The spatial turn in humanities and social sciences has contributed towards a significant discourse on the city and urban spaces, and street art is widely accepted to be one of the ways in which one can analyse and unravel the cityscape. The utilization of the public domain of the city, its entanglements with urban authorities and its diverse potential has sparked several debates, and I seek to engage in the same, and interrogate the role of street art in modifying (...) the cityscape. Through the course of my paper, I seek to interrogate the changing cityscape of Delhi and the role that street art has played in the same, post the events of 13th and 15th December 2019. The walls of Jamia Millia Islamia serve as a canvas for the articulation of resistance against the State and its excesses, its personal testimony of the same, and the graffiti on the same covers a plethora of topics, ranging from assertions of revolution, encouraging slogans and ominous warnings by literary figures, and is a dynamic form of subversion of State Power, unlike the street art projects at Lodhi Art Districts that are aimed at gentrification. The murals have been painted by students but the anonymity of the artists is retained, and thus belongs to no one but the multiplicity. I seek to study the reorientation of the cityscape of Delhi by the protest sites of Jamia and Shaheen Bagh that is not just limited to street art but the rerouting and diversion of traffic, creation of temporary structures like classrooms and libraries outside the institution and on the roads through the works of Henri Lefebvre, and weigh the significance of this protest. (shrink)

Human beings engage works of the arts in many different ways: they sing songs while working, they kiss icons, they create and dedicate memorials. Yet almost all philosophers of art of the modern period have ignored this variety and focused entirely on just one mode of engagement, namely, disinterested attention. Nicholas Wolterstorff asks why this might be, and proposes that almost all philosophers have accepted the grand narrative concerning art in the modern world. It is generally agreed that in the (...) early modern period, members of the middle class in Western Europe increasingly engaged works of the arts as objects of disinterested attention. The grand narrative claims that this change represented the arts coming into their own, and that works of art, so engaged, are socially other and transcendent. Wolterstorff rejects this claim, and offers an alternative framework for thinking about the arts. Central to his alternative framework are the idea of the arts as social practices and the idea of works of the arts as having different meaning in different practices. (shrink)

We explore themes in Nobel Prize–winning economist James M. Buchanan’s work and apply his Ethics and Economic Progress to problems facing individuals and firms. We focus on Buchanan’s analysis of the individual work ethic, his exhortations to “pay the preacher” of the “institutions of moral-ethical communication,” and his notion of law as “public capital.” We highlight several ways people with other-regarding preferences can contribute to social flourishing and some of the ways those who have “affected to trade for the (...) public good” might want to redirect their efforts. We show how Buchanan’s work has considerable implications for business ethics. Just as his economic analysis of politics changed how we understand government, we think his economic analysis of ethics can (and should) change how we understand business. (shrink)

Business ethics courses have been launched with professors from business pulling on one oar, and professors of philosophy pulling on the other, but they lack a sense of direction. Let's begin with the basics: What is an ehtical decision? More fundamentally, why the interest in professional ethics in the first place?There are over 300 centers for the study of appIied ethics in this country-why? The events which face our society today are outside the business-oriented collection of shared beIiefs that set (...) our pubIic policy agenda. Cur beIiefs are too narrow, thus we see, understand, and control small slices of life.Business ethics should be the study of the structure and impact on us of what we call "business science," e.g., accounting, marketing, economics, law, etc., and the corresponding study of the process of what Carl Jung called individuation: learning to become one's own uniqueself in the face of these bodies of professional knowledge which have structured our lives and charted the direction for our sensibilities for too long. (shrink)

Business ethics courses have been launched with professors from business pulling on one oar, and professors of philosophy pulling on the other, but they lack a sense of direction. Let's begin with the basics: What is an ehtical decision? More fundamentally, why the interest in professional ethics in the first place?There are over 300 centers for the study of appIied ethics in this country-why? The events which face our society today are outside the business-oriented collection of shared beIiefs that set (...) our pubIic policy agenda. Cur beIiefs are too narrow, thus we see, understand, and control small slices of life.Business ethics should be the study of the structure and impact on us of what we call "business science," e.g., accounting, marketing, economics, law, etc., and the corresponding study of the process of what Carl Jung called individuation: learning to become one's own uniqueself in the face of these bodies of professional knowledge which have structured our lives and charted the direction for our sensibilities for too long. (shrink)

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)

What role does race play in the moral judgment of character? None, ideally, philosophers insist, contending that the proper assessment of an action requires that we disregard any social values associated with the body performing it. What rightly comes under evaluation, they assert, is the neutral, abstract deed irrespective of the race of the agent. Only under these conditions, presumably, can we gauge true moral worth. Reading together Immanuel Kant and Frantz Fanon on ethics and race, I propose instead (...) that embodied values such as those accorded by race do not distort the portrait of the ethical subject but rather bring that subjectivity into being. Key Words: blackness • embodiment • ethics • Frantz Fanon • Immanuel • Kant • morality • race • value. (shrink)

We humans are a curious species. Of all the life forms that inhabit the earth, we alone strive to make sense of the world in which we find ourselves. For thousands of years we understood the world through stories. Our ancestors told stories of how the world began, how our people originated and came to be at this place, and how those people across the river or beyond the mountains came to be where they are. Some stories were of animals (...) and plants in our neighborhood, and their powers to help us, feed us, or cure our ailments. But in the last few centuries, starting in Europe and spreading throughout the world, a new way of understanding began competing with storytelling as a means of comprehending our world. Science supplanted storytelling largely because it empowered us to transform the world in ways that were unimaginable to our ancestors. We understand the world scientifically by describing the world instead of by telling stories about it. The stories our ancestors told no longer explain the world, but are data within the world, part of the world that science describes. Our stories have become myths, cultural artifacts that may be interesting and a subject of study, but cannot possibly be true. Yet even in societies that have thoroughly embraced science as a means of understanding the world, myths remain a powerful force. Myth and science exist side by side, often creating confusion and conflict. (shrink)

Collecting ethnographic items for the Estonian National Museum has been linked to the practice of buying objects during fieldwork. Often we can find metaphors or expressions connected with trading in the Komi fieldwork diaries. Comparing ethnographers with merchants is a stereotypical way of describing the activities of Estonian researchers in the field. If ethnographers use, in their diaries, metaphors and expressions connected to trading, it may be just a spontaneous phrasing or inter-textual play of words. Inside the community of Estonian (...) ethnologists there exists some kind of discourse style, which is followed in the fieldwork diaries, more or less consciously. This style of narration is also connected to the specific social and historical context in which ethnographers act. At the same time, even satiric inter-textual quotations do not exclude the possibility that some of this discourse is related to a deeper level of human consciousness. (shrink)

Collecting ethnographic items for the Estonian National Museum has been linked to the practice of buying objects during fieldwork. Often we can find metaphors or expressions connected with trading in the Komi fieldwork diaries. Comparing ethnographers with merchants is a stereotypical way of describing the activities of Estonian researchers in the field. If ethnographers use, in their diaries, metaphors and expressions connected to trading, it may be just a spontaneous phrasing or inter-textual play of words. Inside the community of Estonian (...) ethnologists there exists some kind of discourse style, which is followed in the fieldwork diaries, more or less consciously. This style of narration is also connected to the specific social and historical context in which ethnographers act. At the same time, even satiric inter-textual quotations do not exclude the possibility that some of this discourse is related to a deeper level of human consciousness. (shrink)

This volume has 41 chapters written to honor the 100th birthday of Mario Bunge. It celebrates the work of this influential Argentine/Canadian physicist and philosopher. Contributions show the value of Bunge’s science-informed philosophy and his systematic approach to philosophical problems. The chapters explore the exceptionally wide spectrum of Bunge’s contributions to: metaphysics, methodology and philosophy of science, philosophy of mathematics, philosophy of physics, philosophy of psychology, philosophy of social science, philosophy of biology, philosophy of technology, moral philosophy, social (...) and political philosophy, medical philosophy, and education. The contributors include scholars from 16 countries. Bunge combines ontological realism with epistemological fallibilism. He believes that science provides the best and most warranted knowledge of the natural and social world, and that such knowledge is the only sound basis for moral decision making and social and political reform. Bunge argues for the unity of knowledge. In his eyes, science and philosophy constitute a fruitful and necessary partnership. Readers will discover the wisdom of this approach and will gain insight into the utility of cross-disciplinary scholarship. This anthology will appeal to researchers, students, and teachers in philosophy of science, social science, and liberal education programmes. 1. Introduction Section I. An Academic Vocation Section II. Philosophy Section III. Physics and Philosophy of Physics Section IV. Cognitive Science and Philosophy of Mind Section V. Sociology and Social Theory Section VI. Ethics and Political Philosophy Section VII. Biology and Philosophy of Biology Section VIII. Mathematics Section IX. Education Section X. Varia Section XI. Bibliography. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Buddhist-Christian Studies 20 (2000) 59-69 [Access article in PDF] Buddhist Views on Ritual Pactice Protestant Character of Modern Buddhist Movements Yukio MatsudoUniversity of HeidelbergWhat is the relationship between ritual and ethical activities in Nichiren Buddhism, as practiced in the Soka Gakkai (SG)? SG is a lay Buddhist organization which is, as such, involved extensively in secular affairs, specifically in the field of educational, cultural, social, and peace-promoting programs. (...) The question is, therefore, not at all whether there is a connection of religious practice and ethical activities. Rather it begs an explanation regarding its ideological background. In this respect a further reflection on a metareflection level would be useful to clarify the "modern" character of SG, which may be discussed in relation to Christian Protestantism since it has been regarded as a spiritual background for the formation of modern ethos such as individualism, egalitarianism, and social engagement. Thus, I will depict the fundamental feature of Nichiren Buddhism as "reformative Buddhism," which makes the practice of Buddhism congruent with "modern" understanding of religious roles in daily life as well as social engagement. On the other hand, I will also discuss some problems being inherent to the Western acculturation of the reformed and "engaged Buddhism." 1 The Ethical Activities of the SG in the World Ethical and Social Aspects of the Movement It is generally well known that the lay Buddhist organization, SG, as a whole has initiated wide and multifaceted activities even in an international level in order to transform its religious ideals into social reality, specifically in the field of educational, cultural, social, and peace-promoting programs. For this purpose it established educational institutes ranging from kindergartens to universities as well as research [End Page 59] institutes such as the Institute of Oriental Philosophy (founded 1961), the Boston Research Center for the 21st Century (founded 1993), the Toda Institute for Global Peace and Policy Research (founded 1996), and other centers for ecological researches. For promoting mutual respect and understanding through cultural expressions and exchanges several institutes have been established, like the Min-On Concert Association (founded 1963), the Tokyo Fuji Art Museum (founded 1991), and La Maison Littéraire de Victor Hugo in Bièvre, France (founded 1992). On a global level, its political involvement is, for a large part, situated as a NGO in the frame of the UNO and the UNESCO. With the help of the UNO, SG has organized all over the world expositions translating its concerns for peace, e.g., "Nuclear War: Threat to our World" and "War and Peace." With the Simon Wiesenthal Center it organized an exhibition "The Courage to Remember: Anne Frank and the Holocaust Exhibition." The issue of human rights is another of its major concerns. Commemorating the forty-fifth anniversary of the United Nations' adoption of the Universal Declaration of Human Rights, SG held an exhibition entitled "Toward the Century of Humanity: An Overview of Human Rights in Today's World" at the UN office in Geneva. Also, money received from fund-raising activities has been donated to the Office of the United Nations High Commissioner for Refugees and related agencies to provide medical supplies and food, and to support educational programs in the areas concerned. To expose the horrors of war, SG has also published life histories written by members about their sufferings in war: "Women against War," "Cries for Peace," and "Peace is our Duty." Segmental Differentiation of Organizational Structure To meet the requirements of functional differentiation of today's modern societal life SG is organized in a segmental and hierarchical structure. The basic structure is the regional units, organized in a hierarchical model, and all members are integrated "in each group" in their residence area. At the same time each member belongs to a specific "division" which is organized according to gender, age, and occupation. There are the four divisions of men, women, young men, and young women. Additionally there are divisions for school boys and girls, university students, as well as divisions according to occupation such as artists, lawyers, medical doctors, academics, and so on. These divisional differentiations reflect the need... (shrink)

It is popularly believed that British anarchism underwent a ‘renaissance’ in the 1960s, as conventional revolutionary tactics were replaced by an ethos of permanent protest. Often associated with Colin Ward and his journal Anarchy, this tactical shift is said to have occurred due to growing awareness of Gustav Landauer's work. This article challenges these readings by focusing on Herbert Read's book Education through Art, a work motivated by Read's dissatisfaction with anarchism's association with political violence. Arguing that aesthetic education (...) could remodel social relationships in a non-hierarchical fashion, Read pioneered the reassessment of revolutionary tactics in the 1940s that is associated with the 1960s generation. His role in these debates has been ignored, but the broader political context of Read's contribution to anarchist theory has also been neglected. The reading of Read's work advanced here recovers his importance to these debates, and highlights the presence of an indigenous strand of radical thought that sought novel solutions for the problems of the age. (shrink)

Social criticism can take on many forms ranging from theoretical exposition to non-violent protests. This paper considers literary art as a form of social criticism and uses Morrison's novel Paradise as the exemplary case to show that the confrontation of unjust ideas through social criticism is essential in building non-oppressive relations open to diversity. In this sense, social criticism is a paradigm of communication that, although often entailing conflict, ultimately aims at reconciliation. I begin with a (...) discussion of social criticism followed by a short synopsis of the novel. I then examine the novel as social criticism focusing on a process I call "twinning." The paper ends with a critical evaluation of the power and possibilities of literary art as social criticism. (shrink)

Social criticism can take on many forms ranging from theoretical exposition to non-violent protests. This paper considers literary art as a form of social criticism and uses Morrison's novel Paradise as the exemplary case to show that the confrontation of unjust ideas through social criticism is essential in building non-oppressive relations open to diversity. In this sense, social criticism is a paradigm of communication that, although often entailing conflict, ultimately aims at reconciliation. I begin with a (...) discussion of social criticism followed by a short synopsis of the novel. I then examine the novel as social criticism focusing on a process I call "twinning." The paper ends with a critical evaluation of the power and possibilities of literary art as social criticism. (shrink)

Legalistic discourse, lawyers and lawyering had minor representation during the 2011 summer protest events in Israel. In this paper we explore and analyze this phenomena by employing content analysis on various primary and secondary sources, among them structured personal interviews with leaders and major activists involved in the protest, flyers, video recordings made by demonstrators and songs written by them. Our findings show that participants cumulatively produced a pyramid-like structure of social power that is anchored in the (...) enterprise of organizing the protest. Our findings explicate how the non-legalistic and even anti-legalistic discourse of the protest was formed, shaped and generated within the power relations of the protest, and how a pyramid of power produced a new poetics of protest that rejected the traditional poetics of state law. The power relations that generated the discourse regarding state law were embedded in socioeconomic stratification along the divide of center and periphery in Israel. (shrink)

Xi Chen explores the question of why there has been a dramatic rise in and routinization of social protests in China since the early 1990s. Drawing on case studies, in-depth interviews and a unique data set of about 1,000 government records of collective petitions, this book examines how the political structure in Reform China has encouraged Chinese farmers, workers, pensioners, disabled people and demobilized soldiers to pursue their interests and claim their rights by staging collective protests. Chen suggests that (...) routinized contentious bargaining between the government and ordinary people has remedied the weaknesses of the Chinese political system and contributed to the regime's resilience. Social Protest and Contentious Authoritarianism in China challenges the conventional wisdom that authoritarian regimes always repress popular collective protest and that popular collective action tends to destabilize authoritarian regimes. (shrink)

continent. 2.3 (2012): 224–228 Introduction Jamie Allen Thierry Geoffroy’s conceptual, event- and environment-based art practice has generated over two-decades of definitional activity around what he terms “format art.” The works re-galvanize the energies of a syndicatable, open and atmospheric arrangement, of varying specifics dependent on context, participants and environment. With formats like the Emergency Room, Biennalist, and the Critical Run, Geoffroy endeavors to imbricate art and artist in the most exigent and current of social, political and mediatised spectacles. The (...) result seems to plant us at a triangulation of the configurations proposed by Alan Kaprow, Andrea Fraser and Alan Abel. Geoffroy plays up a guileless innocence (at times sporting the “Naive Blue Helmet”) as he interviews spectactors at the 2012 dOCUMENTA13 exhibitions in Kassel, Germany. What he evokes is a declamation of the appropriative, unenthusiastic, cool inclinations of the mainstream art festival, the profligate biennial (triennial, quadrennial, etc.) circuit and national and global ideological cultural-engines. In propositional artifacts, definitional articles and direct transmissions from Geoffroy’s Emergency Room field office at dOCUMENTA13, the masking of an emergency is here questioned: Can an art show like dOCUMENTA be dangerous? —JA Is dOCUMENTA designed to make people cry about something and not make them see something else? Is the contemporary a distraction from the present? Can art in delay have any impact with today? Do we learn anything by seeing art shows reflecting on history? Could 860,000 visitors have been intoxicated by an apathic gaze than keep them away from reacting? Why is dOCUMENTA proud of having recieve no critic? Why is proximity less important? Why was dOCUMENTA in Kabul? Can weapons designed to kill protesters sold to a repressing regime be contradictory to the support of the Arab Spring? Is the contemporary like a flea market to avoid to debating the important topics of today? Can art be in advance of the broken arm, and avoid accident? Is the goal of dOCUMENTA to create a revolution or to entertain? Is dOCUMENTA betterly done than Disney Land? Is it better to watch Fox News for two years or to go to dOCUMENTA for two days? If a curator, curating a contemporary art show about war, forgets to debate about the weapons factories next door, should it be considered as a professional mistake? Is it OK to employ philosophers to promote vodka? Is navigation a threat? Can an art show like dOCUMENTA be dangerous? Thierry Geoffroy / Colonel author of the month Global Art and the Museum @ZKM: " THE NEXT DOCUMENTA SHOULD BE CURATED BY A TANK " Link to Emergency Room Dictionary < /a> "COOLNESS" from the EMERGENCY ROOM DICTIONARY by COLONEL MUSIC Biennalist at dOCUMENTA 13 "TIRED" from the EMERGENCY ROOM DICTIONARY by COLONEL MUSIC Link to " APATHY " (from the Emergency Room Dictionary ) AWARENESS MUSCLE [fr. muscle de la conscience ] In the same sense memory can be trained, an awareness muscle can be developed by an effort. To develop the awareness muscle, the artist has to reduce his gesticulations. When an artist is busy the artist is not very aware the artist is occupied. A daily training is necessary But how to train? Scanning the news in a critical way could be one exercise. Daily debating politics with others could be another. Looking at other point of views usually produces significant improvements. Fighting prejudice is an excellent exercise. Many other forms of training could also produce beneficial effects for the awareness muscle. Continuous and daily training is important. For instance rewinding and slow motioning what has been absorbed getting away the sugar from the propaganda machines talking to everyone excercise comparatif critical run. If not daily trained the awareness muscle can degrade into atrophy To develop the awareness muscle requires will-power Thierry Geoffroy / Colonel. (shrink)

How social media and DIY communities have enabled new forms of political participation that emphasize doing and making rather than passive consumption. Today, DIY—do-it-yourself—describes more than self-taught carpentry. Social media enables DIY citizens to organize and protest in new ways and to repurpose corporate content in order to offer political counternarratives. This book examines the usefulness and limits of DIY citizenship, exploring the diverse forms of political participation and “critical making” that have emerged in recent years. The (...) authors and artists in this collection describe DIY citizens whose activities range from activist fan blogging and video production to knitting and the creation of community gardens. Contributors examine DIY activism, describing new modes of civic engagement that include Harry Potter fan activism and the activities of the Yes Men. They consider DIY making in learning, culture, hacking, and the arts, including do-it-yourself media production and collaborative documentary making. They discuss DIY and design and how citizens can unlock the black box of technological infrastructures to engage and innovate open and participatory critical making. And they explore DIY and media, describing activists' efforts to remake and reimagine media and the public sphere. As these chapters make clear, DIY is characterized by its emphasis on “doing” and making rather than passive consumption. DIY citizens assume active roles as interventionists, makers, hackers, modders, and tinkerers, in pursuit of new forms of engaged and participatory democracy. Contributors Mike Ananny, Chris Atton, Alexandra Bal, Megan Boler, Catherine Burwell, Red Chidgey, Andrew Clement, Negin Dahya, Suzanne de Castell, Carl DiSalvo, Kevin Driscoll, Christina Dunbar-Hester, Joseph Ferenbok, Stephanie Fisher, Miki Foster, Stephen Gilbert, Henry Jenkins, Jennifer Jenson, Yasmin B. Kafai, Ann Light, Steve Mann, Joel McKim, Brenda McPhail, Owen McSwiney, Joshua McVeigh-Schultz, Graham Meikle, Emily Rose Michaud, Kate Milberry, Michael Murphy, Jason Nolan, Kate Orton-Johnson, Kylie A. Peppler, David J. Phillips, Karen Pollock, Matt Ratto, Ian Reilly, Rosa Reitsamer, Mandy Rose, Daniela K. Rosner, Yukari Seko, Karen Louise Smith, Lana Swartz, Alex Tichine, Jennette Weber, Elke Zobl. (shrink)

Stakeholder management is an important method for reducing business risk. Recent decades have seen the growth of a new type of stakeholder: social protest stakeholders, individuals engaging in protest action which is directed at other unrelated parties, often the government. However, the actions of social protest stakeholders may negatively affect companies located nearby. This stakeholder category has not received any formal attention in the literature, and this article addresses the knowledge gap by exploring the effects (...) of community-driven protest action in South Africa and the strategies that firms adopt to mitigate the negative consequences of such protests. A multiple case study analysis was used to describe this type of stakeholder group and the management of the consequences of social protest action. Eight manufacturing companies in the Gauteng province participated in the study, the companies varied in size and industry. Among the key findings are that companies need to be highly adaptable if they are to mitigate the impact of protest action. We make practical suggestions about how companies may manage these risks, including the recommendation that companies engage more directly with social protestors to manage risks. The study makes an important contribution to the literature by identifying an additional key category of stakeholder and proposing a risk management approach to avert or minimize loss and damage. (shrink)

Reformational philosophy rests on the ideas of nineteenth-century educator, church leader, and politician Abraham Kuyper, and it emerged in the early twentieth century among Reformed Protestant thinkers in the Netherlands. Combining comprehensive criticisms of Western philosophy with robust proposals for a just society, it calls on members of religious communities to transform harmful cultural practices, social institutions, and societal structures. Well known for his work in aesthetics and critical theory, Lambert Zuidervaart is a leading figure in contemporary reformational philosophy. (...) In Religion, Truth, and Social Transformation – the first of two volumes of original essays from the past thirty years – he forges new interpretations of art, politics, rationality, religion, science, and truth. In dialogue with modern and contemporary philosophers, among them Immanuel Kant, G.F.H Hegel, Martin Heidegger, Theodor Adorno, Jürgen Habermas, and reformational thinkers such as Herman Dooyeweerd, Dirk Vollenhoven, and Hendrik Hart, Zuidervaart explains and expands on reformational philosophy’s central themes. This interdisciplinary collection offers a normative critique of societal evil, a holistic and pluralist conception of truth, and a call for both religion and science to serve the common good. Illustrating the connections between philosophy, religion, and culture, and daring to think outside the box, Religion, Truth, and Social Transformation gives a voice to hope in a climate of despair. (shrink)

Today, DIY -- do-it-yourself -- describes more than self-taught carpentry. Social media enables DIY citizens to organize and protest in new ways and to repurpose corporate content in order to offer political counternarratives. This book examines the usefulness and limits of DIY citizenship, exploring the diverse forms of political participation and "critical making" that have emerged in recent years. The authors and artists in this collection describe DIY citizens whose activities range from activist fan blogging and video production (...) to knitting and the creation of community gardens. Contributors examine DIY activism, describing new modes of civic engagement that include Harry Potter fan activism and the activities of the Yes Men. They consider DIY making in learning, culture, hacking, and the arts, including do-it-yourself media production and collaborative documentary making. They discuss DIY and design and how citizens can unlock the black box of technological infrastructures to engage and innovate open and participatory critical making. And they explore DIY and media, describing activists' efforts to remake and reimagine media and the public sphere. As these chapters make clear, DIY is characterized by its emphasis on "doing" and making rather than passive consumption. DIY citizens assume active roles as interventionists, makers, hackers, modders, and tinkerers, in pursuit of new forms of engaged and participatory democracy. _Contributors_Mike Ananny, Chris Atton, Alexandra Bal, Megan Boler, Catherine Burwell, Red Chidgey, Andrew Clement, Negin Dahya, Suzanne de Castell, Carl DiSalvo, Kevin Driscoll, Christina Dunbar-Hester, Joseph Ferenbok, Stephanie Fisher, Miki Foster, Stephen Gilbert, Henry Jenkins, Jennifer Jenson, Yasmin B. Kafai, Ann Light, Steve Mann, Joel McKim, Brenda McPhail, Owen McSwiney, Joshua McVeigh-Schultz, Graham Meikle, Emily Rose Michaud, Kate Milberry, Michael Murphy, Jason Nolan, Kate Orton-Johnson, Kylie A. Peppler, David J. Phillips, Karen Pollock, Matt Ratto, Ian Reilly, Rosa Reitsamer, Mandy Rose, Daniela K. Rosner, Yukari Seko, Karen Louise Smith, Lana Swartz, Alex Tichine, Jennette Weber, Elke Zobl. (shrink)

. This paper discusses the transformative power of aesthetic narrative within the framework of Nietzsche’s theory of transvaluation. The transformative power of creative narrative is the power to give meaning to life’s activity by keeping ahead of forces that would deny it. The power of aesthetic transvaluation plays a fundamental role in the dynamic of the resistance movement that sprang from the Gezi Park sit-ins. The movement erupted with an aesthetic intensity that surprised detractors as well as supporters, employing aesthetic (...) creativity in a way that sets it apart from other protests in Turkey and the Arab world. On several levels, the young movement has become a form of artistic protest. Striking parallels are found in Nietzsche’s aesthetic claim that the existential transformation of one’s narrative is the principle aim of the artist and the dynamic action of the people in Turkey who resist what they feel is an encroachment on their democratic rights and their way of life. The point of the essay, however, is not merely to illustrate the parallels. It is to examine how aesthetic imagination plays a role in forming a narrative that conjures meaning solely through creative fiat, showing how the power of transvaluation is manifested in the Gezi Park resistance. (shrink)

This paper deals with the relationship between law and social protests, a topic that seems particularly relevant at this time, when recent public events show the existence of growing tension between citizens and public officers. The paper does not explore the ultimate causes that triggered these social protests, but rather the normative and legal questions raised by these conflicts. The main question that it addresses is the following: How should the law act in the face of these growing (...) expressions of social discontent? The main point that it defends is that social protests are political expressions that, as such, deserve a special public (and particularly judicial) protection. The argument is particularly directed at studying the legal consequences of taking the expressive components of social protests seriously. The exploration may have a further theoretical interest for those who are interested in reflecting upon the scope and limits of the theory of deliberative democracy. (shrink)

This article seeks to understand the social and cultural factors that led to the introduction of music and art education in public schools, a process that began in the middle decades of the nineteenth century. Based on archival material, including institutional catalogues, school board reports, magazine articles, and tracts, I demonstrate that music and art held varied meanings in this period, one of the most important of which was denominational competition. One major element in a nationwide promotion of the (...) arts in the mid-nineteenth century was the revitalized Protestant contest for religious adherents in the wake of Catholic immigration. A second important, and often overlooked, aspect of music and art education was its vocational implications. Although some historians have relegated women's study of music and art to the reproduction of elite status, a significant aspect of these studies was vocational. In a world in which limited occupations were open to women, skill in music and art expanded women's options and, for some, made financial independence possible. In addition, although many of the factors involved in the rise of music and art education?such as nationalism, refinement, and health?were nongendered and applied to both women and men, the repercussions of these programs were quite gendered and may add to our understanding of the process by which the teaching force was feminized. (shrink)

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)

The seventies period in Australia is often referred to as the “anything goes” decade. It is a label that gives a sense of the profusion of antiestablishment modes that emerged in response to calls for social and political change that reverberated around the globe around that time. As a time of immense change in the Australian art scene, the seventies would influence the development of art into the contemporary era. The period‟s diversity, though, has presented difficulty for Australian art (...) historiography. Despite the flowering of arts activity during the seventies era—and probably also because of it—the period remains largely unaccounted for by the Australian canon. In retrospect, the seventies can be seen as a period of crucial importance for Australia‟s embrace of contemporary art. Many of the tendencies currently identified with the contemporary era—its preoccupation with the present moment, awareness of the plurality of existence, rejection of hierarchies, resistance to hegemonic domination, and a sense of a global community—were inaugurated during the seventies period. Art-historically, however, it appears as a “gap” in the narration of Australian art‟s development which can be explained neither by the modernism which preceded it, nor by postmodernism. In Australia, the seventies saw a rash of new art “movements” emerge almost simultaneously. Feminist, Pop, Conceptual art, Performance, Protest, Craft, and Aboriginal art as fine art are some of the forms that emerged as part of the concerted questioning and revolt that were characteristic of the period. Art practice changed radically at this time—with challenges both to the art object mounted by conceptualism, and to its hierarchical traditions prompted by feminism and other historically marginalised groups. While no style dominated the period, most of the art-making shared tendencies and concerns, and was driven by a common vision that had its roots in the era‟s politically charged milieu. The focus of this paper is the importance for many artists of working collectively and collaboratively in their pursuit of a new cultural paradigm. Often it was only through joint endeavour that recognition of the multiple valid alternatives, through which many began to define themselves, was possible. However, the embrace of the idea of collective enterprise in itself also facilitated new ways to think about art and the manner and meaning of its production. The purpose here, therefore, is to draw attention to the important ways in which organisational collectivism and collaboration contributed to the seventies as a period of revolutionary transformation in art practice that would propel Australian art into the contemporary era. (shrink)

A well-established idea is that the powerless, even when they are angered by the relations of domination or their consequences, do not display this anger for fear of negative sanctions. Although in the first part of his Domination and the Arts of ResistanceJames Scott elaborates this idea in a creative manner, he challenges it in the second part of his book. He proposes that when autonomous spaces emerge in the systems of absolute domination, the powerless use them to develop their (...) own cultures of solidarity and dissent. These make it highly probable that the long-suppressed anger, rather than just simmering, will one day explode in the face of the oppressor with a satisfying full blast. In this article I use mostly Central European material to argue against Scott’s unorthodox view. I line up evidence in support of the thesis that, even where there are autonomous spaces and cultures of dissent, citizens display apathy and protesters start out with much anxiety and caution, afraid to provoke the anger of the powerful. Fear of repression and the wish to dilute one’s own and the onlookers’ anxiety, I argue, account for why, in this region after 1980, protest assumed ever more ambivalent, satirical and carnivalesque forms. Not anger, but rather a mixture of fear and hope – the latter propagated by the leading ÈmigrÈ and domestic dissidents – dictated the display of such emotions as anxiety, but also sorrow or joy. (shrink)

_In this lively and groundbreaking book, arts educator Marit Dewhurst examines why art is an effective way to engage students in thinking about the role they might play in addressing social injustice._ Based on interviews and observations of sixteen high schoolers participating in an activist arts class at a New York City museum, Dewhurst identifies three learning processes common to the act of creating art that have an impact on social justice: connecting, questioning, and translating. Noting that “one (...) of the challenges of social justice art education has been the difficulty of naming effective strategies that can be used across multiple contexts,” Dewhurst outlines core strategies for an “activist arts pedagogy” and offers concrete suggestions for educators seeking to incorporate activist art projects inside or outside formal school settings. _Social Justice Art _seeks to give common language to educators and others who are looking to expand and refine their practices in an emerging field, whether they work in art education, social justice programming, or youth development. (shrink)

Purpose Late in 2019, massive protest demonstrations rocked both Chile and Colombia. They were an expression of discontent with the economic model and social policies implemented in both countries in recent decades. The purpose of this study is to investigate how Chilean and Colombian news websites framed these social protests and what aspects of the social movements promoted these media to public opinion. Design/methodology/approach The methodology of this research is empirical; the authors use quantitative and discourse (...) analysis techniques to study the news published by the top three most visited main news websites in each country and deduce the main frameworks emerging from them. After analyzing the framing of reality by media in 4,252 news items, the authors suggest that the main news portals in these Latin American countries not only portrayed the collective actions but also promoted interpretations that did not necessarily reflect the demands of the demonstrations. Findings The findings were that in the 2019 protests in Chile and Colombia, the media approach to collective action was not necessarily positive for the activists. This was mainly because framing in the Chilean and Colombian websites had to do with negative aspects of the movements, such as violence or economic costs. Originality/value The originality and value of this research is that despite the fact that there are abundant case studies on the relationship between social movements and media framing in the literature, this study adds to the current knowledge because it compares two Latin American countries and focuses on Web news portals. (shrink)

Dario Martinelli examines the nature of songs of social protest (SSPs) in Give Peace a Chant: Popular Music, Politics and Social Protest and provides readers with a book that is engaging, provoking, and enjoyable. Martinelli’s research is thorough, astute, and structured in a way that is both rigorous and accessible. Combining typology with several case studies, Martinelli achieves his stated goal of showing how context, song lyrics, and the music itself are organic and equally important elements (...) that constitute SSPs. (shrink)

This article is a discussion of Grant Kester’s notion of socially-engaged art criticism via a retrospective mapping of the four most important 1990s artistic practices: relational art, institutional critique, tactical media and socially-engaged art. While both relational, or participatory, art and institutional critique seem to have run out of steam, and have fused more or less seamlessly with the institution of art, socially-engaged art still seems to hold critical potential by making use of the relative autonomy of art beyond the (...) narrow confines of the art institution. The journal Field, founded and edited by Kester, is an attempt to develop a new art criticism that is able to account for this kind of practice. The turn to ethnography in order to analyse often open-ended community-based projects is relevant – and the. (shrink)

Children seem to have a profound implicit knowledge of human behaviour, because they laugh at Bugs Bunny cartoons where much of the humour depends on animals behaving like humans and our intuitive recognition that this is absurd. Scientists, on the other hand, have problems defining what this 'human difference' is. I suggest these problems are of cultural origin. For example, the industrial revolution and the protestant work ethic have created a world in which work is valued over play, object intelligence (...) over social intelligence, and science and technology over the arts. This may explain why we have so many imaging studies of tool-use and object manipulation, but only four studies of dance, two of pretend play, and one of role-play. Yet in order to understand child development, the evolution of the brain, and the emergence of human self-consciousness, we need to look at social displays-- such as dance, song, image-making and role-play-- which underpin human culture, cooperation and the arts. I will discuss recent brain imaging research on playful versus instrumental behaviour and show how, in conjunction with archaeological data, we can use this to make sense of human evolution. (shrink)

This book investigates the relation of rock and roll to social protest music and authenticity. It examines the nature and commercial origins of rock and roll, why rock and roll was frequently considered subversive, and the nature and significance of authenticity to rock and roll as social protest music.

This essay takes a critical and reflective look at two recently published books on contentious politics in the Balkans and Eastern Europe: Social Movements in the Balkans and Ideology and Social Protests in Eastern Europe. Focusing on regions somewhat neglected in scholarly analyses of the recent global upsurge of protests, these books aim to fill the gap by highlighting some contextual and regional specificities: a position of economic and geo-political periphery, weak or unconsolidated democratic institutions, post-socialist and transitional (...) environments, societal divisions, etc. By critically assessing both contributions, in a manner that looks for their complementarity, this essay: examines the characteristics of popular mobilizations and grievances in Southeast and Eastern Europe; questions dominant narratives of political and economic transition and EU integration; re-evaluates socialist heritage and post-socialist political trajectories; discusses the possibilities of articulating political alternatives to representative democracy and free market economy; and addresses the burden of conflicting memories and attitudes towards the region?s socialist past. (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)

En el presente trabajo se buscará abordar la relación entre las obras de Nietzsche y Freud y el arte a partir de dos líneas de análisis: en primer lugar, el modo particular en que, para cada autor, se despliega la relación del arte con el plano social; en segundo lugar, que la noción misma de arte se halla íntimamente ligada al modo en que, para cada uno, se caracterizan la percepción y al concepto mismo de vida. Finalmente, se trazará (...) una articulación entre ambas líneas analíticas: el modo particular en que el arte es, para ambos autores, pensado en términos sociales, se sustenta –a través de la manera en que es concebida la percepción- a partir del concepto mismo de vida. Esta articulación permitirá fundamentar cómo es que Freud mantiene una relación sintónica con el arte clásico, mientras que la perspectiva nietzscheana, por el contrario, resulta sintónica con el arte de vanguardia. (shrink)

Masks, balaclavas, eye masks, and various accessories have been consistently used to hide the face, from Greek times through the grotesque of the Middle Ages to the Latin American theatre festivals of the 1980s. In the twenty-first century, technological advances such as facial recognition, which are being used for the biopolitical control of the face, caused activists to start developing different mechanisms to cover their faces in public spaces. In other words, the mask is not used solely as a device (...) that builds unique aesthetic-political senses but is also used to avoid being captured by surveillance cameras. The aim of this paper is to identify some of the masks used by activists in Latin American public protests, generating new signs that circulate widely in the semiosphere such as physiognomy, representation, and evocation. For this, we will return to Juri Lotman’s proposal on the semiosphere and the notion of facesphere developed by José Finol, concepts that operate as epistemological and heuristic frameworks that allow understanding the concrete meaning production processes as a global dimension and not only a particular one. What faces are hidden and what physiognomies are shown in the social protest? What borders are established? What political and aesthetic meanings do they build? These are the questions that this paper attempts to answer from a perspective of cultural semiotics. (shrink)

El objetivo del presente artículo es analizar los presupuestos del escritor, crítico y ensayista español Juan Mas y Pi (1878-1916) sobre la cuestión social del arte. Para ello, me serviré del texto “Arte social”, publicado en 1906 en la revista Germen. Revista popular de sociología, dirigida por Alejandro Sux. Abordaré cuál es el origen, la esencia y la función del arte para que obra, artista y experiencia estética sirvan a la causa del proceso de perfeccionamiento de la Humanidad (...) hacia un futuro libre de cualquier tipo de opresión y sufrimiento. (shrink)

The summer of 2011 has seen the first mass-scale social protest in Israel in its 70 years of existence. This social wave that shook the country, showed unique characteristics a-typical of most social and political uprisings, that go largely unexplained by social theories of social change and crowd psychology. In this article I am analyzing published reports of the social protest of 2011, and draw the analogy with the concept of ‘Agoral Gathering’ (...) that may account for these events and support discussion of their aftermath. (shrink)