. While artistic beauty’s tendency would be to heal, he claimed, political protest needs anger as its trigger. This article challenges such an argument that opposes beauty’s emotional effects on political (...) action by examining the complex nature of both beauty and anger. I contest a mere contemplative view of beauty and, using Carolyn Korsmeyer’s account of “terrible beauties,” bound up with discomforting emotions, I defend that beauty can be compatible with anger albeit, in order to be politically truly effective, anger must move from the wish to punish toward more productive forward-looking thoughts. Though often being necessary as a source of motivation to fight for justice, I believe, with Martha Nussbaum and Myisha Cherry, that anger is truly politically effective and keeps its noble side when detached from revenge and directed by hope, a value related to beauty. (shrink)

This article examines the diversity of tactical interventions that transpired at the Whitney Museum of American Art in 2019, culminating in the resignation of the vice-chairman of its Board of Trustees. Instead of accepting the myth of museum neutrality, the activist campaign, spearheaded by the action-oriented movement Decolonize This Place, treated the Whitney as a site of ideological struggle, permeated by inner divisions and conflicting interests. Through their organizing efforts, activists prefigured a movement-based form of cultural production, mapped connections between (...) seemingly disparate struggles, and built decolonial solidarities. While the activists’ actions were essential to stage the antagonisms that had been dormant in the institution, a multiplicity of actors needed to step in during the process, creating multiple pressure points and taking sides in the division. To amplify the Whitney staffers’ attempt to hold the museum leadership accountable, they sought to bring political protest into the institution, challenging the very principle of counting who belongs to the community and who is excluded. (shrink)

Artistic activism intervenes in, and through, culture to animate ideas with emotions—charge them with affect—to motivate action, and change material conditions. Artistic activism also animates lived experience through emotions and, through its representation, gives rise to ideas and ideals. Yet we have no theory of change for how this might work. This article provides a model to think through and reflect upon “artistic activism,” or whatever name it goes by, as a complex practice that (...) combines the affective power of the arts with the effective aims of activism. This gives us a wide-angle lens with which to see how artistic activism might create change. The model is then applied to a real-world creative activism example: the Undocubus, an intervention by young undocumented immigrants in the southern United States. The model’s macro view aids with thinking through and assessing more specific and necessarily contextual micro theories of change that are applied, consciously or unconsciously, by artistic activists and those they work with. The applied micro-view tests out its alignment with an example of practice. Most importantly, a comprehensive theory of change for artistic activism can provide clarity and direction as to where to intervene to maximize change. (shrink)

Activist artists often face a difficult question: is striving to change the world undermined when pursued through difficult and experimental artistic means? Looking closely at Adrian Piper's 'Four Intruders plus Alarm Systems' (1980), I will consider why this is an important concern for activist art, and assess three different responses in relation to Piper’s work. What I call the conciliatory stance recommends that when activist artists encounter misunderstanding, they should downplay their experimental artistry in favor of fitting their work (...) to their audience's appreciative capacities. What I call the steadfast stance recommends that activist artists have reason to use their privilege of artistic exceptionalism to challenge their audience's expectations, even if this leads to misunderstanding. I claim that a middle position that I call liberal conciliation best balances the demands for actual change placed on activism and the experimental means that artists bring to activism. (shrink)

In this introduction to The Journal of Aesthetics and Art Criticism special issue on the aesthetics of creative activism, we canvas influential scholarship of political aesthetics to sculpt a broad typology of six interconnected mechanisms by which art might intervene in the world. We label these: Documentation, Disruption, Recognition, Participation, Imagination, and Beauty. Each has a compelling tradition of theory and application, augmented, extended, and sometimes challenged by the thirteen fresh and provocative contributions in the special issue. Yet, we (...) ask, if both politically minded artists and culturally minded activists are convinced of the power of art to provoke social change, and if we live a world that by almost all measures is now saturated with politically inclined, aesthetically informed practices, interfaces, objects, and texts, why does art not seem to be making a difference? Clearly, we need to think harder about the relationships between art and action, a task the articles assembled here call upon us to take seriously. (shrink)

"This book explores the relationship between performance and activism in Chile as a form of political expression and citizen participation during the period 2010-2020. Since the student mobilizations of 2006, the social movements that have taken place in Chile are characterized, in many cases, by the appropriation of public space and the political use of the body. This became particularly evident during the social outbreak of October 2019. The social upheaval was accompanied by a cultural explosion, where the arts (...) in all their dimensions played a crucial role as new strategies of collective action. The research proposes two hypotheses about this cultural revolution. Firstly, that this explosion of artistic activism had been fermenting for at least a decade (2010-2020) within the social movements, using performance and art as expressions of collective action. These artistic drivers, catalysts of this cultural revolution, have been mobilized around three fundamental axes of social demands: human rights, education, and feminism. The second hypothesis is that artistic activism in Chile between 2010-2020 emerged to exercise citizenship and strengthen the diversity of cultural identities. Chilean artistic activism today, unlike other historical moments, is a direct expression of citizen participation. It is no longer just artists who contribute to social and protest movements with their work: now, it is the citizens who use artistic expression as a practice of political participation. From an intersectional and feminist perspective, this book is an invitation to study and reflect on the aesthetic and political dimension of performance and its potential to establish justice and symbolic reparation when the State is absent. Furthermore, it incentivises a conversation about the ritual, pedagogical, and visionary dimension of art and its infinite possibilities of expressive and discursive resources. Performance art reimagines possible futures embodying the political demand, always loaded with memory, reclaiming the public space. Performance as the 'art of action' conquers the realm of non-formal education, permeating public space and shaping a Pedagogy of memory and hope." -/- . (shrink)

Current art world statistics demonstrate that the fight for gender and race equality in the art world is far from over: only sixteen percent of this year's Venice Biennale artists were female; only fourteen percent of the work displayed at MoMA in 2016 was by nonwhite artists; only a third of artists represented by U.S. galleries are female, but over two-thirds of students enrolled in art and art-history programs are young women. Arranged in thematic sections focusing on feminism, race, and (...) sexuality, Curatorial Activism examines and illustrates pioneering examples of exhibitions that have broken down boundaries and demonstrated that new approaches are possible, from Linda Nochlin's 'Women Artists' at LACMA in the mid-1970s to Jean-Hubert Martin's 'Carambolages' in 2016 at the Grand Palais in Paris. Including interviews with pioneering curators such as Okwui Enwezor, Linda Nochlin, Jean-Hubert Martin, and Nan Goldin, this volume is both an invaluable source of practical information for those who understand that institutions must be a driving force in this area and a vital source of inspiration for today's expanding new generation of curators. Preface by Lucy R. Lippard. (shrink)

Academics from diverse disciplines are recognizing not only the procedural ethical issues involved in research, but also the complexity of everyday “micro” ethical issues that arise. While ethical guidelines are being developed for research in aboriginal populations and low-and-middle-income countries, multi-partnered research initiatives examining arts-based interventions to promote social change pose a unique set of ethical dilemmas not yet fully explored. Our research team, comprising health, education, and social scientists, critical theorists, artists and community-activists launched a five-year research partnership on (...) arts-for-social change. Funded by the Social Science and Humanities Research Council in Canada and based in six universities, including over 40 community-based collaborators, and informed by five main field projects, we set out to synthesize existing knowledge and lessons we learned. We summarized these learnings into 12 key points for reflection, grouped into three categories: community-university partnership concerns, dilemmas related to the arts, and team issues. In addition to addressing previous concerns outlined in the literature, we identified power dynamics hindering meaningful participation of community partners and university-based teams that need to be addressed within a reflective critical framework of ethical practice. We present how our team has been addressing these issues, as examples of how such concerns could be approached in community-university partnerships in arts for social change. (shrink)

_An exploration of the relationship between contemporary art, politics, and activism, Artists Remake the World introduces readers to the political ambitions of contemporary art in the early twenty-first century and puts forward a new, wide-ranging account of art’s political potential. Surveying such innovations as evidence-driven art, socially engaged art, and ecological art, the book explores how artists have attempted to offer bold solutions to the world’s problems. Vid Simoniti offers original perspectives on contemporary art and its capacity as a (...) force for political and social change. At its best, he argues, contemporary art allows us to imagine utopias and presents us with hard truths, which mainstream political discourse cannot yet articulate. Covering subjects such as climate change, social justice, and global inequality, Simoniti introduces the reader to a host of visionary contemporary artists from across the globe, including Ai Weiwei, Olafur Eliasson, Wangechi Mutu, Naomi Rincón Gallardo, and Hito Steyerl. Offering a philosophy of contemporary art as an experimental branch of politics, the book equips the reader with a new critical apparatus for thinking about political art today. (shrink)

Throughout the 2016 US presidential election, pundits repeatedly described Donald Trump as a performance artist and his campaign as performance art. Meanwhile, his alt-right supporters were mounting performance art shows, debating the meaning of Marina Abramović’s work, and developing their own theories of political performance. For experts in performance theory, such punditry and provocation is like the image in a funhouse mirror. It’s hard to make sense of such bizarre, distorted images—let alone to recognize ourselves in them. This article insists (...) that, nonetheless, we should try. Trump and his movement pose special challenges to American political culture—and also to academic performance theory. His rise has revealed the limitations of a politics (and performance theory) based on norms and their transgression. It has also given the lie to politicians’ false belief that they (and only they) are not performing their politics. The challenge now—for academics, activists, citizens, and journalists alike—is to articulate how performance works, how it provides models of cultural power. (shrink)

Cosmopolitanism seeks a political ethics of world togetherness and a political aesthetics that can contribute to this task critically and imaginatively. Regarding political ethics, I explore the world as a “cosmopolitan mind” composed of “dialogic voices” and threatened by neoliberalism, neofascism, and other nihilistic “oracles.” I also construct a criterion for determining which public artworks (1) resist oracles and (2) help us imagine a “cosmopolitan democracy” and its political ethics. The latter includes the concordance of three ethico-political virtues—solidarity, heterogeneity, and (...) fecundity (creating new voices through the interplay among other voices)—and must appeal to different peoples worldwide. I also examine how this political ethics and aesthetics can be applied to nonhuman life and non-sentient formations in a non-anthropocentric manner; indeed, how the cosmos in its entirety and plurality can also be thought of as voices and participants in the cosmopolitan mind and its artistic expression. Moreover, I contend that my ontology of dialogic voices and proposed public art criterion, like the cosmopolitan mind itself, are “events” or “becomings.” This means that there can never be an articulation of the ontology that is final nor a public art criterion that could curtail the imaginative reach of art. (shrink)

This article explores how racist propaganda works in visual communication and how such propaganda can be resisted. The article analyzes how photography has created new possibilities for the insidious dissemination of racist messages and discusses ways of resisting these visually transmitted propagandistic messages. The two sections of the article focus on examples of racist propaganda in visual culture: in section 1, the focus is on the propagandistic use of photography in the early twentieth century by the pro‐lynching movement; and in (...) section 2, the focus is on racist subtexts in communication that is both visual and verbal in mass media in recent decades. In both sections, the paper discusses how to neutralize and counter propaganda in visual culture by means of what the author terms “epistemic activism,” which consists in practices of interrogation and resistance that unmask, disrupt, and uproot biases and insensitivity. The article discusses different instances of epistemic activism that make explicit and effectively criticize racist subtexts in visual communication. The instances of epistemic activism discussed include the pamphlets of the anti‐lynching movement, critiques of visual artists and scholars, and the critical responses of online activists. The article argues that epistemic activism can produce critical viewership by disrupting the passive reception of visual messages and triggering more active and critical modes of viewing images. The author concludes by emphasizing the urgent need for epistemic activism that promotes critical awareness of the subtexts embedded in visual communication and a sense of critical responsibility in the production, consumption, and recirculation of images. (shrink)

This article explores what it can mean to navigate notions of productive idiocy with aspects of mātauranga Māori (Māori knowledge), through some recent art-as-activism practices of the author, Aotearoa/New Zealand artist Mark Harvey. The works explicated include Waitākere Drag and Auau in the Te Wao Nui ā Tiriwa forest ranges and Productive Promises, which was part of TEZA (Trans Economic Zone of Aotearoa) in Ōtautahi/Christchurch. Avital Ronell’s Nietzschean-influenced perspectives on idiocy are drawn from in relation to Western and Māori (...) perspectives, along with Roger Sansi’s work on idiocy as dissent. From this aggregation of epistemologies, it is proposed that idiocy can be productive through art as activism and that this can align with Indigenous Māori perspectives on playing the fool as a form of resistance and refusal. Examples of Māori concepts engaged with here include perspectives on relationship building, human relationships with forests and the environment, and sovereignty under Te Tiriti o Waitangi (The Treaty of Waitangi). These art-activism projects promised micro-attempts at making positive changes for the communities in which they were situated through performatively generated actions from a Māori perspective within the shroud of ongoing colonization and capitalism. (shrink)

Music as Agency: Diversities of Perspectives on Artistic Citizenship focuses on the concept, application, interpretation and manifestation of Artistic Citizenship in diverse contexts. The key concepts that the book tackles are: Cultural experience, artistic practice, musical identities, equity, democracy, community, activism, resistance and empathy. In giving an overview of aspects of the compound concept of artistic citizenship, Akuno and Westvall present the outcome of research and interrogation of practice by a global network of educator-researchers from (...) Africa, the Americas, Asia and Europe. The book articulates notions of artistic citizenship, coming up with the term artizenship as a derivative of the composite term. It further explains and analyses practical ways of perceiving and relating to art spaces, art practices and arts objects towards belonging, being and becoming in a global space that is disparate, polarised and often alienating, and thus responding to issues such as social justice, identity, participation and inclusion. With a focus on music, the book targets musicians, scholars, educators and enthusiasts keen on gaining a deeper understanding of how music and musicking can influence human interactions towards social integration, trust, cultural awareness and intercultural understanding. (shrink)

Based on Deleuze's idea that philosophy is an activity that appeals to anyone who is attuned to the desire for the ethical life, the contributions in this book question how to live the ethical life today in academia, in art but above all in our multiple ecologies of belonging.

In recent years, Swedish women belonging to a post-migrant generation have made their voices against racism and social inequality prominent within public debate. Engaging in segregated and economically deprived suburbs, these women make use of art in order to counter stereotypical narratives of themselves and their communities. Based on interviews from two research projects, Accessing Utopia and Gendered Islamophobia in Sweden, this article aims to understand the complexities in using art to protest racist structures and stereotypes. In what ways are (...) the young women making room for their own creative expressions in Swedish society, while countering processes of othering? How does the work of representation affect them? What meaning do the women give to the platforms and networks they have been involved in? This article shows that the women’s early experiences of othering and meeting likeminded youths play a central role in order to either enter or create collective platforms where they can creatively engage in expressing their subjectivities and counter society’s controlling images. Projects and platforms such as Revolution Poetry and Swedish hijabis provided collective self-care through support and confidence building among youths from marginalized communities. These platforms can be seen as an artistic homeplace for the interlocutors. The article also shows that the work of representation is sometimes felt as limiting. The activism the women engage in is a deeply personal struggle for self-valuation and seeking ways to live a life on one’s own terms. (shrink)

A corpus made by online Canadian newspaper articles, coming from the archives of CBC News, Vice Canada and Huffington Post Canada, and related multimedia contents such us audio interviews, videos and especially links to images and comments shared on Twitter, allows us to reconstruct the debate on the seal hunt that involved Canadian media in 2014. In specific, we propose an interpretation of the pro-sealing discourse by Canadian Inuit and Newfoundlanders as an ironic and incisive answer to the serious United (...) States animal rights activists discourse, explaining how these two different points of view on animals come from a different experience of the environment and a different conception of nature. The image of the seal became the friction point between Western naturalism against Inuit animism: a multinaturalist clash in the North America post-colonial situation. A clash solved by people as Tanya Tagaq and other Inuit artists that belong to these two different semiospheres and thanks to their border placement can allow a dialog between Inuit and North American cultures traducing aesthetic forms, values and meanings. To study the structures of meaning at the base of this clash and iconoclash Iconoclash. Beyond the image-wars in science, religion and art, pp 14–37, ZKM and MIT Press, Boston, 2002) on the artic seal between opposite cultures, it has been necessary to use the socio-semiotic approach with the help of semiotics of culture tools (Lotman in Universe of the mind. A semiotic theory of culture. Indiana University Press, Bloomington, 1990, Culture and explosion. Mouton de Gruyter, Berlin, 2009]. (shrink)

By observing the mediating role of Pomarańczowa Alternatywa [Orange Alternative], the Polish artistic-activist formation of the 80s and 90s, this paper aims to determine the properties, values and ideals that make a piece of art a public act that can engage people from different social groups in play, and can allow them to reveal their self-determining agency in light of social change. Within the system of varying degrees of social permission, art should allow for the transition from the realm (...) of the “unofficial” to the realm of the “forbidden,” and should facilitate a transformation from the realm of thought to the realm of action. Art introduces an element of play into the sphere of collective behavior, and is a bridge over dichotomous social and political forces. (shrink)

Recently, given the fomenting protests following the murders of George Floyd, Breonna Taylor and Ahmaud Arbery (amongst countless others), much discussion has erupted amongst contemporary artist-activists about the proper place for art and the aestheticization of politics. This is, of course, by no means a novel conversation. Historically, the aestheticization of politics has been disparaged perhaps most vocally by those such as Adorno and Horkheimer, but this critique has its most well-known roots in Plato. Plato’s critique is levelled at the (...) theatre and poetry, particularly the habituation effects of its consumption; specifically, Plato saw that the tragedy embodied by those performers inhabiting the stage and the enraptured audiences who engaged at the level of emotions. Plato censured the putatively groundless feelings demonstrated by actors and their transposition, artificiality’s ripple effect. Consider, for example, the actor performing the role of Achilles who extravagantly expresses grief without truly undergoing it. Audience members inhere towards an unmerited emotional hunger-cum-satisfaction for those putatively irrational feelings of loss by way of weeping and wailing. For Plato, such identification is devoid of proper evaluative grounding and, therefore, is corruptive. Plato’s critique can be considered an evaluation of the kind of rational emotional arrest that occurs through artificial emotional uptake. However, one could counter Plato’s position by noting how, regardless of whether these emotions are performed or the actors “truly” feel them, they may serve a political purpose and greater ends—bridging the audience together with performer/artist, allowing an “as if” simulative scenario. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Spirit of Settler Colonialism and the City Streets:A Response to Mishuana GoemanErin C. Tarveri want thank dr. goeman for her excellent paper and for introducing us to these extraordinary artists. Their work is beautiful and important, and I am grateful for the opportunity to witness it and think about it and to consider in particular in its relation to its setting in Los Angeles.In what follows, I want (...) to consider that setting—a city, as Dr. Goeman notes, containing some of "the most expensive real estate properties in the United States," commercial areas officially defined by "colonial encompassing property logics," and marked by "noise and [the] reverberation of mass consumerism" ("Caring for Landscapes 57). My interest will be in putting Dr. Goeman's analysis of these works and the Indigenous artist-activists who create them in dialogue with Jane Addams's diagnosis of the problems of early twentieth-century American urban life in her book The Spirit of Youth and the City Streets. I will suggest that Dr. Goeman's paper illuminates the limitations of Addams's approach to responding to the alienation of modern urban life—which, while rightly critical of the harms of mass consumer culture and the reduction of city life to economic productivity in conditions of industrialization, does not grapple with its own implication in settler colonialism and dispossession, and therefore cannot care for the land or its inhabitants as these artists invite us to do. I will also invite her to reflect on whether Addams's suggestion that play and recreation are essential components of urban human flourishing is borne out in the work of these artists.Jane Addams, in 1909, discussed the problems of urban life in post-Industrial Revolution Chicago in similar terms to those Dr. Goeman uses to describe the contemporary landscape of Los Angeles. The contemporary city, Addams writes, in forgoing spaces for public play, art, creativity, and non-production, has "entered upon a most difficult and dangerous experiment … at the very moment when the city has become distinctly industrial, [End Page 71] and daily labor is continually more monotonous and subdivided" (4–5). In this context, young people are increasingly alienated and isolated, valued solely for the products of their labor, and desperate for social connection. The playfulness and creativity of youth cannot be entirely stifled, yet without clear public spaces or institutions for outlets, young people become easy targets for capitalists who promise pleasure and self-actualization through consumption—of liquor, of fashion, of music, and so on. Lamenting the impoverished state that the city of mass consumption leaves us in, Addams writes:The spontaneous joy, the clamor for pleasure, the desire of the young people to appear finer and better and altogether more lovely than they really are, the idealization not only of each other but of the whole earth which they regard but as a theater for their noble exploits, the unworldly ambitions, the romantic hopes, the make-believe world in which they live, if properly utilized, what might they not do to make our sordid cities more beautiful, more companionable? And yet at the present moment every city is full of young people who are utterly bewildered and uninstructed in regard to the basic experience which must inevitably come to them, and which has varied, remote and indirect expressions.(15–16)There is, for Addams, a basic human need for play, creativity, and connection—to a community and to the natural world itself—whose unsatisfaction in a city devoted entirely to industry is nothing short of dehumanizing. So basic are these needs that they cry out for fulfillment in the most unexpected moments. She quotes a young man who describes his experience thusly:I never had a chance to go into the country when I was a kid, but I remember one day when I had to deliver a package way out on the west side, that I saw a flock of sheep in Douglas Park. I had never thought that a sheep could be anywhere but in a picture, and when I saw those big white spots on the green grass beginning to move and to turn into sheep, I... (shrink)

In this interview, poet, playwright and human rights activist, Sonia Sanchez, offers rare commentary on her creative process and her life as an artist-activist. Sanchez discusses her childhood in Alabama and the influence of her father and her grandmother in her work. She talks about her dissatisfactions with organized religion, the meaning of spirituality in her life, and the challenge of living a principled life. Sanchez also describes her encounter with Malcolm X, her experience in the Nation of Islam and (...) gender tensions in the Black Arts Movement. Finally, Prof. Sanchez offers advice to young hip hop artists and explains her creative process as a writer. (shrink)

The Rencontres de Bamako or ‘African Photography Biennial’, held in Mali’s capital city, is the only biennial devoted to photography from Africa and the only international photography festival routinely held on the African continent. Since its first edition in 1994, the event has picked up impressive momentum and has caught the attention of jet-setting curators, critics, and dealers and brought exposure and international patronage to a lucky handful of photographers. The biennial has also been controversial. Some of the reasons for (...) this controversy are familiar and echo long-standing issues in the presentation of African art to Euro-American audiences. Other criticisms raise broader problems connected with the globalization of markets and of image culture. These are increasingly voiced by a younger generation of artists, activists, and curators who are exploring new ways of working in and with the global art market. This essay seeks to give a critical and analytical account of the biennial, through conversations with key players, and it explores emergent strategies to avoid dependence on the old North-South funding structures. (shrink)

Increasingly artists have become political activists. Their work has taken on the shape of a criminal investigator. Where does this turn toward forensics come from? How do we understand it as a aesthetic practice? The words investigative and aesthetics seem like an uneasy match. But this book claims that expanded aesthetic practices can powerfully reshape our approach to the question of truth. Shifts in technology and new ways of thinking together offer a means of searching for facts and understanding them (...) anew. This book proposes that the current period is defined by new forms of "aesthetic power" composed both by sensing, detection and prediction and the torrential proliferation of images and data. To evade and oppose this form of state-corporate domination we can learn to join the dots between traces within our interwoven digital, built and natural environments. Investigative aesthetics can also enable new collaborative forms of verification. Rather than rely on official expertise it calls for an open process that combines the perspectives of communities exposed to state or corporate violence with those of artists, activists and scientists. This new practice takes place equally in the field, the art studio as in the scientific laboratory, online and in the streets, as it strives towards the construction of a new "common sensing". (shrink)

Introducing the Special Theme on Veillance and Transparency: A Critical Examination of Mutual Watching in the Post-Snowden, Big Data Era, this article presents a series of provocations and practices on veillance and transparency in the context of Big Data in a post-Snowden period. In introducing the theoretical and empirical research papers, artistic, activist and educational provocations and commentaries in this Special Theme, it highlights three central debates. Firstly, concerning theory/practice, it queries how useful theories of veillance and transparency are (...) in explaining mutual watching in the post-Snowden, Big Data era. Secondly, it presents a range of questions concerning norms, ethics, regulation, resistance and social change around veillance and transparency. Thirdly, it interrogates the upsurge in veillance and transparency discourses and practices post-Snowden, and asks whether they are adequate to the task of educating and engaging people on abstract and secretive surveillance practices, as well as on the possibilities and pitfalls of sousveillance. (shrink)

Jewish vegan and vegetarian movements have become increasingly prominent in recent decades, as more Jews adopt plant-based lifestyles. In this book, scholars, rabbis, and activists explore the history of veganism and vegetarianism among Jews and present compelling new directions in Jewish thought, ethics, and foodways. Jewish Veganism and Vegetarianism asks how Judaism, broadly considered, has inspired people to eschew animal products and how those choices have enriched and defined Jewishness. It offers opportunities to meditate on what makes Jewish veganism and (...) vegetarianism particularly Jewish and to pursue the intellectual, religious, and historical roots of those movements. It also tests their boundaries, examines connections to other movements, and calls attention to divisions among Jewish vegans and vegetarians and to the resistance they have faced. In part one, "Studies," authors present Jewish veganism and vegetarianism in historical, literary, and sociological context: from the time of the Talmud until the present, in North America, Europe, and Israel, and among rabbis, chefs, artists, activists, punks, and farmers. Part two, "New Directions," is focused on contemporary currents in Jewish vegan and vegetarian thought. The authors represent the cultural, theological, and ideological diversity among Jews invested in such conversations and introduce prominent debates within their movements. As a whole, the volume presents a wide-ranging survey of the place of veganism and vegetarianism in Judaism past and present. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:preface The essays in this special issue on Indigenous Feminisms in Settler Contexts engage feminist politics from multiple Indigenous geographies, histories, and standpoints. What emerges is a panoramic view of Indigenous feminist scholarship’s conceptual, linguistic, and artistic activism at this moment in time. We learn of praxis aimed at reclaiming Indigenous languages and ecological perspectives and the varied modes of resistance, survivance, and persistence. We also unpack (...) the complex racial/gender politics of colonial encounters in contexts where white women cared intimately for Indigenous children, or where they helped to recover Indigenous oral traditions, and we note how modes of help can also reproduce imperial power relations. Some essays, art works, and poems extend the geographic ambit of critiques of settler colonialism beyond American contexts: they deploy feminist rubrics to critique the continuing violent settlement of Palestine and Kashmir to demonstrate that the occupation of “marginal” places is constitutive of state-​ society relations; others describe how Australian Aboriginal and Sámi artists engage the question of Indigenous visibility. In different ways, they each show how staying in place, against all odds, can be radical. Our first two articles examine the politics of praxis. Michelle M. Jacob, Virginia R. Beavert, Regan Anderson, Leilani Sabzalian, and Joana Jansen analyze Indigenous feminist praxis surrounding Ichishkíin Indigenous language education. The “artivism” of Sámi artists Maxida 284Preface and Timimie Märak, which expresses concern for land and water rights, gender and sexuality, and Indigenous rights in Northern Europe takes center stage in Kyle Bladow’s essay. The next three articles interrogate historical records shaping Indigenous lives in northern Canada, southwest Pacific, and southwestern United States and Mexico. Val Marie Johnson examines how white women staff members’ intimate care relations at residential schools for Inuvialuit, Inuinnait, and Iñupiat peoples in Canada were bound up with the latter’s dispossession. Carolyn J. Eichner recounts the encounter between the Indigenous Kanak people and Louise Michel, a feminist and participant in the revolutionary Paris Commune of 1871 who was banished to New Caledonia for seven years; Eichner argues that although Michel was staunchly anti-imperialist, her liberatory political project bore the temporal logics of colonization. Drawing on examples of Nahua reconfigurations of Christian scripture, Kenna Neitch proposes the language of “persistence” as a heuristic for avoiding the reactive, relational connotations that can pervade scholarly usages of “resistance” rhetoric. Next, our review essay by Jennifer McLerran describes recent Indigenous feminist scholarship that recasts the concept of sovereignty. Our News and Views piece focuses on modalities of occupation in the context of Kashmir: Nosheen Ali, Mona Bhan, Sahana Ghosh, Hafsa Kanjwal, Zunaira Komal, Deepti Misri, Shruti Mukherjee, Nishant Upadhyay, Saiba Varma, and Ather Zia argue that occupation is foundational to the making and reproduction of nationstates, and not exceptional to state power. The varied forms of resistance to occupation are examined by Sara Ihmoud in her article about how a group of Palestinian women, the Murabitat al-Haram, agitate for religious freedom simply by “staying in place.” Rabab Abdulhadi comments on shifts in contemporary settler colonial discourse in Israel, noting the increasingly overt and unapologetic deployment of highly sexualized and gendered images. Marina Tyquiengco examines the art of Australian Aboriginal artist Fiona Foley, specifically her Black Velvet series. Art and myth are also fused in Shantell Powell’s textual and visual rendering of Inuit memory. This issue features a range of poetry on topics such as language loss, human-land relationships, and sexual violence, written by Katherine Agyemaa Agard, Kei Kaimana, and Kai Minosh Pyle, and curated by our creative writing editor, Alexis Pauline Gumbs. In “Átaw Iwá Ichishkíin Sínwit: The Importance of Ichishkíin Language in Advancing Indigenous Feminist Education,” Michelle M. Jacob, Preface 285 Virginia R. Beavert, Regan Anderson, Leilani Sabzalian, and Joana Jansen examine Indigenous feminist praxis surrounding Ichishkíin-language education. They critique how Western education systems inflict pernicious forms of violence within Native communities, engaging in practices of linguistic genocide and alienating Indigenous peoples from their homelands. In response, Native peoples, along with non-Native allies, are engaging in educational and political activism to reclaim and revitalize Indigenous languages and ecological perspectives. In examining the foundational teaching of Ichishk... (shrink)

Black Art and Aesthetics comprises essays, poems, interviews, and over 50 images from artists and writers: GerShun Avilez, Angela Y. Davis, Thomas F. DeFrantz, Theaster Gates, Aracelis Girmay, Jeremy Matthew Glick, Deborah Goffe, James B. Haile III, Vijay Iyer, Isaac Julien, Benjamin Krusling, Daphne Lamothe, George E. Lewis, Sarah Elizabeth Lewis, Meleko Mokgosi, Wangechi Mutu, Fumi Okiji, Nell Painter, Mickaella Perina, Kevin Quashie, Claudia Rankine, Claudia Schmuckli, Evie Shockley, Paul C. Taylor, Kara Walker, Simone White, and Mabel O. Wilson. The (...) stellar contributors practice Black aesthetics by engaging intersectionally with class, queer sexuality, female embodiment, dance vocabularies, coloniality, Afrodiasporic music, Black post-soul art, Afropessimism, and more. Black aesthetics thus restores aesthetics to its full potential by encompassing all forms of sensation and imagination in art, culture, design, everyday life, and nature and by creating new ways of reckoning with experience, identity, and resistance. Highlighting wide-ranging forms of Black aesthetics across the arts, culture, and theory, Black Art and Aesthetics: Relationalities, Interiorities, Reckonings provides an unprecedented view of a field enjoying a global resurgence. Black aesthetics materializes in communities of artists, activists, theorists, and others who critique racial inequities, create new forms of interiority and relationality, uncover affective histories, and develop strategies for social justice. (shrink)

While the « street corner society » is mostly masculine, women seek out common spaces : school gates, around-the-clock/24-hour surgeries/ medical practices/centres, social centres, and nowdays the garden. There is an artistic and political practice, that has been grafted onto this need, for the construction of waiting spaces where it is possible to breath together. In the major European cities « vacuoles » are being created on the initiative of artist-activists, places where the inhabitants of a deprived neighbourhood can (...) pool their ideas and set down their dreams, making themselves available for the event. The collective construction of multiple languages, that of local migrations, is framed by a work of analysis and common effort, by the slow building up of a « plan of consistency », translocal and transnational. (shrink)

Black girls regularly experience gendered, racial structural violence, not just from formal systems of law enforcement, but throughout their daily lives. School is one of the most central and potentially damaging sites for Black girls in this regard. In this paper, I draw attention to the role of the beauty salon as a space of renewal for Black women and girls as they navigate systems of oppression in their daily lives and report on the ways in which a specific beauty (...) salon in Chesterfield County, Virginia, supported a group of Black high school girls. The study focuses on the exposure of Black girls to carceral measures in school settings and speaks to the role of African-American beauty salons as spaces where collective care from violence can manifest and strategies to interrupt racialized gendered violence against Black girls can emerge. As Co-Investigator of this study funded by the Department of Justice, I created the “scholar-artist-activist lab,” consisting of a small group of undergraduate and graduate students facilitating workshops with a mixed gender group of Black high-school students, to discuss, interact, and participate in social justice-centered exercises. I focus here on the experiences of the Black girls who participated in the study. (shrink)

“Every practice is a mode of thought, already in the act. To dance: a thinking in movement. To paint: a thinking through color. To perceive in the everyday: a thinking of the world’s varied ways of affording itself.” —from _Thought in the Act _Combining philosophy and aesthetics, _Thought in the Act_ is a unique exploration of creative practice as a form of thinking. Challenging the common opposition between the conceptual and the aesthetic, Erin Manning and Brian Massumi “think through” a (...) wide range of creative practices in the process of their making, revealing how thinking and artfulness are intimately, creatively, and inseparably intertwined. They rediscover this intertwining at the heart of everyday perception and investigate its potential for new forms of activism at the crossroads of politics and art. Emerging from active collaborations, the book analyzes the experiential work of the architects and conceptual artists Arakawa and Gins, the improvisational choreographic techniques of William Forsythe, the recent painting practice of Bracha Ettinger, as well as autistic writers’ self-descriptions of their perceptual world and the experimental event making of the SenseLab collective. Drawing from the idiosyncratic vocabularies of each creative practice, and building on the vocabulary of process philosophy, the book reactivates rather than merely describes the artistic processes it examines. The result is a thinking-with and a writing-in-collaboration-with these processes and a demonstration of how philosophy co-composes with the act in the making. _Thought in the Act_ enacts a collaborative mode of thinking in the act at the intersection of art, philosophy, and politics. (shrink)

Representations of critical geography and border studies have developed concepts and methodologies for exploring the multifaceted and contradictory image of contemporary borders. Artists, scholars and social activists show increased interest in the narrative and visual documenting of border’s closures. The border’s visuality becomes a supporting argument for dissent and protest, giving the ‘visual evidence’ of the extremely quick border’s re-territoriality. As a result, important events allow one ‘to extracts sameness even from what is unique’ (W. Benjamin). The mass migration and (...) the pandemic return us to the reality of the human world with their non-freedom and illness. In the migration case, Europe has dealt with an ‘alien body’, and in the pandemic, with an ‘infected or sick body’. The relationship between the image and the viewer is an important starting point in the representation of mass migration and pandemic. Mitchell’s metaphor of ‘live images’ help us better understand the sense and reasons of new biological and politic events. Nowadays, the development, materialisation, and embodiment of European borders are the stable visual symbol of our existence. (shrink)

Activist and political art works, particularly feminist ones, are frequently either dis-missed for their illegitimate combination of the aesthetic and the political, or embraced as chiefly political works. Flawed conceptions of politics and the imagination are responsible for that dismissal. An understanding of the imagination is developed that allows us to see how political work and political explorations may inform the artistic imagination.

The Situationist International have become a canonical reference point when discussing artists’ participation in political action or activism. This article attempts to decentre the SI from this position, by tracing their theories and representations of political agency and labour. I argue that their notion of agency is deeply conflicted, epitomized by the dual invocations ‘never work/all power to the workers’ councils. I examine how the SI’s representations of agency betray an attraction to and fascination with 1960s reactionary fantasies around (...) brainwashing, conditioning, control and torture. Their practical descriptions of a constructed situation, which ‘makes people live’ are, in fact, closer to torturous state control than total liberation. The notions of agency they mobilise draw on colonial and classist sources, which actually deny the agency of radical movements. As a result, the SI produce a series of weak fantasies of participation, in which agency is denied and ‘demanding the impossible’ is actually a demand to constitute and police the impossible. Artistic-political agency was both guarded centre and constituent other. The SI’s policing of their identity, tied in name to the agency of ‘situations’, involved the ongoing exclusion and repression of other artists’ more practically-engaged labour within social movements. (shrink)

Artistic labour was exemplary for Utopian Socialist theories of 'attractive labour', and Marxist theories of 'nonalienated labour', but the rise of the anti-work movement and current theories of 'fully automated luxury communism' have seen art topple from its privileged place within the left's political imaginary as the artist has been reconceived as a prototype of the precarious 24/7 worker. 'Art and Postcapitalism' argues that art remains essential for thinking about the intersection of labour, capitalism and postcapitalism not insofar as (...) it merges work and pleasure but as an example of noncapitalist production. Reassessing the contemporary politics of work by revisiting debates about art, technology and in the nineteenth and twentieth century, Dave Beech challenges the aesthetics of labour in John Ruskin, William Morris and Oscar Wilde with a value theory of the supersession of capitalism that sheds light on the anti-work theory by Silvia Federici, Andre Gorz, Kathi Weeks and Maurizio Lazzarato, as well as the technological Cockayne of Srnicek and Williams and Paul Mason. Formulating a critique of contemporary postcapitalism, and developing a new understanding of art and labour within the political project of the supersession of value production, this book is essential for activists, scholars and anyone interested in the real and imagined escape routes from capitalism. (shrink)

"Artists are trying to move away from the influence of competitive corporate culture that has increasingly defined art as an abrasive urban career. Artists are trying to replace this with the humbler notion of art as a practice, as a mindful way of life, consisting of consciously creative gestures, visible and invisible, large and small. Art practice is a private and public, selfless and generous, creative life process resulting in a conscious cultural product." "Walking Art Practice" brings together the author's (...) experiences as a monk, performance artist, social choreographer and educator. It serves as a provocation, walkers' manifesto, and teaching guide for walking as a mindful cultural activity and as mindful cultural activism. It is an inspirational text for artists, art students and anyone who loves to walk. Ernesto Pujol combines elements from an art book, field journal and walkers' manifesto. It is a text for performative artists, art students, and all who walk as cultural activism. This book is an invitation to: Rethink what it means to walk and explore different ways in which to walk as: a cultural practice; a meditative practice; a radical practice; art; healing; and social engagement; Reconsider how to attend to the inner and outer landscape whilst walking; Treat walking as a performance resource; Walk as an everyday pilgrimage; Walk slowly, walk in and with awareness, walk with and without skill, walk to regain and to lose. [Subject: Performance Art, Walking, Meditation]. (shrink)

Contemporary art is a global success story. It is regularly lauded for its formal experimentation, its diversity, and its interrogation of pressing issues. However, it is also a category of art that creates deep confusion, seemingly floating free of any attempts to clarify its historical determination, conceptual definition, or criteria for critical judgement. The aim of this thesis is to move against this confusion by attempting to answer a central question: what makes art contemporary? In response, I develop three main (...) lines of argument. -/- I begin by arguing that contemporary art has two key features. First, it is made in contexts of absolute heterogeneity, in which artists are free to use any material, art form, genre, or style they please. Second, it attempts to engage with the crises of contemporaneity. This thesis focuses on understanding the second feature which has not been subject to extended philosophical reflection. -/- Next, I argue that one of the main ways contemporary art attempts to grapple with contemporaneity is by getting its audience to improve their cognitive standing on crises. I argue that contemporary art aims not just to provide its audiences with knowledge, but also to make them active co-producers of understanding. In doing so, contemporary artists attempt to help their audiences become participants in shaping the present. -/- Finally, I explore the ways in which the preceding arguments can help us to understand what it means to appreciate an artwork as contemporary art. I endorse a functionalist approach to artistic value. But I also argue that realising the artistic value of contemporary art is often a risky endeavour. I claim that, when dealing with experimental and challenging art, we have to be closely attentive to the way artists exempt themselves from various norms and the impact this has on the activity of audiences and mediators. (shrink)

The last twenty‐five years have seen a radical shift in the work of politically committed artists. No longer content to merely represent social reality, a new generation of artists has sought to change it, blending art with activism, social regeneration projects, and even violent political action. I assess how this form of contemporary art should lead us to rethink theories of artistic value and argue that these works make a convincing case for an often‐dismissed position, namely, the pragmatic (...) view of artistic value. However, the pragmatic view, when properly applied, sets the bar high indeed—art that tries to change society should be considered good art only when it succeeds in making a tangible difference. (shrink)

The many achievements of William Morris are described in this volume, which explores his multifaceted career as a political writer and activist, an artist and designer, a man of letters, and a successful businessman.

La notion d’expérimentation, initialement réservée au domaine des sciences expérimentales, est employée aujourd’hui pour qualifier de multiples pratiques sociopolitiques : gouvernementales, activistes ou artistiques. Cette extension des usages du terme manifeste l’influence de l’imaginaire des pratiques de recherche expérimentale sur les conceptions contemporaines du politique. Elle accompagne des mutations du parler et de l’agir politiques qu’il importe de mieux caractériser, au confluent de la raison scientifique et technique et des transformations de l’espace public.Experimentation, which initially concerned only the experimental sciences (...) field, is a term now used to describe a great many forms of socio-political practice, for example among governments, activists or artists. This extension of the term’s usage illustrates the influence of imagination in experimental research on contemporary conceptions of politics. It is supporting changes in the patterns of political speech and action that need to be better characterised, as they are occurring at the point where scientific and technical reason meets the transformation of the public sphere. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response 2: “Pessimism of the Intellect, Optimism of the Will”Antonis BalasopoulosLet me begin with a few words on my title, which was chosen as reflecting the nature of the orientation of my work in the field of utopian studies and therefore also of my orientation toward the theme of this roundtable. As Francesca Antonini puts it in a recent essay, the phrase, which became associated with the work of (...) Antonio Gramsci though it originates in Romain Rolland, describes “the (seemingly contradictory) coexistence of a realistic description of the status quo, on the one hand, and a genuine commitment to the possibility of transforming reality, on the other.”1Anyone who has read Thomas More’s Utopia knows that Rolland’s and Gramsci’s formula very much describes that book’s bifurcation between a voice of relentless critique of what exists in Europe—and particularly in England—in More’s time (in Book 1) and a voice preoccupied with the description of an alternative, and arguably better, world (in Book 2). This bifurcation, it is equally well known, is part of the genetic material More’s book bequeathed to its successors, so that one calls a “utopia” a (mostly, though not always) literary text, where the “realistic description of the status quo” coexists with a vision arising out of a “commitment to the possibility of transforming reality”—admittedly in different admixtures and proportions of [End Page 544] the critical or negative and the anticipatory, projective or prefigurative elements. Though Ernst Bloch’s distinction between “cold” and warm” streams within Marxism is not identical to this first binary, it is certainly related to it, so that the “cold” stream is one that privileges the rational and analytical element (usually, I would propose, in relation to the part of the Marxist tradition we know as “critique of political economy”), while the “warm stream” is one that rather foregrounds that which relates to affect, to desire, hope, or fidelity to the transformative project (these are frequently correlated to those elements of Marxism that correspond to its also being a political and philosophically imbued creed).2 What follows here, then, explores the implications of the dialectical interplay between these two sets of oppositions—and hopefully justifies such insistence on dialectic itself.3To the extent that I can see, the basic themes and areas of concentration in my colleagues’ essays involve decolonizing utopian studies as a project; addressing, in that connection, the heterogeneity of utopianisms that emerge out of a number of marginalized subjectivities; the provenance of the questions of ecology, sustainability, animal life for the present and future of utopian studies (and to some degree, for utopianism’s past); and finally, the question of utopian forms of social activism and therefore also the search for spaces beyond the walls of academic insularity. These are important and largely interconnected questions, but I am afraid I will only have the space to touch on them briefly and sketchily here.In her cogent and multifaceted intervention, Caroline Edwards begins her reflections on the task of decolonizing utopian studies by noting the high investment of fin-de-siècle utopian fiction in notions of industrial progress, noting that such notions have involved “lasting damage” for “Black writers, artists, and thinkers.” Within this framework, she evokes Joseph R. Winters’s argument that “modern notions of progress and freedom are inherently flawed,” since they are founded on the oppressive traditions of capitalism and colonialism. In turn, this leads to an argument against the teleological futurism of most nineteenth-century utopias and in support of the deconstruction of “the idea of historical progress unfolding in Hegelian dialectical stages.” What is to replace this is a hauntological (after Derrida) conception of the relation between the present and the past, for which “the present is always a site of potential breaks and ruptures that can signify both dislocation and pain as well as novelty and possibility.” In a similar vein, Heather Alberro questions the teleological futurism of an earlier tradition of utopia, evoking Laurence Davis’s observation on the importance of [End Page 545] “neglected or suppressed possibilities for qualitatively better forms of life” within the “Now.” The desideratum is, again... (shrink)

This book analyzes recent artistic and activist projects in order to conceptualize the new roles and goals of a critical theory and practice of art and photography. Vered Maimon argues that current artistic and activist practices are no longer concerned with the "politics of representation" and the critique of the spectacle, but with a "politics of rights" and the performative formation of shared yet highly contested public domains. The book thus offers a critical framework in which to rethink (...) the artistic, the activist, and the political under globalization. The primary focus is on the ways contemporary artists and activists examine political citizenship as a paradox where subjects are struggling to acquire rights whose formulation rests on attributes they allegedly don't have; while the universal political validity of these rights presupposes precisely the abstraction of every form of difference, rights for all. The book will be of interest to scholars working in art history, contemporary art, photography theory, visual culture, cultural studies, critical theory, political theory, human rights, and activism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:diacritics 30.1 (2000) 106-123 [Access article in PDF] The (Mis)Uses of Cannibalism in Contemporary Cultural Critique C. Richard King At least since 1979, when W. Arens demystified what he termed "the man-eating myth," cannibalism, once a fundamental feature of the anthropological imagination and a primary trope for interpreting cultural difference, has become subject to serious debate and lingering doubt [see Osborne]. Even as some anthropologists have sought to recuperate (...) anthropophagy as a tangible symbolic, ideological, and ritual complex [Brown and Tuzin; Conklin, "'Thus are our Bodies'"; Forsyth; Harris, Good to Eat 199-234; Sanday], a constellation of scholarly projects and popular works has complicated cannibalism by relocating it in the West. Perhaps most visibly, Hollywood cinema has reclaimed cannibalism. Although a handful of films have revived well-worn clichés of dark-skinned savages preparing to consume Westerners, as in King Solomon's Mines and Crocodile Dundee, others have cast the Western subject as cannibal to grapple with the horrors of reluctant cannibalism, as in Alive! [see Fiddes 121-31], to work through the transgressive and terrifying desires associated with psychopathic cannibalism, as in The Silence of the Lambs [Fuss; Halberstam], and importantly to parody the normative beliefs and behaviors of white, middle-class, heterosexual EuroAmericans, as in Eating Raoul and Parents. At the same time, an array of scholars, artists, and activists have invoked cannibalism to fashion critical perspectives on Western cultural practices. In his film Cannibal Tours (1987), Dennis O'Rourke encourages his audiences to think critically about tourists who travel to the Sepik River Valley to encounter reformed cannibals, asking implicitly who the cannibals are, the Melanesians who formerly (were thought to/claim to have) practiced anthropophagy or the tourists who travel to New Guinea to consume them [see Bruner]. Others have pushed the metaphor. Michael Ames, borrowing explicitly from O'Rourke, uses the cannibal to reframe ethnographic museums and their practices. Similarly, Jane Tompkins asserts that "Museums are a form of cannibalism made safe for polite society" [533]. More generally, Crystal Bartolovich playfully glosses consumerism as the cultural logic of the late cannibalism; bell hooks speaks of the EuroAmerican desires for and incorporation of things ethnic as "eating the other"; and Rosalind Morris suggests that cannibalism is the essential metaphor for late capitalism. More telling, however, are a set of overlapping critical projects that offer detailed theorizations [End Page 106] [Begin Page 108] of contemporary anthropophagy. Here, I will examine three that have had an important impact on discussions of tourism, museums, cultural appropriation, and consumption. Dean MacCannell, in an exciting exploratory review of the documentary Cannibal Tours, makes explicit what O'Rourke left unsaid: we are cannibals, and contemporary capitalism is neocannibalism. Perhaps more radically, Jack Forbes argues that Western civilization fosters cannibalism as an embodied, psychosocial condition or psychosis rooted in exploitation and consumption. Inspired at least in part by Forbes, Deborah Root rethinks Western civilization as cannibal culture.Although I am terribly sympathetic with these perspectives, particularly their political commitments and theoretical creativity, I am disturbed by the practices and effects that animate them. Indeed, as powerful as this critical field promises to be, it is at the same time troubling and dangerous. Although it defamiliarizes practices of cultural production and consumption, it does not enhance understanding of the contexts in which individuals and institutions deploy them and does less to effectively challenge or undermine them. In reframing beliefs and behaviors to accentuate productivity and power, it reinstates and reaffirms binaries and, worse, often turns on the same forms of appropriation.* * *Arguably, flesh eating has always promoted the elaborations of differences. Works central to the Western canon mobilize cannibalism to make (sense of) the world. Herodotus offers an early anthropophagic distinction:These Scythian husbandmen then occupy the country eastward for three days' journey.... Beyond this region the country is desert for a great distance; and beyond the desert Androphagi dwell.... The Androphagi have the most savage customs of all men; they pay no regard to justice, nor make use of any established law. They are nomads and wear a dress like a Scythian; they... (shrink)

The emergence of modern sciences in the seventeenth century profoundly renewed our understanding of Nature. For the last three centuries new ideas of Nature have been continuously developed by theology, politics, economics, and science, especially the sciences of the material world. The situation is even more unstable today, now that we have entered an ecological mutation of unprecedented scale. Some call it the Anthropocene, but it is best described as a new climatic regime. And a new regime it certainly is, (...) since the many unexpected connections between human activity and the natural world oblige every one of us to reopen the earlier notions of Nature and redistribute what had been packed inside. So the question now arises: what will replace the old ways of looking at Nature? This book explores a potential candidate proposed by James Lovelock when he chose the name "Gaia" for the fragile, complex system through which living phenomena modify the Earth. The fact that he was immediately misunderstood proves simply that his readers have tried to fit this new notion into an older frame, transforming Gaia into a single organism, a kind of giant thermostat, some sort of New Age goddess, or even divine Providence. In this series of lectures on "natural religion", Bruno Latour argues that the complex and ambiguous figure of Gaia offers, on the contrary, an ideal way to disentangle the ethical, political, theological, and scientific aspects of the now obsolete notion of Nature. He lays the groundwork for a future collaboration among scientists, theologians, activists, and artists as they, and we, begin to adjust to the new climatic regime. (shrink)

If art, science, and the humanities have shared one thing, it was their common engagement with constructions and representations of the human. Under the pressure of new contemporary concerns, however, we are experiencing a “posthuman condition”; the combination of new developments-such as the neoliberal economics of global capitalism, migration, technological advances, environmental destruction on a mass scale, the perpetual war on terror and extensive security systems- with a troublesome reiteration of old, unresolved problems that mean the concept of the human (...) as we had previously known it has undergone dramatic transformations. The Posthuman Glossary is a volume providing an outline of the critical terms of posthumanity in present-day artistic and intellectual work. It builds on the broad thematic topics of Anthropocene/Capitalocene, eco-sophies, digital activism, algorithmic cultures and security and the inhuman. It outlines potential artistic, intellectual, and activist itineraries of working through the complex reality of the 'posthuman condition', and creates an understanding of the altered meanings of art vis-à-vis critical present-day developments. It bridges missing links across disciplines, terminologies, constituencies and critical communities. This original work will unlock the terms of the posthuman for students and researchers alike. (shrink)

In recent years, an increasing number of contemporary artists have incorporated live animals into their work. Although this development has attracted a great deal of attention in the artworld and among animal rights activists, it has not been much discussed in the philosophy of art—which is quite remarkable, given the serious ethical and artistic questions that these artworks prompt. I focus on answering two such questions. First, is the use of animals in these artworks ethically objectionable? Or are such (...) artworks instead morally permissible or even laudable? Second, what might be the distinctive value or good of incorporating animals into artworks in this way? In response to both questions, I argue that one distinctive value of some of the artworks I discuss is their ability to facilitate a relationship of moral concern and respect on the part of an audience toward the animals that are a part of the artwork. Insofar as artworks facilitate such relationships, they are not simply artistically important; they are also, to that extent, morally good. (shrink)

This collection of quotes demonstrates the elegant simplicity of Ai Weiwei's thoughts on key aspects of his art, politics, and life. A master at communicating powerful ideas in astonishingly few words, Ai Weiwei is known for his innovative use of social media to disseminate his views. The short quotations presented here have been carefully selected from articles, tweets, and interviews given by this acclaimed Chinese artist and activist. The book is organized into six categories: freedom of expression; art and (...) class='Hi'>activism; government, power, and moral choices; the digital world; history, the historical moment, and the future; and personal reflections. Together, these quotes span some of the most revealing moments of Ai Weiwei's eventful career--from his risky investigation into student deaths in the 2008 Sichuan earthquake to his arbitrary arrest in 2011--providing a window into the mind of one of the world's most electrifying and courageous contemporary artists. (shrink)

Anita Chari revives the concept of reification from Marx and the Frankfurt School to spotlight the resistance to neoliberal capitalism now forming at the level of political economy and at the more sensate, experiential level of subjective transformation. Reading art by Oliver Ressler, Zanny Begg, Claire Fontaine, Jason Lazarus, and Mika Rottenberg, as well as the politics of Occupy Wall Street, Chari identifies practices through which artists and activists have challenged neoliberalism's social and political logics, exposing its inherent tensions and (...) contradictions. (shrink)

Making Worlds brings together thirty-one distinguished feminist activists, artists, and scholars to address a series of questions that resonate with increasing urgency in our current global environment: How is space imagined, represented, arranged, and distributed? What are the lived consequences of these configurations? And how are these questions affected by gender and other socially constructed categories of "difference"—race, ethnicity, sexuality, class, nationality? How are the symbolic formations of place and space marked by cultural ideologies that carry across into the places (...) and spaces we inhabit, the boundaries and institutions we maintain? In recent years these questions have occasioned intensifying debates, but they have seldom extended beyond the boundaries of individual academic disciplines or crossed the divide that has traditionally separated the academy from the "outside" world. Making Worlds both questions and traverses those divisions by combining personal essays, activist political rhetoric, oral history, poetry, iconography, and performance art with interdisciplinary academic discourses. Representing a wide range of perspectives, Making Worlds develops a provocative conversation about gender and spatiality in the interwoven symbolic and material environments we create. The contributors engage such issues as the body as site of symbolic action, fabrication, and desire; the place and play of sexualities; the cultural implications of everyday life—home, travel, work, childbirth, food, disease, and death; technology and mass media; surveillance, confinement, and the law; the dynamics of race and ethnicity; imperialism, oppression, and resistance; the politics of urban spaces; landscape and cultural memory; the experience of time; and the nature of "Nature." For students and scholars in cultural studies, geography, literary criticism, anthropology, history, and women's studies, it offers new ways of thinking about space, place, and the spatial contexts of social thought and action. (shrink)

The present paper adresses the objective of elucidating the phenomenological mechanisms which, according to the celebrated queer theory author Judith Butler, operate within performative politics. In this connection, this paper analyses the power of agency of minor identities as a resistance force against what Butler calls frames and its politic-ontological regularisation. Such biopolitical potential is fostered by the vulnerability and precarity of abject bodies. In this context, it will be considered the case of Bolivian anarcha-feminist group Mujeres Creando, which generates (...) powerful alternatives in order to reactivate agency by means of artistic practices. (shrink)